Saturday Serial: Jenna of the Jungle

Continuing Don Hudson's "Jenna of the Jungle" (and including a random bonus jungle girl afterwards). Click on the panels for a larger image, and come back next Saturday for Part Four.



JENNA OF THE JUNGLE: PART THREE
By Don Hudson

To Be Continued...

Girls of the Jungle

By Frank Cho

'Peculia' is a swift and entertaining read

Peculia (2002, Fantagraphics)
Story and Art: Richard Sala
Rating: Seven of Ten Stars

Peculia wanders the countryside and neighborhood around her mansion and encounters various supernatural menaces, usually after disregarding advice from her faithful servant, Ambrose.

Peculia was one of Richard Sala's signature characters. She's a young woman who usually appears wearing a "little black dress", When she's not being menaced by odd creatures or villains who seem to have stepped out of B-movies or gothic romances, she's being stalked by the mysterious Obscurus and his agent Justine. Exactly what the relationship is between Obscurus, Justine, and Peculia is never revealed, but there are hints that Obscuras and Peculia were once romantically involved, or at least very good friends, and that Justine is jealous of them. What caused the rift between Peculia and Obscurus, why he is isolated in a secret base and always masked is also never revealed--although he seems to be suffering under some of magical curse--but his spying on Peculia through Justine just as often puts Peculia in danger as saves her from it.

"Peculia" collects nine short tales that originally appeared in "Evil Eye" 1-9 during 1998 and 1999. Each is a self-contained story, and each feature a mix of horror and humor for which Sala's whimsical, simple art style is the perfect vehicle. The tone of stories reminds me of Poverty Row 1940s horror flicks with more than a little 1960s/70s Eurotrash horror movies and sex comedies throw in--and I'm invoking those in a positive way, as I find many of those movies quite fun and these comics capture the best of what they have to offer.

Over the course of the nine tales, Peculia's strolls brings her into encounters with weird gremlins who are attracted to music; three witches with a strange secret; a crazed widower who would cause many Edgar Allen Poe characters to reexamine their choices in life; a strange mystic sorority and the chutuloid monster that ends up dooming them, a homicidal girl battling a cult devoted to Bast; hoards of zombies and maniacs; a psychopathic psychiatrist conducting unholy research on unwilling subjects; Death himself; and more weird townsfolk than you think could be packed into one book. And all of this while Justine and Obscurus lurk nearby to either cause or solve problems.

While the first five tales in the book get increasingly good, and the remaining four hold steady-qualitywise, I still have to quibble with the fact that we never get an explanation for why Obscurus is seemingly cursed with total anonymity toward anyone but Justine; it's the one thing that I was disappointed over when I got to the end of the book. On the other hand, I was so delighted by the tiny continuity detail that tied the first story and eighth story in the book together that I am almost able to overlook my annoyance and so keep my rating of Seven of Ten Stars for the book.

"Peculia" is a swift and enjoyable read. I recommend it to anyone who enjoys crisp, straightforward cartooning and horror stories told with a sense of humor. (As a final note, I should mention that the book also contains a never-before-published color story. It's a fun, wordless little tale, but we don't talk about things that aren't in black-and-white in these parts!)

Post-Script From the Department of Odd Observations

In her first appearance--originally in "Evil Eye" #1 (1998)--she wore a pair of black shoes, perfectly matched to her little black dress.

There was a time where Peculia wore shoes...

She left those shoes behind halfway through her second appearance appearance--in "Evil Eye" #2 (1998)--and she went barefoot everywhere from then on (which was 10 more issues of "Evil Eye", various pin-ups., and "Peculia and the Groon Grove Vampires" (2005).

... but, once she left them behind, she never wore shoes again.

What does this mean? We have no idea, but we further observed that most female characters that appeared in the Peculia stories were barefoot. (The four panels above were excerpted from the first and second stories in the "Peculia" (2002) collection.)

Saturday Serial: Jenna of the Jungle

Continuing Don Hudson's "Jenna of the Jungle" (and including a random bonus jungle girl afterwards). Click on the panels for a larger image, and come back next Saturday for Part Three.


Jenna of the Jungle: Part Two
By Don Hudson

To Be Continued...

Girls of the Jungle

By Mike Hoffman

Coming Soon: 'Fangs' by Sarah Andersen

Cartoonist and writer Sarah Andersen is best known for her zany "Sarah's Scribbles" strips, which detail a nerdy, introverted young woman trying to make her way through life. However, she has also created "Fangs", a series which is equal parts silly, sweet, and sexy... as well as even a little spooky at times.

