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Teenage Mutant Ninja Turtles: The Ultimate Collection volume 1


By Kevin Eastman & Peter Laird, Steve Lavigne & various (IDW)
ISBN: 978-1-61377-007-8 (TPB) eISBN: 978-1-62302-298-3

FORTY(!!!) years ago this month an indie comic by a pair of cannily adroit wannabe creators began making waves and soon sparked a revolution. The guys were Kevin Eastman & Peter Laird and their work did remarkably well, interesting companies outside our traditionally cautious insular industry and garnering a few merchandising deals. Thanks to TTE (the Telescoping Time Effect that renders the passage of many years between adulthood and the grave to the blink of an eye), my comics generation still regard these upstart critters as parvenu newcomers.

The Teenage Mutant Ninja Turtles first appeared in May 1984, bombastically occupying an oversized, self-published black-&-white parody mag. Eastman & Laird were huge fans of Ditko and Kirby, and so set up Mirage Studios so they could control their efforts, having great fun telling pastiche adventures notionally derived and inspired by contemporary superhero fare.

They especially honed in on the US marketplace’s obsession with Frank Miller’s reinterpretations of manga stars Kazuo Koike & Goseki Kojima: particularly Lone Wolf & Cub. There were also smart pokes at and conceptual themes poached from other top trends as inspired by The X-Men, New Teen Titans and outsider icon Howard the Duck. This was at a time when the US industry was experiencing an explosive boom in do-it-yourself comics: one that changed forever the very nature of the industry and destroyed the virtual monopoly od DC and Marvel.

Eastman & Laird’s quirky concept became the paradigm of Getting Rich Quick: a template for many others and – in their case at least – an ideal example of beneficial exploitation. Their creation expanded to encompass toys, movies, games, food, apparel, general merchandising and especially television cartoons. In 1987 it became – and remains – a globally potent franchise. There’s probably another movie on the go even as I type this…

None of that matters here as I want to look at the actual comics that started everything and there’s no better way than with this carefully curated edition chronologically covering the primal tales and offering commentaries and reminiscences from the guys who were there…

Just as Los Bros Hernadez had done with Love and Rockets in 1981, Teenage Mutant Ninja Turtles debuted as a self-published (print run of 3000 copies), self-financed one-shot that was swiftly picked up by a legion of independent comics shops run by fans for fans. Word of mouth and frantic demand generated a wave of reprintings and much speculative imitation. The rest is history…

This book – re-presenting issues #1-7 and one-shot Raphael Micro-Series – was the first of a sequence of collections published a dozen years ago by licensing specialists IDW. By that time the original creators had long sold the rights and moved well on, to the extent of even occasionally revisiting their baby through nostalgia, but here their fevered passion in their creation and the sheer joy of having fun by learning was at its intoxicating height.

Drafted with verve, gusto and no respect for “the rules”, the saga of ‘Eastman and Laird’s Teenage Mutant Ninja Turtles’ opens with four outlandish humanoids fighting for their lives in a dingy alley. The enemy are thugs and street scum and – once they’re emphatically taken care of – with victory assured, the bizarre heroes retreat into the sewers…

Here they greet a giant rat dressed as a sensei and discuss their origins and goals. You all already know the tale – or just don’t care – but briefly: the pet rat of martial artist Yoshi absorbed kung fu skills and concepts of honour and duty by observation. He also witnessed romantic rivals become arch foes. The losing suitor’s brother subsequently destroys the lovers (even after they fled to New York) and is now leader of ninja clan The Foot.

The youngster – Oroku Saki but known as The Shredder – pursued his warped obsession in the New World and murdered the lovers, even as nearby a boy saved an old one from being hit by a truck carry toxic material. The kid was blinded when the cannister hit his eyes, but as he was carted off to his own comics destiny, the canister that hit him broke, leaking mutagens into sewers where an uncaring owner had dumped somebaby turtles and where Yoshi’s escaped pet was hiding…

Over years exposure changed them all. The rat called Splinter became a sagacious humanoid rodent who diligently trained four brilliant, rapidly growing reptiles in the skills he had observed with his master. Splinter named them Donatello, Michelangelo, Leonardo and Raphael and at last deemed them sufficiently advanced to obtain vengeance for his murdered master.

Called to battle, the villain employs all his minions but nevertheless falls to turtle justice…

Fast-paced and action-packed, the tale delivers a sure no-frills punch and – as revealed in the commentary ‘Annotations’ section that follows – left the creators with a rare dilemma: overnight success, demands for reprints and readers demanding more of the same…

Each issue’s bonus section also provides background, insights and developmental drawings but the meat is contained in the stories as the debutantes quickly gained confidence and ran wild. The second issue introduced insufferable mad scientist Baxter Stockman who unleashes robot rat-hunters (“Mousers”) in a scheme to get rich by cleaning up the sewers. In fact, he is also using them to rob from below and when his assistant April O’Neil finds out he frames and tries to kill her. Thankfully the turtles step in to save her and New York…

The third episode reveals heroism comes at a cost: when they return to their underground lair, the Turtles discover it devastated, with Mouser fragments and rat blood everywhere… but no Master Splinter…

When April offers them shelter, relocation turns into a major headache as the strange, heavily shrouded quartet are mistaken for burglars, triggering a massive police car chase through the streets. The spectacular road riot is appended by an ‘Epilogue’ revealing exactly what happened to Splinter, leading to major plot developments in #4, as mystery company TCRI are revealed as the creators of the mutagen and far more than they seem.

Before that though, the Raphael Micro-Series offers all-action romp ‘Me, Myself and I’ as the moody, anger-management-challenged young warrior loses control whilst sparring and flees the team in shame. Sadly, Raphael seeks to calm down by prowling the streets and encounters well-meaning street vigilante Casey Jones thrashing a gang of molesters. Of course, a violent misunderstanding ensues…

In TMNT #4, the search for Splinter is interrupted by an army of Foot ninjas, but the ambush drops our heroes right into TCRI HQ. With the corporate logo from that fateful cannister blazoned across a skyscraper, priorities shift and the turtles retrench. When they infiltrate the building, the shock of finding Splinter is instantly erased by finding out just what they’re facing, but it is as nothing to the trauma of being teleported to another universe…

The fifth issue came out in November 1985, the first to sport a full colour cover and used to expand a phenomenon into a merchandisable continuity universe by guest-starring another, subsequent Eastman & Laird creation – Fugitoid. The little droid was a (non-Terran) human teleportation scientist whose discoveries made him a target of the local military dictatorships on a world packed with hundreds of different sentient species. When Honeycutt was killed, his mind was trapped in a small mechanoid and his plight intersected that of the shanghaied shellbacks. They join forces to thwart evil tyrant General Blanque and an army of secretly invading “Triceratons”, all whilst Honeycutt finds a way to send them home…

Sadly, that route leads directly to an orbiting Triceraton war base in #6 and magnifies the manic mayhem and martial arts magic as the Turtles battle every creature imaginable and still end up as interstellar gladiators before another transmat glitch sends them, Fugitoid and some Triceratons back to Earth and the heart of TCRI.

Of course, in the interim, the building has been surrounded by America’s military and the robotic-augmented Kraangs who run the place are in full battle mode. Cue much more ray gun shenanigans and sword-filled fists of fury as TMNT #7 offers conflict, contusions, confusions, conclusion, explanations and a long-awaited reunion…

To Be Continued…

Fast, furious, fun-filled and funny, but with all sharp edges prominently featured (so nervous parents might want to pre-assess the material before giving this book to true youngsters) this debut saga of the shell-backed sentinels of the sewers offers a superb slice of excitement and enjoyment that will keep kids and adults alike bouncing off the walls with eager appreciation.
© 2011 Viacom International Inc. All Rights Reserved.

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Deadpool Epic Comics volume 1: The Circle Chase 1991-1994


By Rob Liefeld, Fabian Nicieza, Glenn Herdling, Gregory Wright, Tom Brevoort, Mike Kanterovich, Mark Waid, Dan Slott, Pat Olliffe, Mark Pacella, Greg Capullo, Mike Gustovich, Joe Madureira, Isaac Cordova, Jerry DeCaire, Bill Wylie, Ian Churchill, Sandu Florea, Terry Shoemaker, Al Milgrom, Scot Eaton, Ariane Lenshoek, Tony DeZuñiga, Lee Weeks, Don Hudson, Ken Lashley & various (MARVEL)
ISBN: 978-1-302-3205-3 (TPB/Digital edition)

With a long, LONG awaited cinematic combo clash finally headed our way this summer and in the year of a certain Canadian Canucklehead’s 50th Anniversary, expect a few cashing-in style commendations and reviews in our immediate future. Here’s a handy starter package to set the ball rolling…

Bloodthirsty killers and stylish mercenaries have long made for popular protagonists and this guy is probably one of the most popular. Deadpool is Wade Wilson: a survivor of sundry experiments that left him a scarred, grotesque bundle of scabs and physical unpleasantries – albeit functionally immortal, invulnerable and capable of regenerating from literally any wound.

Moreover, after his initial outings on the fringes of the X-Universe, his modern incarnation makes him either one of the few beings able to perceive the true nature of reality… or a total gibbering loon.

Chronologically collecting and curating cameos, guest shots and his early outrages from New Mutants #98, X-Force #2, 11 & 15, Deadpool: The Circle Chase #1-4, and Secret Defenders #15-17, as well as pertinent excerpted material from X-Force #4, 5 10, 14, 19-24; X-Force Annual #1, Nomad #4; Avengers #366 & Silver Sable & the Wild Pack #23 & 30, (spanning February 1991 to November 1994), this tome is merely the first in a series cataloguing his ever more outlandish escapades.