"Fangs" tells the story of a vampire and a werewolf who meet and fall in love. It chronicles the ups and downs of their relationship, as they navigate the difficulties of being both the perfect fit for each other, but also very different individuals.

The pacing of the book is among the many reasons I think this is a great piece of work. The sample pages I read felt like the best newspaper strips of the old days, in the sense that each page is a tiny story unto itself that ends with a gag or a smile-inducing touching moment but they all add up to a larger story that unfolds as you read them in order. (This is not surprising, I suppose, since "Fangs" began life as a web-series back in 2019... so Andersen is just solidifying her place among the masters of the comic strip format.)

"Fangs" will be released in hardcover in September of 2020 through Andrews/McMeel Publishing. You can click here to read a little more about it. (Me, I've already pre-ordered by copy from Amazon, so you can expect a full review in these parts when the Halloween Season rolls around.)

'Dissolving Classroom' delivers large doses of social commentary with the horror

Dissolving Classroom (2017, Vertical Comics)
Story and Art: Junji Ito
Rating: Six of Ten Stars

Whereever handsome Yuuma and his hideous little sister Chizumi go, horror follows in their wake. Beautiful young women are left disfigured, classrooms of students are reduced to mysterious puddles of slime, and the all residents of entire apartment buildings vanish mysteriously. Guilt-ridden Yuuma is constantly apologizing to those who are doomed while Chizumi cackles madly and prances about. What is the terrible truth behind these happenings?

Many of horror master Junji Ito's stories deliver bits of social commentary along with the creepy scares. In "Dissolving Classroom", these messages are more front and center that is usual, and they are the driving force of them. There are two issues tackled in the five stories of "Dissolving" cycle--which are all collected in this volume--and these are that it's sometimes difficult to recognize who is the abuser and who is the abused in relationships; and the ever-growing popularity of call-out culture and the attendant displays of empty apologies. This dual messaging and commentary on how damaging it is to individuals and society as a whole are most clearly on display in the second story, "Dissolving Beauty", and the final tale "Interview with the Devil", which wraps up the cycle with a literally cataclysmic event.

The "Dissolving" stories bear a resemblance in their nature to Ito's most famous cycle of stories, Tomie: In each story, the recurring characters visit doom upon the hapless individuals who cross their paths. Ito was wise in wrapping this one up quickly, though, because there's no mystery behind Yuuma and Chizumi and why people are meeting gruesome ends around them--Yuuma's apologies are actually rituals that sacrifice people to Satan. There's also nothing sympathetic about them; as monstrous as Tomie is, there's an occasional glimmer of humanity that the reader can sympathize with... and her victims sometimes are deserving of their fates. Although Ito tries to inject some humanity in Yuuma and Chizumi toward the end of the cycle, it's too little and it's too late.

Aside from the five "Dissolving" stories, this anthology contains two brief tales. I'm going to take a guess that they were inspired by headlines or news articles that Ito read, and they are both quite thin and at the low end of the quality spectrum that we can expect from him. ("The Return" is curiously touching while "Children of the Earth" is nonsensical--not to mention covering ground that he's already trod more effectively in other stories).

The stories collected in "Dissolving Classroom" aren't among Ito's best work. They're still better than the majority of horror comics that have been published over the years, but there were were none of the moments of dread I've felt reading his previous works. In many ways, Ito has delivered a cycle of stories that felt more like standard horror comics than his usual work. Artistically, there also wasn't much that impressed--nothing was bad, but the only truly standout images were the ones where Ito drew Satan as Yuuma perceived him.

If you're familiar with Ito's work, and you've read everything else, this book is worth checking out. If you're a newcomer, "Uzumaki" is his greatest work to date. "Frankenstein", "Smash", "Shiver", or "Flesh-Colored Horror" are all short story collections that will give you a view of the range of horrors he can deliver when he is at his best.

Horror master Ito adapts 'Frankenstein', and tells the weird tale of Oshikiri's many lives

Frankenstein (2018, Viz Media)
Story and Art: Junji Ito
Rating: Eight of Ten Stars

Junji Ito is an undisputed master of horror comics. He is one of the few creators who can make comics as unsettling as a good piece of horror fiction, or a well-made horror movie. He's been writing and drawing horror tales since 1987, and he's only been getting better as the years have passed; almost every artist reaches a peak and then starts to decline... Ito, thankfully, hasn't gotten to that point yet.