After Gail Simone’s joyous Foreword ‘He was always Deadpool’ justifies and confirms his fame, escalating antics and off-kilter appeal, his actual debut in New Mutants #98’s ‘The Beginning of the End, part one’ opens proceedings. The “merc with a mouth” was created as a villain du jour by Rob Liefeld & Fabian Nicieza, as that title wound down in advance of a major reboot/rebrand. He seemed a one-trick throwaway in a convoluted saga of mutant mayhem with little else to recommend it. An employee of enigmatic evildoer Mr. Tolliver, Deadpool was despatched to kill to kill future-warrior Cable and his teen acolytes… but spectacularly failed. The kids were soon after rebranded and relaunched as X-Force though, so he had a few encores and more tries…

With appropriate covers and text to precis events between excerpt moments, we learn Deadpool first popped back in September 1991’s X-Force #2’s ‘The Blood Hunters’ where he clashed with another product of Canada’s clandestine super-agent project (which had turned a mutant spy into feral, adamantium-augmented warrior Wolverine as well as unleashing so many other second-string cyborg super-doers). Gritty do-gooder Garrison Kane was dubbed Weapon X (first of many!) and the tale also included aging spymaster GW Bridge…

Still just a derivative costumed killer for hire popping up in bit part roles, the merc continued pushing Tolliver’s agenda and met Spider-Man until as seen here via snippets from X-Force Annual #1 (1991) before stumbling through Nicieza-scripted crossover Dead Man’s Hand. Illustrated by Pat Olliffe & Mark McKenna, ‘Neon Knights’ (Nomad #4, August 1992) finds Deadpool just one of a bunch of super-killers-for-hire convened by a group of lesser crime bosses seeking to fill a void created by the fall of The Kingpin. His mission is to remove troublemaking fellow hitman Bushwacker, but former super sidekick Jack “Bucky” Monroe has some objections…

Excerpts from X-Force #10 (May 1992) presage #11’s extended fight between Deadpool, the teen team, Cable and mutant luck-shaper Domino in ‘Friendly Reminders’ (Nicieza, Liefeld, Mark Pacella & Dan Panosian) before a clip from X-Force #14 (September 1992 limned by Terry Shoemaker & Al Milgrom) reveals a shocking truth about Domino and Deadpool’s relationship with her, prior to X-Force #15’s ‘To the Pain’ (October 1992 with art by Greg Capullo) wrapping up a long-running war between Cable’s kids, Tolliver and The Externals…

Excerpts from X-Force #19-23 – as first seen in 1993 – find the manic merc hunting Domino and/or Vanessa and sparking a mutant mega clash before Wade Wilson guests in Avengers #366 (September 1993 by Glenn Herdling, Mike Gustovich & Ariane Lenshoek). A tie-in to Deadpool’s first solo miniseries, ‘Swordplay³’ sees the merc and a group of meta-scavengers embroiled in battle with each other and new hero Blood Wraith with The Black Knight helpless to control the chaos…

That first taste of solo stardom came with 4-issue miniseries The Circle Chase: cover-dated August-November 1993 by Nicieza, Joe Madureira & Mark Farmer. A fast-paced but cluttered thriller, it sees Wilson doggedly pursuing an ultimate weapon: one of a large crowd of mutants and variously-enhanced ne’er-do-wells seeking the fabled legacy of arms dealer/fugitive from the future Mr. Tolliver. Among other (un)worthies bound for the boodle in ‘Ducks in a Row’, ‘Rabbit Season, Duck Season’, ‘…And Quacks Like a Duck…’ and ‘Duck Soup’ are mutant misfits Black Tom and The Juggernaut; the then-latest iteration of Weapon X; shape-shifter Copycat and a host of fashionably disposable cyborg loons with quirky media-buzzy names like Commcast and Slayback. If you can swallow any understandable nausea associated with the dreadful trappings of this low point in Marvel’s tempestuous history, there is a sharp and entertaining little thriller underneath…

A follow-up tale in Silver Sable & the Wild Pack #23 (April 1994, Gregory Wright, Isaac Cordova & Hon Hudson) pits Wilson against Daredevil and notional heroes-for-hire Paladin and Silver Sable before uniting to thwart fascist usurpers The Genesis Coalition, prior to a relatively heroic stance in Doctor Strange team-up title Secret Defenders.

Beginning in #15’s ‘Strange Changes Part the First: Strangers and Other Lovers’ (May 1994 by Tom Brevoort, Mike Kanterovich, Jerry Decaire & Tony DeZuñiga) the Sorcerer Supreme sends Doctor Druid, Shadowoman, Luke Cage and Deadpool to stop ancient life-sucking sorceress Malachi – a task fraught with peril that takes #16’s ‘Strange Changes Part the Second: Resurrection Tango’ (pencilled by Bill Wylie and debuting zombie hero Cadaver), and #17’s ‘Strange Changes Part the Third: On Borrowed Time’…

A moment from Silver Sable & the Wild Pack #30 (November 1994, by Wright, Scot Eaton & Jim Amash) depicting Wade’s reaction to his rival’s fall from grace segues into the second 4-part Deadpool miniseries (August – November 1994) which revolves around auld acquaintances Black Tom and Juggernaut. Collaboratively contrived by writer Mark Waid, pencillers Ian Churchill, Lee Weeks and Ken Lashley with inkers Jason Minor, Bob McLeod, Bub LaRosa, Tom Wegryzn, Philip Moy & W.C. Carani, ‘If Looks Could Kill!’, ‘Luck of the Irish’, ‘Deadpool, Sandwich’ and ‘Mano a Mano’ delivers a hyperkinetic race against time heavy on explosive action.

The previous miniseries revealed Irish archvillain Black Tom Cassidy was slowly turning into a tree (as you do). Desperate to save his meat-based life, the bad guy and best bud Cain “The Juggernaut” Marko manipulate Wade Wilson: exploiting the merc’s unconventional relationship with Siryn (a sonic mutant, Tom’s niece and X-Force member). Believing Deadpool’s regenerating factor holds a cure, the villains stir up a bucket-load of carnage at a time when Wade is at his lowest ebb. Packed with mutant guest stars, this is a shallow but immensely readable piece of eye-candy that reset Deadpool’s path and paved the way for a tonal change that would make the Merc with a Mouth a global superstar…

All Epic Collections offer bonus material bonanzas and here that comprises images from The Official Handbook of the Marvel Universe Master Edition, many cover reproductions (Deadpool Classic volume 1 by Liefeld & John Kalisz, Deadpool Classic Companion by Michael Bair & Matt Milla, Deadpool: Sins of the Past and The Circle Chase TPBs by Madureira, Farmer & Harry Canelario), pin-ups by Rob Haynes & John Lowe from X-Force Annual #2 and Annual #3 by Lashley & Matt “Batt” Banning, plus Sam Kieth’s Marvel Year-in-Review ’93 cover. That magazine’s parody ad by Dan Slott, Manny Galen, Scott Koblish & Wright, follows with Joe Quesada, Jimmy Palmiotti & Mark McNabb’s foldout cover to Wizard #22 and Liefeld’s “Marvel ‘92” variant cover for Deadpool #3 (2015).

Featuring a far darker villain evolving into an antihero in a frenetic blend of light-hearted, surreal, full-on fighting frolics these stories only hint at what is to come but remain truly compulsive reading for dyed-in-the-wool superhero fans who might be feeling just a little jaded with four-colour overload…
© 2021 MARVEL.

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Lone Wolf and Cub volume 6: Lanterns for the Dead


By Kazuo Koike & Goseki Kojima, translated by Dana Lewis (Dark Horse Manga)
ISBN: 978-1-56971-507-9 (TPB/digital edition)

Best known in the West as Lone Wolf and Cub, the vast Samurai saga created by Kazuo Koike & Goseki Kojima is without doubt a global classic of comics literature. An example of the popular Chanbara or “sword-fighting” genre of print and screen, Kozure Okami was first serialised in Weekly Manga Action from September 1970 until April 1976. It was an immense and overwhelming Seinen (“Men’s manga”) hit. The tales prompted thematic companion series Kubikiri Asa (Samurai Executioner – which ran from 1972-1976) but the major draw – at home and, increasingly, abroad – was always the nomadic wanderings of doomed feudal noble Ogami Ittō and his solemn, silent child Daigoro as they were framed by family rivals, dishonoured by the Shōgun and condemned to death by his peers. Breaching all etiquette the court executioner refused to suicide quietly and instead opted to vengefully walk the bloody road to Meifumadō: the hell of Buddhist legend…

Revered and influential, Kozure Okami was – after years of supplication by fans and editors – followed by sequel Shin Lone Wolf & Cub (illustrated by Hideki Mori) and even spawned – through Koike’s indirect participation – science fiction homage Lone Wolf 2100 (by Mike Kennedy & Francisco Ruiz Velasco) The original saga has been successfully adapted to most other media, spawning movies, plays, TV series (plural), games and merchandise. The property is infamously still in Hollywood pre-production…

The several thousand pages of enthralling, exotic, intoxicating narrative art produced by these legendary creators eventually filled 28 collected volumes, beguiling generations of readers in Japan and, inevitably, the world. More importantly, their philosophically nihilistic odyssey – with its timeless themes and iconic visuals – has influenced hordes of other creators. The many manga, comics and movies, TV and animated versions these stories have inspired around the globe are utterly impossible to count. Frank Miller, who illustrated the cover of this edition, referenced the series in Daredevil, his dystopian opus Ronin, The Dark Knight Returns and Sin City. Max Allan Collins’ Road to Perdition is a proudly unashamed tribute to the masterpiece of vengeance-fiction. Stan Sakai has superbly spoofed, pastiched and celebrated the wanderer’s path in his own epic Usagi Yojimbo, and even children’s cartoon shows such as Samurai Jack are direct descendants of this astounding achievement of graphic narrative. The material has become part of a shared global culture.

In the West, we first saw the translated tales in 1987, as 45 Prestige Format editions from First Comics. That innovative trailblazer foundered before getting even a third of the way through the vast canon, after which Dark Horse Comics acquired the rights, systematically reprinting and translating the entire epic into 28 tankōbon-style editions of around 300 pages each. Once the entire epic was translated – between September 2000 and December 2002 – it was all placed online through the Dark Horse Digital project.

Following cautionary warning on stylistic interpretation ‘A Note to Readers’, this moodily morbid monochrome collection truly gets underway, keeping in text many terms and concepts western readers may find unfamiliar. Thankfully on offer at the close is a Glossary providing detailed context on the term used in the stories. The endless journey resumes in Lanterns for the Dead with 29th exploit ‘Floating Spirits’ as the wanderer buys two bamboo boats as a votive offering, even as elsewhere extremely low-placed yakuza foot-soldiers Kinpachi and Kotomi make a life-changing mistake that costs both their dignity and one his life.

As the heartsick survivor seeks redress of deadly killer Kyōjō Isogitabi and vengeance upon his gang of brutal killers, the petty thug is inexorably drawn into the orbit of the Lone Wolf. The hell-bound wanderer is undertaking his latest commission and already pursues Kyōjō, with that inevitable clash granting Kinpachi and Kotomi deferred but suitably bloody vengeance of a kind…

When a gang of criminal fraudsters attempt their riskiest con after intercepting a client of the Lone Wolf and impersonating Ogami Ittō, the cost to the scurrilous ‘Deer Chaser’ gang is full and fatal. However, the delivery of their fate does not come from the mimicked hitman but from a trusted source turned traitor…

A rather shocking (Absolutely not for the squeamish!) tale – to western sensibilities at least – follows as famine blights the region. The lord of Kigaru Castle’s favourite sport is hunting and torturing dogs and when he does so at ultimate cost to his serfs in ‘Hunger Town’, Wolf and Cub exploit his obsession at great personal cost (especially little Daigoro, who has never had a pet before). With both assassin and deranged noble oblivious to a rural revolt, it all plays out exactly as Ogami expects…

Steeped in Buddhist lore and mythology, ‘The Soldier is the Castle’ sees the grim nomad tested by desperate men before agreeing to become an unlikely saviour. Uncovering a plot to destroy their homeland of Iwakidaira Han by subterfuge, they ask the Wolf to foil a sham gold robbery intended to disgrace and dismantle a region long-coveted by the Shōgun. The impossible task is not just to stop the robbery ever happening but also destroy with notice an army of warriors and the Court’s relentless Kurokuwa Ninjas. Proud to die for the treasured outmoded principle of “Kanjō” (literally The Soldier is the Castle), Ogami Ittō manufactures a miracle, but again only at terrible personal cost…

A potent change of pace concludes the adventure here at ‘One Stone Bridge’ as little Daigoro seeks to care for his grievously wounded father despite the predations of a gang of bullying older kids. His efforts charm and latterly astound a wealthy childless couple who consider adopting the waif.

When they find the child is caring for an adult they seek to help – but only until the assassin drags himself from what should be his deathbed to face Kurokuwa Ninjas who have – due to his actions against the Shōgun rescinded their previous neutrality and declared war on the killer bound for Hell. When Ogami again overcomes all, the couple are still keen to help, if only to get father and child away from them as soon as possible…

Closing with ‘Creator Profiles’ of author Koike Kazuo & illustrator Kojima Goseki plus a tonal ‘Art Gallery’ of powerfully moving images by the latter, this is another classic volume in a series of Japanese imports which utterly changed the nature of American comics and a saga no lover of historical fiction should be without.
Art and story © 1995, 2001 Kazuo Koike & Goseki Kojima. All other material © 2000 Dark Horse Comics, Inc. Cover art © 2001 Frank Miller. All rights reserved.

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History of the DC Universe (New Edition)


By Marv Wolfman, George Perez, Karl Kesel & various (DC Comics)
ISBN: 978-1-77952-139-2 (HB/Digital edition)

Over the past few years DC have spent a lot of time and effort rationalising and rectifying their multiversal shared continuity, which has been chopped about, excised, reinstalled, revived resurrected and tweaked over and over again since landmark saga Crisis on Infinite Earths.

Now with a revamped cinematic/TV universe unfolding the company’s editorial ranks have been happily returning prior landmarks to the greater whole and started to sensibly curate past glories, presumably because now the buying public are suitably au fait with wild ideas like parallel timelines and alternate realities…

History of the DC Universe is a fan’s book. The material it contains was originally an early 2-part prestige format miniseries designed to complement and complete the Crisis on Infinite Earths crossover which celebrated 50 years of DC by trashing it all and starting afresh. The magic commences with candid Introduction ‘Printing the Legend…’ as author Wolfman grants behind-the-scenes access to how the monolithic task actually happened…

In HotDCU, The Monitor’s devoted assistant Harbinger chronicles the new run of cosmic history and universal events for the last remaining reality after the creation-altering events of the Crisis have finally settled. It was a smart and extremely pretty way of telling fans just what was and wasn’t canonical from now on: the “real and true” if you like, in the DC Universe.

It was ambitious, concise, informative, lovely to read and – creators being what they are -pretty much redundant almost before the ink had dried. As a tool it was useless, but as a tale it still looks and reads very well. As well as setting foundations for all future DC stories, it also linked all prior characters and possible futures, as well as incorporating stars from the company’s numerous genres star-stables into one vast story-scape. It even became source material for major crossover events to come…

The series was quickly collected into numerous editions – each with different bonus material – and this definitive edition gathers much of it into one bumper ‘Extras Gallery’ section incorporating the original covers, 15 pages of original art tableaus by George Pérez & Karl Kesel and Alex Ross’ un-liveried wraparound cover for the new edition.

The 1988 Graphitti Designs hardcover included a 3-page gatefold (later made into a poster and mural) crafted by 56 star artists. The list included Neal Adams, Joe Shuster, Dick Sprang, Joe &Adam Kubert, Kurt Schaffenberger, Steve Lightle, Steve Bissette & John Totleben, Jack Kirby & Steve Rude, Ramona Fradon, Pérez & Frank Miller, and was augmented by a Julius Schwartz piece studded with a dozen pictures by more of DC’s finest artists. The fold-out features 53 of the company’s greatest characters from the first five decades, nestled behind new illustrations of Sugar & Spike by Sheldon Mayer and Space Ranger’s pal Cryll by Art Adams. All the component drawings of a signature character were signed and are reprinted here with the final poster in black-&-white and full colour. Thankfully art fans, it all comes with a priceless ‘Gatefold Directory’ of Who’s Who and by whom…

Pure comic book wonderment in a classy timeless package…
© 1986, 1987, 2021, 2023 DC Comics. All Rights Reserved.

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Pogo – Bona Fide Balderdash: The Complete Syndicated Comic Strips volume 2


By Walt Kelly, edited by Carolyn Kelly (Fantagraphics Books)
ISBN: 978-1-60699-584-6 (HB/Digital edition)

By golly, we finally got us an election, and in these moments of elation and trepidatious uncertainty, it’s only natural to turn to the steadfast things in our lives such as the total conviction that this guy knew all about liars, chancers, opportunists and self-serving, utterly unqualified dissimulators suddenly paying really close attention to what the public has been telling them for years…

It doesn’t hurt that his creator was one of the greatest cartoonists and humourists of all time and that his comics are timelessly wonderful. Read this book and all the others – it may well be your last chance to do so…

Walter Crawford Kelly Jr. was born in 1913 and started his cartooning career whilst still in High School, as artist and reporter for the Bridgeport Post. In 1935, after relocating to California he joined the Disney Studio, working on short cartoon films and such major features as Dumbo, Fantasia and Pinocchio. When the infamous animator’s strike began in 1941 Kelly refused to take sides, and moved back East and into comic books – primarily for Dell Comics who at that time held the Disney funnybook license, amongst so many others.

Despite glorious work on such popular people-based classics as the Our Gang movie spin-off, he preferred and particularly excelled with anthropomorphic animal and children’s fantasy material.

For the December 1942-released Animal Comics #1 this other Walt created Albert the Alligator and Pogo Possum: sensibly retaining copyrights in the ongoing saga of two affable Bayou critters and their young African-American pal Bumbazine. Although the black kid soon disappeared, the animal actors stayed as stars until 1948 when Kelly moved into journalism, becoming art editor and cartoonist for hard hitting, left-leaning liberal newspaper The New York Star. On October 4th 1948, Pogo, Albert and an ever-expanding cast of gloriously addictive characters began their second careers, on the far more legitimate funny pages, appearing in the paper six days a week until it folded in January 1949.