One of the most recent collections of his work to be printed in English is "Frankenstein." The book draws its title from a rare long-form effort, an adaptation of Mary Shelley's novel that takes up roughly have the pages, with eight shot horror tales, and two cute little pet stories, filling the rest of book.

Ito's "Frankenstein" is a little over 180 pages in length, and it is one of the best comics adaptations of Shelly's novel that I've read; it's almost as good as the one by Mike Friedrich and Mike Ploog published by Marvel Comics in the early 1970s, which remains my favorite. Where the Marvel adaptation took its visual inspiration from Universal Pictures movies released during the late 1930s and early 1940s, Ito's visualization of Victor Frankenstein and his creation seemed more inspired by the movies from the 1950s and 1960s released by Hammer Films; there is more than one panel where Frankenstein has an uncanny resemblance to Peter Cushing. The monster also bears a passing similarity to the make-up job on Christopher Lee in 1957's "The Curse of Frankenstein"... but it's a very slight one.

Lovers of Ito's typical style may find his "Frankenstein" adaptation a little long-winded, because it contains none of the Lovecraftian horror they are used to. Further, unlike his other adaptation of a classic--his take on "Snow White and the Seven Dwarves", which can be summarized as "Tomie Meets Fantasy"--Ito doesn't stray far from his source. Some events from the novel are condensed or glossed over, but it's far more faithful an adaptation than most, and thus it's something that may be appreciated more by general horror fans, or fans of gothic horror, than Ito's dedicated followers.

In fact, the only thing about Ito's "Frankenstein" adaptation that I'd peg as Signature Ito is the appearance of the monster. Everything else about the story seems more restrained and in keeping with the tone and style of the source novel than his usual output. This makes the grotesque nature of Frankenstein's monstrous creation such a striking element that the reader easily shares in the horror felt by the characters in the story. On the reverse side, Ito's characterization of the monster is such that the reader initially feels great sympathy for it, because all it wants is safety and acceptance and love. Once the creature realizes it will never have those things, and embarks on its quest for revenge against Frankenstein, the reader loses that sympathy, although retains a full understanding of why the monster behaves as it does, even if Frankenstein may not. At the end of the adaptation, however, readers will once again feel sympathy for the monster, because, like an abused child or animal, all the violence and acts of evil it committed were a cray for its creator's acceptance, attention, and even the love it so desperately wanted.

Also included in this collection are all the tales focusing on a teenaged boy named Oshikiri. The first couple of tales seem like they are completely unrelated except for the fact that they, strangely, feature the same main character. There appears to be no continuity between them since in the first story he is a psychopathic killer and in the second story he's a lonely boy who becomes attracted to a similarly lonely girl... who turns out to be unhinged. The strange twist ending of the second story, however, sets the stage for the revelation in stories that follow that Oshikiri's house is riddled with portals to other realities, and that people are passing back and forth between them, sometimes at will, sometimes by accident. The last tales in the Oshikiri Cycle (to give the group of stories a name) are a two-part tour-de-forces that include everything regular readers associate with Junji Ito's work--unexplained supernatural horrors, strange bodily transformations, and creeping insanity--and ends with a very creepy final image that implies the multi-universal horror continues on.

Rounding out the book are two stand-alone horror stories and two brief tales about Non-Non, Ito's mother's dog. The pet stories have a charming, rather than chilling, vibe to them, just like the cat stories in Yon & Mu. The two horror stories are some of the weaker efforts I've seen from Ito, with mercifully brief "The Hell of the Doll Funeral" being among his worst (treading similar ground to that he covered so much better in "Dying Young"  from the Flesh-Colored Horror anthology), and "Face Firmly in Place", a tale that must have been inspired by Ito's days working in the dentistry field, but which, while a solid excursion into terror, is undermined by an unrealistic situation--unless clinics and hospitals in Japan are run in a completely incompetent fashion.

Despite the inclusion of two weak short stories, this book is a great read that I recommend highly. Once again, I feel that Ito's work will appeal to horror fans who even like to say they don't like "manga". In fact, those two weak stories barely impacted my rating at all... I'm giving the book Eight Stars because I will forever knock a Full Star off any book that features the sort of sloppy translations that have become the accepted standard in the marketplace where the book reads from what is normally the back and to the front and from right-to-left, because that is how it reads in the original Japanese. Most readers don't mind, so it's just my personal issue. .

'Table for One' is a great read

Table for One (2004)
Story and Art: Bosch Fawstin
Rating: Seven of Ten Stars

Will's obnoxious boss bet him that he wouldn't last one year as a waiter in his restaurant. It's now one year later, and Will intends to collect the money owed and leave the place behind. Unfortunately for Will, his boss won't let him go quietly...