Although ostensibly a gently humorous kids feature, by the end of its run (reprinted in full at the back of Pogo: the Complete Syndicated Comic Strips volume 1 link please) the first glimmers of an increasingly barbed, boldly satirical masterpiece of velvet-pawed social commentary began to emerge. When The Star closed, Pogo was picked up for mass distribution by the Post-Hall Syndicate, and launched in selected outlets on May 16th 1949. A colour Sunday page debuted January 29th 1950: both produced simultaneously by Kelly until his death in 1973 (and even beyond, courtesy of his talented wife and family). At its height the strip appeared in 500 papers in 14 countries with book collections – which began in 1951 – eventually numbering nearly 50 and collectively selling over 30 million copies – and all that before this Fantagraphics series began…

In this second volume the main aspect of interest is the personable Possum’s first innocently adorable attempts to run for Public Office. This became a ritual inevitably and coincidentally reoccurring every four years, whenever America’s merely human inhabitants got together for raucous caucuses and exuberant electioneering. It’s remarkable – but not coincidental – to note that by the close of the 2-year period contained herein, Kelly had increased his count of uniquely Vaudevillian returning characters to over one hundred. The sordid likes of Solid MacHogany, sloganeering P.T. Bridgeport, Tamananny Tiger, Willow McWisper, Goldie Lox, Sarcophagus MacAbre, bull moose Uncle Antler and three brilliantly scene-stealing bats named Bewitched, Bothered and Bemildred, amongst so many others, would pop up with varying frequency and growing impact over following decades

This colossal and comfortingly sturdy landscape compilation (356 pages) offers monochrome Dailies from January 1st 1951 to December 31st 1952, plus the Sundays – in their own full-colour section – from January 7th 1951 to December 28th 1952: each faithfully annotated and listed in a copious, expansive and informative Table of Contents. Supplemental features include a Foreword from pioneering comedy legend Stan Freberg, delightful unpublished illustrations and working/developmental drawings by Kelly, extra invaluable context and historical notes in the amazing R.C. Harvey’s ‘Swamp Talk’ and a biographical feature ‘About Walt Kelly’ from Mark Evanier.

In his time, satirical mastermind Kelly unleashed his bestial spokes-cast on such innocent, innocuous sweethearts as Senator Joe McCarthy, J. Edgar Hoover, The John Birch Society, Richard Nixon and the Ku Klux Clan, as well as less loathsome louts like of Lyndon B. Johnson, Hubert Humphrey and – with eerie perspicacity – George W. Romney (US Secretary of Housing and Urban Development) Governor of Michigan and dad of a guy named Mitt…

This particular monument to madcap mirth and sublime drollery naturally carries the usual cast: gently bemused Pogo, boisterous, happily ignorant alligator Albert, dolorous Porkypine, obnoxious turtle Churchy La Femme, lugubrious hound Beauregard Bugleboy, carpet-bagger Seminole Sam Fox, pompous (doesn’t) know-it-all Howland Owl and all the bestial rest: covering not only day-to-day topics and travails like love, marriage, weather, fishing, the problem with kids, the innocent joys of sports, making a living and why neighbours shouldn’t eat each other, but also includes epic and classic sagas: the stress of Poetry Contests, hunting – from a variety of points of view – Christmas and other Public Holidays, incipient invasion, war and even cross-dressing, to name but a few…

Kelly spent a good deal of 1952 spoofing the electoral race, and this tome offers magical, magnificent treatment of all problems associated with grass (and moss) roots politics, dubious campaign tactics, loony lobbying, fun with photo ops, briefings (for & against), impractical tactical alliances, glad-handing, a proliferation of political promos and ephemera, how to build clockwork voters – and candidates – and of course, life after a failed run for the top job…

As the delicious Miz Ma’m’selle Hepzibah would no doubt say: “plus ca change, plus c’est la meme chose”…

Either I heard it somewhere or I’m just making it up, but I gather certain embattled Prime Ministers and Presidents are using the cartoons as tactical playbooks and there’s a copy in every gift bag handed out at Riyadh and Davos. Gosh, how I hope so…

Kelly’s uncontested genius lay in a seemingly effortless ability to lyrically and vivaciously portray – through anthropomorphic affectation – comedic, tragic, pompous, infinitely sympathetic characters of any shape or breed, all whilst making them undeniably human. He used that blessed gift to blend hard-hitting observation of our crimes, foibles and peccadilloes with rampaging whimsy, poesy and sheer exuberant joie de vivre.

The hairy, scaly, feathered slimy folk of the surreal swamp lands are, of course, inescapably us, elevated by burlesque, slapstick, absurdism and all the glorious joys of wordplay from puns to malapropisms to raucous accent humour into a multi-layered hodgepodge of all-ages delight. Tragically, here at least, we’ve never looked or behaved better…

This stuff will certainly make you laugh; it will probably provoke a sentimental tear or ten and will certainly satisfy your every entertainment requirement. Timeless and magical, Pogo is a weeny colossus not simply of comics, but of world literature and this magnificent collection should be the pride of every home’s bookshelf, right beside the first one. Or, in the popular campaign parlance of the critters involved: “I Go Pogo!” and so should you.
POGO Bona Fide Balderdash and all POGO images, including Walt Kelly’s signature © 2012 Okefenokee Glee & Perloo Inc. All other material © 2012 the respective creator and owner. All rights reserved.

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Planetes Omnibus volume 1


By Makoto Yukimura, adapted by Anna Wenger & Brendan Wright, translated by Yuki Johnson (Dark Horse Manga)
ISBN: 978-1-61655-921-2 (Omnibus TPB)

The hard, gritty mystery and imagination of space travel, so much a component of immediate post-WWII industrial society, briefly re-captivated legions of level-headed imagineers at the end of the 20th century when relative newcomer and manga debutante Makoto Yukimura  rekindled interest in near-space exploration in all its harsh and grimy glory with this inspirational “nuts-&-bolts” manga series exploring the probable rather than the possible…

Yukimura (born in Yokohama in 1976, just as the once-ambitious US space program was languishing in cash-strapped doldrums and five long years before the first space shuttle launch) began his professional life as an assistant to veteran Mankaka (“comics creator”) Shin Morimura before launching his independent career with the Planetes. Working exclusively for Kodansha, his award-winning premier Seinen series ran in Weekly Morning magazine (from January 1999 – January 2004) before being collected in four tankōbon editions. The serial easily made the jump to an anime series and the books became a multi-award-winning global sensation. Yukimura – after producing evocative one-shot Sayōnara ga Chikai node (For Our Farewell is Near) for Evening magazine – in 2005 abandoned the future for the past, to concentrate his creative energies on monolithic historical epic Vinland Saga. Serialized in Weekly Shōnen Magazine and Afternoon, it has thus far filled 27 rousing volumes to date…

The premise of Planetes is diabolically simply and powerfully engaging. Humanity is a questing species but cannot escape its base origins. In 2074, space travel and exploitation is commonplace but as we’ve conquered the void between Earth and the asteroid belt and prepare to explore – and ruinously exploit – the outer planets, the once-pristine void around us has become clotted and clustered with our obsolete tech and all manner of casually discarded rubbish. Even the most minute speck of junk or debris falling through hard vacuum is a high-velocity, potentially deadly missile, so to keep risk to a minimum hardy teams of rugged individualists must literally sweep the heavens free of our discarded crap.

Prelude ‘Phase 1: A Stardust Sky’ begins with the death of a passenger on a commercial low-orbit spaceliner before jumping six years forward and introducing a trio of these celestial dustbin-men scooping up Mankind’s negligent castoffs and unconsidered detritus. Hachirota Hoshino is the newest, youngest member of the team, a kid who craves becoming a real astronaut and famed explorer like his dad. Dreaming of one day owing his own prestige spaceship, excitable “Hachimaki” is soon disenchanted with the dreary, dull and disgusting daily life of drudgery aboard DS-12: a sanitation/cargo ship fondly dubbed “Toybox” but little better than the discards he and his two comrades daily scoop up or destroy…

These days there’s something wrong with the sombre, stoic Russian, Yuri Mihairokov. The big man is increasingly distracted, blanking out, staring vacantly into the Wild Black Yonder as the cleaners orbit Earth at 8 kilometres per second. Events come to head when a shard of micro-debris holes their ramshackle vessel and an old timer reveals the Russian’s tragic secret.

Long ago Yuri and his wife were passengers on that shuttle and when it was holed she died. Heartbroken, her husband – one of the few survivors – returned to space to clear the deadly trash that took his wife. He never forgot her.

Years later, whilst drifting in the void the solitary heartsick astronaut sees a glitter, and her keepsake compass just floats into his hand, brought back to him by the winds of space and cruel fate. Beguiled, he falls into Earth’s gravity well and only Hachimaki’s most frantic efforts save his comrade from fiery death.

Safely back in free orbit, the Russian opens his gauntleted fist. On the compass are scratched his wife’s final thoughts as death took her – “please save Yuri”…

The poignant, bittersweet and deeply spiritual tale properly begins with ‘Phase 2: A Girl From Beyond the Earth’ wherein Hoshino slowly and impatiently recovers from a broken leg in the hospital of the moon colony Archimedes Crater City. These tales are laced with the most up-to-date space science available to author Yukimura, and the recent revelations that extended time spent in low/zero-gravity radically weakens bones and muscles was the lynchpin of this moving brush with another youngster bound irrevocably to the void.

When a doctor suggests returning to full-gravity Earth to recuperate the easy way, Hachi is in two minds and sorely tempted. His commander and fellow debris-destroyer Fee Carmichael and a grizzled 20-year both veteran pour scorn on the quitter’s option. All real astronauts know that once back on the home world few ever come back to space.