"Table for One" is a small story that deals with a single night, but it's a night that will looms large in the lives of most of the characters. Although I appreciated the film-noirish aestitic of the book's art and tone from the first pages, I felt it was a little on the talkie side. I was drawn into the story by the artistic style and the fact that Fawstin is a good enough writer that each character had a unique voice, but I felt that what I was reading might have been better served by the film medium. I've been saying that more and more about modern comics, because, increasingly, artists and writers don't seem to understand the difference between film and comics. That wasn't the issue with Fawstin's book; here, I just felt that maybe comics wasn't right vehicle for the story he wanted to tell.

But then I hit the spread on pages 21 and 22.

I have read thousands of comic books and graphic novels. I have edited hundreds of comic book pages. That two page spread is one of the very best examples of comic book storytelling that I have ever seen. It captures the hustle and bustle of a busy restaurant dining room and tracks Will's movement from table to table as he waits on the guests and hears parts of their conversations. Those two pages capture both movement and the passage of time in such an artful way that it puts Fawstin on a level of skill that few creators reach. Those two pages also proved that my feeling about Fawstin choosing the wrong vehicle to tell his story were absolutely wrong.

That fantastic two page spread also marked the point where the story kicked into high gear and the dramatic stakes were raised and then raised again. While I wished I knew more about how the diner who insisted he be called God by the restaurant's owner fit into the picture, there was more than enough drama and brilliant storytelling to satisfy me. I loved the way Will and his relationship to the various characters unfolded as I turned the pages. The book even came to a perfect end that contained elements that I knew were coming and other elements that were pleasant surprises... but all of which were perfectly conceived and expertly executed.

"Table for One" is available at Amazon. com via the link below, or directly from Fawstin's online store at this link. I recommend getting it, and I recommend getting the autographed version so you can send a few more dollars in the direction of this brilliant creator.

That time Junji Ito traded horror for cats!

Junji Ito's Cat Diary: Yon & Mu (Kodansha Comics, 2015)
Story and Art: Junji Ito
Rating: Seven of Ten Stars

When Junji's fiancee and her two cats move into his house, he slowly learns to love the two strange creatures that she loves... and then tries to get them to love him back.

Japan's Junji Ito is quite possibly the best creator of horror comics to ever put pen to paper, and I've lavished praise on his work in other posts, such as this one. "Junji Ito's Cat Diary: Yon and Mu" is a bit of a departure from what he's known for as it's a series of autobiographical humorous stories about him adjusting to life with cats.

The end result is mixed. The stories are all cute, very true-to-life--both long-time cat owners and newbies will nod and smile about some of the situations that Junji finds himself in--and both his moments of disappointment and joy will strike chords with any reader who has spent time around house cats. Unfortunately, his perchant for the grotesque that serves him so well in his horror comics is mostly distracting here. It's too strange and too ugly for the light-hearted and harmless material in the book; the more absurd moments where Ito is poking fun at himself tend to be the most excessively surreal and twisted drawings. (Interestingly, he shies away from such excesses in the one truly surreal tale included, which makes it more effective.)

If you like Junji Ito's horror work, I think you'll enjoy "Yon & Mu". This goes double for cat lovers, or those who became cat lovers because they were "forced" on you. (Also, be aware that the book is printed "backwards", in the sense that it reads from right to left.)

'Gyo' is nightmarish but not horrific

Gyo (Viz Media, 2015)
Story and Art: Junji Ito
Rating: Seven of Ten Stars

While vacationing in Okinawa, young couple Tadashi and Kaori are set upon by bizarre, murderous fish with legs. Soon, all of Japan is under attack by the mysterious creatures from the sea.

Junji Ito has the honor of having written and drawn some of the very few (perhaps the only?) comics that are scary on the level of the pure written word, movies, and live performances, with "Uzumaki" being his masterwork. While 3-8 page comics stories can sometimes come close to competing with other genres with the level of horror they might inspire in readers, so far no other long-form comics I've come across have managed to do so. That includes "Gyo."

"Gyo" was originally published in serialized form in the Japanese anthology title "Big Comics Spirit" during 2001 and 2002. It was Ito's final excursion into horror before taking a decade-long break from the genre (returning to horror by writing and directing a film adaptation of his most famous series, "Tomie" in 2011, and afterwards to comics). The art is as solid as in any of Ito's prior work--with some scenes being every bit as nightmarishly disturbing as the best found in his "Flesh-Colored Horror" anthology. Unfortunately, that's as far as it goes.