The kid is still tempted though… until he strikes up a friendship with a thin, wasted young woman. Nono has been on Luna for 12 years and dreams of blue skies and open seas, even though she will never see them. After aged Mr. Roland chooses to spend the rest of his life among the stars, Hachimaki discovers Nono’s sad, incredible secret and at last abandons all notion of forsaking the stars…

Focus stays on nicotine-fiend Fee Carmichael as she struggles to enjoy a well-deserved vice in ‘Phase 3: A Cigarette Under Starlight’ in Orientale Basin Underground City some months later. With breathing-oxygen at a premium, smokers must juggle their addiction with the dedication to life in space. Poor Fee has been Jonesing for a drag for far too long. Now though, whilst on shore-leave at a station big enough (and sufficiently civilised) to house a designated smoking area, the Toybox’s chief is still unable to indulge her vice…

Ideological terrorist group the Space Defense Fighters want to keep the void pristine and free of Mankind’s polluting influence and have been detonating bombs in outposts all over the moon. Their latest outrage targets the base’s vending machines and smoking rooms, so the authorities have sealed them all in the name of public safety. Driven near to madness, Fee snaps and lights up in public toilets, forgetting fire countermeasures and smoke detection devices are automatic, incredibly sensitive and painfully effective…

Humiliated, sodden but undeterred, she takes off for another city and a solitary snout (for any non-Brits, that’s a particularly demeaning and derogatory term for a smoke) and finds the only guy more in need of a drag than her. Of course, setting bombs is nervous work and a quick ciggy always calms his nerves…

The frustration is too much and Fee returns to her job, but the SDF’s explosive campaign has barely begun. Their next scheme is the creation of a deadly Kessler Syndrome wave (a blast or impact which changes the trajectories of free-floating orbital scrap and debris, creating even more debris/shrapnel and aiming it like a hard rain of lethal micro-missiles)…

With a commandeered satellite directed at a space station, the terrorists intend to detonate their captured vehicle and shred the habitat – which coincidentally carries the last cigarettes in space – shooting it out of the sky to create a lethal chain reaction to make high-orbit space forever unnavigable.

Unsure of her own motives, Fee uses the DS-12 to suicidally shove the stolen projectile away from the station and into Earth’s atmosphere…

Whilst she recuperates in Florida, ‘Phase 4: Scenery for a Rocket’, depicts Hachimaki bringing Yuri to visit the family home in Japan. However, the volatile lad immediately slips back into a violent sibling rivalry with younger brother Kyutaro: a rocketry prodigy even more resolved to conquer space than his surly and increasingly fanatical brother… or their absentee astronaut father Goro. Happily the steadfast Russian’s calming influence begins repairing fences between the warring Hoshino boys, although not before a series of explosive confrontations lead to Yuri finally passing on his beloved wife’s compass…

‘Phase 5: Ignition’ finds Fee, Yuri and Hachimaki reunited just in time for the junior junkman to suffer an (almost) career-ending psychological injury. Although physically uninjured by a rogue solar flare, the lad is completely isolated in the void for so long that he develops post-traumatic “Deep-Space Disorder”. If he can’t shake off the debilitating hallucinatory condition his life in space is over. Nothing experts at the supervising Astronaut Training Center do has any lasting effect, but fortunately Yuri knows just what prodding might awaken the wide-eyed, Wild Black Wonderment in his feisty little comrade…

‘Phase 6: Running Man’ has the Toybox’s weary crew visit Moon Orbital Space Port where the obsessively training Hachimaki is approached by an unctuous business type looking for his infamous dad. Werner Locksmith is head and chief designer of the Earth Development Community-sponsored manned mission to Jupiter and, unknown to the starry-eyed kid, had pegged Hachi’s father as the only man capable of piloting the innovative new vessel on the 5-year mission: one the lad would give anything to be on. Frustratingly, the elder explorer doesn’t want to go and has actually absconded from the Private/Public sector project and is currently a fugitive on the run through the vents and ducts of various moon bases…

The old rogue has had enough of space-faring: a fact he finds impossible to relate to his furious, outraged son when they accidentally meet. The old spacer intends to retire to Earth and make things right with the wife he’s abandoned so many times…

Meanwhile Locksmith has been called away. Something has gone disastrously wrong with the Jupiter ship “Von Braun”…

Above Luna as Hachi argues with his dad, another crisis crescendos as a devastating explosion rips through the station. As everybody evacuates, in the safe chill of the void, Hachi and the crew watch a phenomenal debris field emanate from the moon’s surface. The Von Braun’s experimental engines have failed and an entire lunar base has been evaporated…

Following the tragedy, ruthlessly cool Locksmith unswervingly starts to rebuild and the senior Hoshino breathes a huge sigh of relief. Hachi however is undeterred. He fanatically resumes his physical training, knowing that when the Von Braun is ready to fly, he will be ready to join it…

In ‘Phase 7: Tanabe’ stoic Yuri and harassed commander Fee acknowledge and address their comrade’s impossible dream, inducting a raw recruit to the Toybox crew and task Hachi with training her to be his (eventual) replacement. According to the ambitious spacer, however, mere girl Ai is a hopeless case, fruitlessly wasting valuable time he could be using to train and study for his application to the Jupiter Mission. Suffering mightily from having to babysit the useless girl, he only discovers her suppressed inner fire after a 50-year old space coffin is recovered from the dark expanse and provokes a bitter dispute about love, passion and man’s place in the cold, lonely universe…

Hachi’s dream comes a giant leap closer to reality in ‘Phase 8: A Black Flower Named Sakinohaka (Part 1)’ as he begins his official audition regimen for the Von Braun. He has become an emotional void with nothing but cold ambition driving him. He can’t even process the deadly constant threat posed by increased sabotage activity from the terrorist SDL: more determined than ever to keep space free of Man’s toxic presence.

Despite competing with more than 20,000 applicants, Hoshino is beginning to distinguish himself when a series of bomb blasts rock the project. Narrowly escaping death, Hachi is visited by his old friends who are horrified his obsessive and blasé attitude and apparent disregard for the pain and suffering of his rival candidates caught in the detonations. Is he truly so determined to get on the mission that all he sees are fewer competitors?

Only fellow applicant and new buddy Hakimu seems to understand that any sacrifice and personal misery are worth the prize…

Soon testing reaches its final stages and Locksmith lectures the remaining candidates from the bridge of the almost completed Von Braun. Only a handful of desperate spacers will make this final cut but the big day is again delayed after Hachi confronts the insidious saboteur… and fails to stop him.

The tale resumes six months later, and the last 23 candidates await final call as ‘Phase 9: A Black Flower named Sakinohaka (Part 2)’ sees Hachi’s still-fugitive father targeted by SDL assassins and heading back to the son who disowned him. His arrival coincides with Ai Tanabe’s visit as she delivers Hachi’s belongings from Toybox, and leads to an embarrassing confusion as to her amatory status, but before things can be clarified the terrorists attack again, seeking to kill the “only man who could pilot the Von Braun”…

Fleeing via the lowest levels of Oriental Basin Underground Tunnel City, the spacer trio are more dangerous to each other than their murderous pursuers. After another devastating blast Hachi again confronts the traitor who sabotaged his last attempt to join the Jupiter mission and almost commits an unpardonable act… until gentle Tanabe talks him off the emotionally-charged metaphorical ledge. ‘Phase 10: Lost Souls’ sees Hachi successful in final training for the mission that has become his life when a lunar accident strands him and new comrade Leonov on the unforgiving surface with only hours of oxygen and a 40-kilometre walk to the nearest relief station. It would have been impossible even if the copilot wasn’t wounded with a slowly-leaking suit. By the time rescue arrives Hachi has reached the stage where he fights his saviours, frantic to prove he needs no one’s help to achieve his goals.

‘Phase 11: – what on the page translates as “Spasibo”’ (either “thank you” or “God save you”) sees recuperating Hachi return to the family home in Japan, accompanied by his penitent father, and visited by Leonov’s grateful mother. Although he doesn’t understand a word she says, the old lady still makes far more sense than his constantly warring family and, after another drunken fight with dad, events come to tragic, galvanising crisis which at last crushes the walls enclosing his traumatised head and heart…

This first passionately philosophical, sentimentally suspenseful chronicle concludes here with a moment of eerie portent when ‘Phase 12: ‘A Cat in the Evening’ sees a simulation test with crewmate Sally turn into a creepy moment of premonition after Hachimaki finds himself stalked to the point of distraction by a dead and decaying alley cat that talks philosophy and tries to kill him…

To Be Concluded…

Each chapter opens with a full colour painted section before reverting to comfortingly appropriate monochrome line art, with superb developmental sketches, pin-ups, a selection of 4-panel sidebar humour strips (‘A Four Panel Comic’, ‘Namao-san (Presumably Male)’, ‘Eat? That Thing?’, ‘Drinking Hot Coffee through a Straw’) included throughout as breaks between story phases. Should you be lucky enough, the original turn-of-the-century English-language TokyoPop editions (which have bonus features not included in the omnibus edition) are still obtainable in many comics shops.

Suspenseful, funny, thrilling and utterly absorbing, these tales perfectly capture the allure of the Wild Black Yonder for newer generations, making this authentic, hard-edged, wittily evocative epic a treat no hard-headed dreamer with eyes set firmly above the clouds should miss…
© 2015 Makoto Yukimura. All rights reserved. Publication rights for this edition secured by Kodansha, Ltd, Tokyo.

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Iron Man Epic Collection volume 6: The War of the Super Villains 1974 – 1976


By Mike Friedrich, Barry Alfonso, Tom Orzechowski, Bill Mantlo, Len Wein, Archie Goodwin, Roger Slifer, Jim Shooter, Steve Gerber, Gerry Conway, George Tuska, Herb Trimpe, Arvell Jones, Keith Pollard, Chic Stone, Tuska, Sal Buscema, Marie Severin & various (MARVEL)
ISBN: 978-1302948801 (TPB/Digital edition)

Arch-technocrat and supreme survivor Tony Stark has changed his profile many times since his debut in Tales of Suspense #39 (March 1963) when, whilst a VIP visitor in Vietnam observing the efficacy of the munitions he had designed, the inventor was critically wounded and captured by sinister, savage Communists.

Put to work building weapons with the dubious promise of medical assistance on completion, Stark instead created the first of many technologically augmented suits to keep himself alive and deliver him from his oppressors. From there it was a simple – transistor-powered – jump to full time superheroics as a modern Knight in Shining Armour…

First conceived in the wake of the Cuban Missile Crisis at a time when Western economies were booming and “Commie-bashing” was an American national obsession, the emergence of a new and shining young Thomas Edison, using Yankee ingenuity, wealth and invention to safeguard the Land of the Free and better the World, seemed an obvious development. Combining the then-sacrosanct faith that technology and business in unison could solve any problem, with the universal imagery of noble knights battling evil, Stark –The Invincible Iron Man – seemed an infallibly successful proposition.

Of course, whilst he was the acceptable face of 1960s Capitalism – a glamorous millionaire industrialist/scientist and a benevolent all-conquering hero when clad in the super-scientific armour of his alter-ego – the turbulent tone of the 1970s soon relegated his suave, “can-do” image to the dustbin of history. With ecological disaster and social catastrophe from the myriad abuses of big business the new zeitgeists of the young, the Golden Avenger and Stark International were soon confronting a few tricky questions from the increasingly politically savvy readership.

As glamour, money and fancy gadgetry lost its chic and grew evermore tarnished, questing voices of a new generation of writers began posing uncomfortable questions in the pages of a series that was once the bastion of militarised America

This chronological compendium concludes that transitional period: reprinting Iron Man #68-91 and Annual #3 (June 1974 – October 1976) and opens without fanfare on an ambitious action epic. IM #68-71 comprised the opening sortie in a multi-part epic which saw mystic menace The Black Lama foment a covert clash amongst the world’s greatest villains, with ultimate power, inner peace and a magical Golden Globe as the promised prizes.

Written by Mike Friedrich and illustrated by George Tuska & Mike Esposito, it begins in Vietnam on the ‘Night of the Rising Sun!’ where The Mandarin struggles to free his consciousness – currently locked within the dying body of Russian super-villain The Unicorn. This is probably the ideal moment to remind potential new readers that these stories were crafted in far less accepting times with racial and gender stereotypes used as narrative shorthand and occasionally so on the nose that they could make a caveman chuck up. If you can’t look past that historically accurate accounting it might be best to seek your fun elsewhere…

Stark’s ardently pacifist love interest Roxie Gilbert had dragged the inventor to the recently “liberated” People’s Republic in search of (part-time Iron Man) Eddie March’s lost brother. Marty March was a POW missing since the last days of the war. Before long, however, the Americans are separated after Japanese ultra-nationalist, ambulatory atomic inferno and occasional X-Man Sunfire is tricked into attacking the intrusive Yankee Imperialists…

The assault abruptly ends once Mandarin shanghaies the Solar Samurai and uses his mutant energies to power a mind-transfer back into his own body. Reinstated to his original form, the Chinese Conqueror-in-waiting commences his own campaign of combat in earnest, eager to regain his castle from rival oriental overlord The Yellow Claw.

First though, he must crush Iron Man – who has tracked him down and freed Sunfire in ‘Confrontation!’ That bombastic battle ends when the Golden Avenger is rendered unconscious and thrown into space…

‘Who Shall Stop… Ultimo?’ finds the revived giant robot-monster targeting Mandarin’s castle (claimed by the Claw in a previous battle) as the sinister Celestial duels the ancient enemy to the death, with both Iron Man and Sunfire arriving too late and forced to mop up the sole survivor of the contest in ‘Battle: Tooth and Yellow Claw! (Confrontation Part 3)’. After all that Eastern Armageddon, a change of pace is called for, so Stark takes in the San Diego Comicon in #72’s ‘Convention of Fear!’ (by Friedrich, Tuska & Vince Colletta, from a plot by Barry Alfonso), only to find himself ambushed by fellow incognito attendees Whiplash, Man-Bull and The Melter – who are made an offer they should have refused by the ubiquitous and iniquitous Black Lama…

Next issue the Super-Villain War kicks into high gear with ‘Turnabout: A Most Foul Play!’ (illustrated by Arvell Jones, Keith Pollard & Jim Mooney and derived from a premise by letterer Tom Orzechowski). After secret-sharing confidantes Pepper Potts-Hogan and her husband Happy settle a long-festering squabble with Tony at Stark International’s Manila plant, Iron Man returns to Vietnam and dives into a deadly clash with Crimson Dynamo in a hidden, high-tech jungle city subsequently razed to the ground by their explosive combat.

Inked by Dick Ayers, Iron Man #74’s ‘The M.O.D.O.K. Machine!’ brings Black Lama’s contest to the fore as The Mad Thinker electronically overrides the Avenger’s armour, setting helpless passenger Stark upon the malevolent, mutated master of Advanced Idea Mechanics…

Without autonomy, the Golden Gladiator is easily overwhelmed and ‘Slave to the Power Imperious!’ (Chic Stone inks) sees the hero dragged back to The Thinker’s lair and laid low by a strange psychic hallucination, even as M.O.D.O.K. finishes his cognitive co-combatant and apparently turns the still-enslaved steel-shod hero on his next opponent: Yellow Claw.

As this is happening, elsewhere radical terrorist Firebrand is somehow sharing Stark’s Black Lama-inspired “psycho-feedback” episodes…

The tale wraps on a twisty cliffhanger as the Claw destroys M.O.D.O.K.  and his clockwork puppet Avenger, only to discover that the Thinker is not only still alive but still holds the real Iron Man captive. That’s quite unfortunate as issue #76 blew its deadline and instead reprinted Iron Man #9 (represented here by its cover) before Friedrich, Jones & Stone’s ‘I Cry: Revenge!’ finds the fighting-mad hero breaking free of the Thinker’s control, just as Black Lama teleports the Claw in to finish his final felonious opponent…

Still extremely ticked off, the Armoured Avenger takes on all comers before being ambushed by late-arriving Firebrand who has been psionically drawn into the melee. As Shellhead goes down, the Lama declares non-contestant Firebrand ultimate victor, gratuitously explaining how he has voyaged from an alternate universe before duping the unstable and uncaring flaming rabble-rouser into re-crossing the dimensional void with him. Although a certifiable loon and cold-blooded killer, Firebrand is Roxie Gilbert’s brother and groggily reviving Iron Man feels honour-bound to follow him through the rapidly closing portal to elsewhere…

Deadline problems persisted however, and the next two issues are both fill-in tales, beginning with #78’s ‘Long Time Gone’ Crafted by Bill Mantlo, Tuska & Vince Colletta it harks back to the Avenger’s early days and a mission during the Vietnam war which first brought home the cost in blood and misery Stark’s munitions building had caused. IM #79 then shares a ‘Midnite on Murder Mountain!’ (Friedrich, Tuska & Colletta) wherein our hero emphatically ends scientific abominations wrought by deranged geneticist/mind-swapper Professor Kurakill…

At last, Iron Man #80 sees Friedrich, Stone & Colletta return to the ongoing inter-dimensional operations as ‘Mission into Madness!’ follows the multiversal voyagers to a very different America where warring kingdoms and principalities jostle for prestige, position and power. Here the Lama is revealed as King Jerald of Grand Rapid: a ruler under threat from outside invaders and insidious usurpers within. He’d come to Earth looking for powerful allies but had not realised travel to other realms drives non-indigenous residents completely crazy…

With the mind-warp effect already destabilising Iron Man and Firebrand, it’s fortunate treacherous Baroness Rockler makes her move to kill the returned Jerald immediately, and the Earthlings are quickly embroiled in a cataclysmic ‘War of the Mind-Dragons!’ before turning on each other and fleeing the devastated kingdom for the less psychologically hazardous environs of their homeworld…

With an extended epic spanning the world and alternate dimensions completed, long-term writer Mike Friedrich moved on, and Iron Man #82 began a new era and tone as Len Wein, Herb Trimpe, Marie Severin & Jack Abel revamped the armour just in time for the Red Ghost and his super simians to kidnap super genius Stark in ‘Plunder of the Apes!’ Debuting in that tale was NYPD detective Michael O’Brien, who holds Stark responsible and accountable for the tragic death of his brother Kevin. The deceased researcher had been Stark’s confidante until his mind snapped. He had died running amok wearing a prototype suit of Guardsman armour. Here and now, Mike smells a corporate cover-up…

Inked by Marie Severin, IM #83 exhibits ‘The Rage of the Red Ghost!’ as the rogue Russian forces Stark to cure his gradual dispersal into unconnected atoms, only to realise, following a bombastic battle, that the inventor has outwitted him once again, after which Wein, Roger Slifer, Trimpe & John Tartaglione detail how the infamous never fully tested Enervator ray again turns grievously injured Happy Hogan into a mindless monster. This time, the medical miracle machine saturates him with so much Cobalt radiation that he becomes a ticking inhuman nuke on the ‘Night of the Walking Bomb!’

The tense tick-tock to doom is narrowly and spectacularly halted in ‘…And the Freak Shall Inherit the Earth!’ (Slifer, Wein, Trimpe & Severin) after which Mantlo, Tuska & Vince Colletta revive and revamp one of the Golden Avenger’s oldest and least-remembered rogues when disgraced thermal technologist Gregor Shapanka sheds his loser status as Jack Frost to attack Stark International in a deadly new guise.

In # 86 we learn ‘The Gentleman’s Name is Blizzard!’ but despite his improved image, the sub-zero zealot can’t quite close ‘The Icy Hand of Death!’ in the next instalment, leading to mid-year spectacular Iron Man Annual #3 (June 1976) which unveils ‘More or Less… the Return of the Molecule Man!’ courtesy of Steve Gerber, Sal Buscema & Abel.

When Tony Stark looks into redeveloping some soggy Florida real estate, a little girl finds a strange wand and is possessed and transformed by the consciousness of one of the most powerful creatures in existence. Although Iron Man is helpless to combat the reality-warping attacks of the combination petulant girl/narcissistic maniac, luckily for the universe, the shambling elemental shocker dubbed Man-Thing had no mind to mess with or conscience to trouble…

Iron Man #88 signalled the too-brief reunion of veteran scribe Archie Goodwin with Tuska as ‘Fear Wears Two Faces!’ finds the Armoured Avenger battling escaped aliens The Blood Brothers after the vicious space thugs are psychically summoned to a mystery rendezvous by another old enemy of Iron Man. Inked by Colletta, the tale concludes in ‘Brute Fury!’ as Daredevil deals himself in to the cataclysmic clash and just barely tips the scales before the hidden manipulator is exposed in #90 ‘When Calls the Controller!’ (Jim Shooter, Tuska & Abel). The life-force thief seeks to escape months of entombment by enslaving and feeding off hapless down-&-outs, but his rapid defeat is only a prelude to greater catastrophe as Gerry Conway scripts and Bob Layton inks #91’s ‘Breakout!’ as the fiend tries too hard, too fast and again fades into helpless captivity…

Closing the covers on this stellar compilation are Gil Kane’s stellar front to all-reprint Giant-Size Iron Man #1 (1975 and including the original artwork prior to edits), House ads and an 8-page gallery of original art covers and pages by Kane, Jones, Esposito, Ed Hannigan, Frank Giacoia, Jim Starlin, Sal Buscema & Pollard.

From our distant vantage point the polemical energy and impact might be dissipated, but the sheer quality of the comics and cool thrill of the eternal aspiration of man in partnership with magic metal remains. These Fights ‘n’ Tights classics are amongst the most underrated tales of the period and are well worth your time, consideration and cold cash…
© 2023 MARVEL.

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George Sand: True Genius, True Woman


By Séverine Vidal & Kim Consigny, translated by Edward Gauvin (SelfMadeHero)
ISBN: 978-1-914224-20-1 (TPB/Digital edition)

It’s a sad but inescapable fact that throughout history men have constantly belittled, gaslit, constrained, oppressed, repressed and sabotaged women, presumably in some misguided, malign and apparently pointlessly dick-fuelled campaign to keep them in their place and at our beck and call. It’s also a wonderful truism that over and again, despite personal danger and inevitable pain of consequences endured, many remarkable women have found ways to escape the trap.

Quite a few have done it by guile: simply pretending to one of the guys…

One such was Amantine Lucile Aurore Dupin de Francueil (1st July 1804 – 8th June 1876) who defied, dodged and practically avoided almost all the arbitrary constraints of being a rich, propertied heiress in a strictly codified society where women (just like minors, criminals and imbeciles) had no rights.

Employing her brains, innate diplomatic acumen and passion for storytelling, Aurore made her own way all her life: writing books, plays, articles, literary criticism, and memoires whilst employing her growing influence and ever-expanding net of contacts to fight for social equality – and generally scandalise Europe – as “George Sand”.

She was also bold a pioneer in Gender Expression, defiantly smoking in public and drinking, dressing and acting as a man – an actual legal offense from 1800 onwards, albeit one typically ignored by the Parisian intelligentsia. This wilful civil disobedience won Sand access to many venues expressly barring women, as she also flouted the nation’s ethical foundations with “libertine” behaviour: exploring true sexual liberation and parity through a reputed “host” of male and female partners…

Daughter of a flighty Bohemian, raised by her autocratic paternal grandmother and married off to an appallingly typical rich husband (Baron Casimir Dudevant), Aurore rebelled and lived her own way. She became a staunch proponent of radical ideas, especially women’s rights to full equality under law, and freedom to love as they chose. She even claimed everyone had a right to self-declare a preferred gender and railed against Church-sanctioned strictures of marriage and over tumultuous decades, publicly risked everything to champion social freedoms. She battled bourgeois reactionary governments and sought to elevate the lower classes during the most politically volatile time in France’s history.

Internationally revered and reviled, but – partially – insulated by wealth and position, Sand only wanted to tell stories and live free, but – because that right was universal – became a powerful social commentator, agitator, noteworthy journalistic gadfly. An effective player of power politics at a time when women were relegated to a decorative but always submissive role (generally a means of transferring property and wealth from one man to another) Sand was a tireless reformer who at heart just wanted to live an unshackled life.

Aurore ceaselessly challenged the system: using as example the way she lived; employing rabble-rousing tactics and direct action; instigating subtle intrigue and debate amongst her intellectual peers, and in any other way that came to her – all whilst living a s guilt-free, hedonistic existence. Meanwhile, a steady stream of groundbreaking books and plays confronted these issues and made converts one reader at a time…

First released in Europe as George Sand, fille du siècle in 2019 and as closely detailed and diligently depicted by author Séverine Vidal (A Tale Off the Top of My Head, Le Manteau, J’ai une maison) and illustrated by frequent collaborator Kim Consigny (Forte, À l’orée du monde, L’été de mes 17 ans), this compelling and charming monochrome biography reads far more like a sprawling generational dramatic saga in the manner of Wuthering Heights, Vanity Fair or Le Colonel Chabert rather than a dusty historical tract. Interleaved with excerpts from her own “tell-all” book Story of My Life: The Autobiography of George Sand, her books and other scholarly sources such as The George Sand-Gustave Flaubert Letters, the epic chronologically traces her torrid life, agonising mistakes, family struggles, literary and political successes: a riches to rags to riches story arc peppered with a tantalising smattering of enemies made at a time when France struggled against cultural annihilation and civil chaos.

Along the way George Sand wrote 70 novels, 13 plays, and 50 volumes worth of collected writings and speeches that are more relevant today than ever…

What’s most significant here is just how contemporaneous and readable modern audiences will find this true story. The subject and narrative are a treat for fans of racy modern bodice ripper dramas like Bridgerton or Succession – with a healthy helping of Les Misérables seasoning the mix. Incidentally, Victor Hugo numbered amongst her many intellectual – if not amatory – conquests. Other “close friends” and/or foes guest starring in these pages include Chopin, Liszt, Delacroix, Balzac, Baudelaire, the Emperor Louis Napoleon, Jules Sandeau, Prosper Mérimée, Marie Dorval, Flaubert and more. However, amidst trauma and tragedy are many moments of lasting true love and rewarding contentment – such as George’s idyllic 15-year relationship with adored partner “Mancel” – which counter any notion of this being a moralistic warning tale.

Although Sand’s astounding life was filled with enough drama, setbacks, family feuding, skulduggery, glamour, global travel and sheer celebrity cachet to make her a proper modern icon, with the added allure of being absolutely true and shaped by iniquity, inequality, triumph and heartbreak, this is ultimately the history of a winner beating the system and whose uncompromising life was lived triumphantly on her own terms: confirming that life doesn’t have to be endured on any terms but your own…
© Editions Delcourt 2019. All rights reserved.

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Showcase Presents Batman volume 3


By Gardner F. Fox, John Broome, Mike Friedrich, Carmine Infantino, Sheldon Moldoff, Gil Kane, Frank Springer, Chic Stone, Sid Greene, Joe Giella & various (DC Comics)
ISBN: 978-1-4012-1719-8 (TPB)

After 3 seasons (perhaps 2½ would be closer) the Batman TV show ended in March, 1968. It had clocked up 120 episodes since its US premiere on January 12th 1966. The era ended but the series had left undeniable effect on the world, the comics industry and most importantly on the characters and history of its four-colour inspiration. Most notable was a whole new superstar who became an integral part of the DC universe.

This astoundingly economical black & white compendium (another collection long in need of modern revival …and some colour too, please) gathers all the Batman and Robin yarns from #189-201 of the eponymous title as well as the Gotham stuff from Detective Comics #359-375 (the back-up slot therein being delightfully filled at this time by the globetrotting, whimsically wonderful Elongated Man feature). The 33 stories here – written and illustrated by the cream of editor Julie Schwartz’s elite stable of creators – gradually evolved over the 17 months covered from an even mix of crime, science fiction, mystery, human interest and supervillain vehicles to a much narrower concentration of plot engines. As with TV’s version, costumes became king, and then became unwelcome….

It all begins with the comic book premiere of that aforementioned new character. In ‘The Million Dollar Debut of Batgirl’ (Detective Comics #359, cover-dated January 1967) writer Gardner Fox and art team supreme Carmine Infantino & Sid Greene introduced Barbara Gordon: “mousy librarian” and daughter of the Police Commissioner into the superhero limelight. So by the time TV’s third season began on September 14th 1967, she was fully established.

A different Batgirl, Betty Kane, niece of the 1950s Batwoman, was already a comics fixture but for reasons far too complex and irrelevant to mention here was conveniently forgotten to make room for a new, empowered woman in the fresh tradition of Emma Peel, Honey West and The Girl From U.N.C.L.E. She was marketed as being pretty hot too, which was always a big consideration for television…

Whereas Babs fought The Penguin on the small screen, her paper origin features no less ludicrous but at least visually forbidding Killer Moth in a clever yarn that still stands up today. An old foe unseen since the 1940s was revived for Batman #189 (February 1967). Demented psychology lecturer Jonathan Crane was obsessed by the emotion of fear and turned his expertise to criminal endeavours (initially in World’s Finest Comics #3 and Detective #73) before fading into obscurity. With ‘Fright of the Scarecrow’ he was back for (no) good, courtesy of Fox, Sheldon Moldoff & Joe Giella, as this tense psychodrama elevated him to the top rank of Bat-rogues. ‘The Case of the Abbreviated Batman’ (Detective #360) by the same team follows: an old-fashioned crime-caper with mobster Gunshy Barton pitting wits against Gotham’s Guardians whilst the March Batman’s full-length ‘The Penguin Takes a Flyer… Into the Future!’ – scripted by John Broome – mixed super-villainy and faux science fiction motifs for an enjoyable if predictable fist-fest.

Editor Schwartz preferred to stick with mysteries and conundrums in Detective Comics and #361’s ‘The Dynamic Duo’s Double-Deathtrap!’ was one of Fox’s best examples, especially as drawn by the incredibly over-stretched Infantino & Greene. The plot involves Cold War spies and a maker of theatrical paraphernalia. I shall reveal no more to keep you guessing when you read it. The next issue, by Fox, Moldoff & Giella, featured another eccentric scheme by The Riddler on ‘The Night Batman Destroyed Gotham City!’ Batman #191 featured two tales by Broome, Moldoff & Giella starting on ‘The Day Batman Sold Out!’: a “Hero Quits” teaser with a Babs Gordon cameo, whilst the faithful retainer took centre stage in charming parable ‘Alfred’s Mystery Menu’.

‘The True-False Face of Batman’ (Detective #363, by Fox Infantino &Greene) was a full co-starring vehicle as the new girl is challenged to deduce Batman’s secret identity whilst tracking down the enigmatic Mr. Brains. Fox scripted both ‘The Crystal Ball that Betrayed Batman!’ – which featured an old enemy in a new guise – and Robin solo-story ‘Dick Grayson’s Secret Guardian!’ in Batman #192, for Moldoff & Giella. They also handled his mystery-yarn ‘The Curious Case of the Crime-less Clues!’ in Detective #364, wherein Riddler and a host of Bat-baddies again test the brains and patience of the Dynamic Duo – or do they?

Issue #365 featured Broome, Moldoff & Giella’s ‘The House The Joker Built!’ which was nobody’s finest hour, whereas Fox-scripted ‘The Blockbuster goes Bat-Mad!’ in Batman #196 is compensatory sheer delight, especially since it’s accompanied by a “fair-play” whodunnit starring The Mystery Analysts of Gotham City. ‘The Problem of the Proxy Paintings!’ is the kind of Batman tale I miss most these days: witty and urbane, a genuinely engaging puzzle without benefit of angst or histrionics.

There’s plenty of the latter in ‘The Round Robin Death Threats’ (Fox, Infantino & Greene): a tense thriller spanning two issues of Detective (#366 – 367 and an almost unheard of event in those reader-friendly days). The diabolical murder-plot threatens to systematically eradicate Gotham’s worthiest citizens with the drama ending in high style in ‘Where There’s a Will… There’s a Slay!’: a chilling conclusion almost ruined by that awful title.

Batman #195 introduced radioactive villain Bag o’Bones in ‘The Spark-Spangled See-Through Man!’ – a desperate attempt to return to story-driven tales, though the ‘7 Wonder Crimes of Gotham City!’ (Detective #368 by Fox, Moldoff & Giella) was a far more enjoyable taste of bygone times. The next issue led with clever puzzler ‘The Psychic Super-Sleuth!’ and finished well with another challenging mystery in ‘The Purloined Parchment Puzzle!’ (both by Fox, Moldoff & Giella) before Detective #369, illustrated by Infantino & Greene, rather reinforced boyhood prejudices about icky girls in classy thriller ‘Batgirl Breaks Up the Dynamic Duo’ before segueing into a classic confrontation as Batman #197 reveals how ‘Catwoman Sets Her Claws for Batman!’ (Fox, Frank Springer & Greene). This frankly daft tale is most fondly remembered for the classic cover of Batgirl and Catwoman (with her Whip!!!) squaring off over Batman’s prone body – comic fans have a unique psychopathology absolutely all their very own…

Detective Comics #370 was by Broome, Moldoff & Giella, relating a superb thriller with roots in Bruce Wayne’s troubled youth. ‘The Nemesis from Batman’s Boyhood!’ is in many ways a precursor of later tales with an excellent psychologically potent premise and a soundly satisfying conclusion proving the demands of the TV shows were not exclusive or paramount. Gil Kane made his debut on the “Dominoed Daredoll” (did they really call her that? Yes. Yes they did, from page 2 onwards) in #371’s ‘Batgirl’s Costumed Cut-ups’, a masterpiece of comic dynamism that Sid Greene could be proud of but which Gardner Fox probably preferred to forget.

Batman #199’s ‘Peril of the Poison Rings’ and ‘Seven Steps to Save Face’ are far better examples of the clever plotting, memorable maguffins and rapid pace Fox was capable of, ably interpreted here by Moldoff & Giella, whilst Broome’s ‘The Fearsome Foot-Fighters!’ weak title masks a classy burglary-yarn and the regular art team’s beginning to amplify mood via heavy shadow in all their endeavours. This issue (Detective #370) was the first Bat-cover legend-in-waiting Neal Adams pencilled and inked – an awesome taste of things to come…

Batman #200 (cover-dated March 1968 and on ale mid-January) was written by wunderkind Mike Friedrich for Moldoff & Giella. ‘The Man Who Radiated Fear!’ featured a revitalised Scarecrow, and with the TV influence fading, a pre-emptive rehabilitation of the Caped Crusader began right here in a solid thriller with few laughs and plenty of guest-stars. Fox returned to top form in Detective #373, with Chic Stone & Greene illustrating ‘Mr. Freeze’s Chilling Deathtrap!’, a tale favouring drama over showbiz shtick, after which Gil Kane returned to ramp up tension in brutal vengeance fable ‘Hunt for a Robin-Killer!’ (Detective #374) whilst Stone & Giella coped well with the extended cast of villains in Batman #201’s ‘Batman’s Gangland Guardians!’: a cunning action-packed enigma wherein his greatest foes become bodyguards to a hero…

This volume ends with Detective #374 and Fox, Stone & Greene’s ‘The Frigid Finger of Fate’ and a chilling race to catch a precognitive sniper, which – more than any other story – signalled the end of the Camp-Craze Caped Crimebuster and heralded the imminent return of a Darker Knight. With this third collection from “the TV years” of Batman – all done with by Spring of 1968 – the global Bat-craze and larger popular fascination with super-heroes – and indeed the whole “Camp” trend – was dying. In comics, that resulted in a resurgence of other genres, particularly Westerns and supernatural tales. For Batman it signalled a renaissance of passion, terror and a life of shadows. Stay tuned: the best is yet to come…
© 1967, 1968, 2008 DC Comics. All Rights Reserved.

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Frank: The Incredible Story of a Forgotten Dictatorship


By Ximo Abadía, translated by Esther Villardón Grande (Europe Comics)
No ISBN (digital-only edition)

In these days of escalating crisis, relentless harrowing of democratic principles and the seeming triumph of imbecilic venality, it’s perhaps of some comfort to realise that, in so many ways, it’s always been like this…

On view today is another digital-only edition from pan-continental collective imprint Europe Comics, which has brought a wealth of fresh and sublimely innovative material to English-speaking fans – at least those in the know. Moreover, if you like your books solid and substantial, it’s a happy note to discover many adventures are being picked for English translation by companies like Cinebook, Top Shelf and IDW.

Not this one, though. At least not yet…

Illustrator Ximo Abadía Pérez was born in Alicante in 1983, and reared in both that bucolic countryside rural idyll and the (seasonally) cosmopolitan resort metropolis of Benidorm. Upon reaching 18 years of age, Abadía migrated to Madrid for his further education. His first graphic novel – Cartulinas de colores – was published in 2009. Two years later follow-up CLONK saw him nominated for the Best New Author Prize at the Barcelona Comics Festival. That was topped a year later by La Bipolaridad del chocolate…

In 2018, he turned his masterful eye for stunning visuals and compelling symbolic design onto a period in his ancient country’s recent history that seems to have been carefully, wilfully and voluntarily whitewashed from history. That book earned Abadía the Best Illustrated Album award at the 2018 Heroes Comic Con.

Feeling like a seditiously subtle and subversive children’s primer, Frank: La incredíble historia de una dictadura olvidada examines with garish glee and irresistible simplicity, the rise and demise of Generalíssimo Francisco Franco Bahamonde and his Nazi/Italian National Fascist Party-backed totalitarian reign as “Caudillo of Spain” from 1939-1945. In strident imagery the author also asks why nobody in the country today is willing to or even comfortable about discussing those lost years when the country seemingly vanished from the wider world…

Stunningly evocative, and brain-blasting potent, the parade of iconic images deftly presents events and synthesises opinion: making no judgements but nevertheless delivering shattering testimony and an awe-inspiring appraisal of the depths some men may descend to, and how entire populations and nations can be complicit in cover-ups in the name of an easy life…

This not a history book. It’s a giant, irritant question mark no one should be comfortable acknowledging. And as we all know: things left to fester don’t get better, they erupt in poison and spread further…
© 2019 DIBBUKS EDICIONE – Abadía. All rights reserved.