There is nothing in "Gyo" that rises to the level of dread, and outright horror that leaped off page after page. The best we get here is creepy transitioning into disgusting, but no actual horror; "nightmarish" is the best way to describe the events of "Gyo", I think. This may stem from the fact that a character we're supposed to feel sympathy for is so annoyingly, repulsively neurotic that the reader is almost delighted when she suffers her predictable fate. (All I could think about while suffering through her hysterically berating her very patient boyfriend over and over and over was, "The sex must be great"--but I'm not sure he getting much of that, so I don't know where their could possibly have been a relationship between these two main characters.)

Art-wise, "Gyo" is up to the high standards of Ito's other works. The illustrations are crisp, and even the most chaotic, bizarre scenes flow clearly and are easily followed by the reader. Further, his style remains a nice bridge between "manga" and more western-looking art, so even those who claim to hate Japanese comics should be able to enjoy his work. (Just know that there are better examples of it.)

New from NUELOW Games: 'Real American No. 1'!

The latest project I've completed for NUELOW Games is one I think it more worthy of attention than most of the ones I've done. It's a little book collecting episodes from Dick Briefer's ahead-of-its-time superhero series "Real American No. 1."

Comic Books: Making Fun of Bigots Since 1941

"Real American No. 1" premiered in Daredevil Comics #2 and ran as a back-up feature there until #11. Starring the Bronze Terror (who secretly is Jeff Dixon, a "full-blooded Indian" and successful attorney devoted to fighting for justice inside and outside the courtroom), "Real American No. 1" drew heavily on troubles facing Native Americans in the modern era for its background and conflicts. There wouldn't be another series like it again until the 1970s, with the arrival of characters like Marvel's Red Wolf.

NUELOW Games' Real American No. 1 contains the four best of Briefer's Bronze Terror stories (as selected by yours truly) and a roleplaying game presentation of Jeff Dixon and his girlfriend Lilly Weaver for use with ROLF!: The Rollplaying Game. By way of a preview, here are the splash pages for the included stories; I hope you'll check it out.

Click here to see more previews of Real American #1, or to buy and download a copy from DriveThruComics.

Lights, Camera, and plenty of Black Cat Action!

"Film Fun Comics Vol. 2: The Black Cat vs. Him" is now available for purchase and download at DriveThruComics,com, DriveThruFiction.com, DriveThruRPG.com, and RPGNow.com,  It's a 48 page  book that presents four stories illustrated by the, great Joe Kubert--some of his earliest professional work--and three stories illustrated by the artist most closely associated with the Golden Age Black Cat, Lee Elias.

As a little preview, here's the splash-page from one of the Kubert stories (click on the image for a larger version):

Also, as a special treat, here's a short Linda Turner story NOT included in the book. My partner in NUELOW Games efforts L.L. Hundal felt that three non-superhero Lee Elias two-page stories were plenty, so this one got held for one of our planned follow-up "Film Fun Comics" editions--or just for posting here... time will tell!. Click on the images for larger versions.

If you've enjoyed this blog over the years, I encourage you to get a copy of "The Black Cat vs. HIM!". I edited the book and wrote "Excerpts from the Diary of Linda Turner," which is a fiction piece that adds a little more flesh to the "revised background" for Black Cat that's been implied in previous NUELOW Games products featuring the character. Supporting that book is supporting me and my love for places where "everything is in black and white" and my ability to have the time to put this blog together. (And other books like the "Film Fun Comics" series.)

Your support will be greatly appreciated. If you DO get a copy, please let me know what you think of "Film Fun Comics Vol. 2: The Black Cat vs. HIM!", either here, or in the comments section on the download page!

Robert E. Howard, 1906 - 1936

On June 11, 1936, writer Robert E. Howard took his own life in a fit of despair.












The preceding story was by Roy Thomas and Sandy Plunkett and it originally appeareed in "Epic Illustrated" #34. The scans were posted by Joe Bloke on his excellent Grantbridge Street & Other Misadventures blog, from where I grabbed them without so much as a "how do you do?".

Robert E. Howard has been one of my favorite writers since the early 1990s, when I first discovered his "King Kull" stories. I had been a fan of the "Conan the Barbarian" comic book from Marvel for years before that, and I'd tried reading some of the Conan paperbacks--where De Camp or Carter or someone revised and rewrote his stories but found I preferred the comics over the fiction. (Interestingly, the reverse was true when it came to King Kull.)

But the Kull stories, I loved. I later added "Solomon Kane" to that list and as the web came into its own, I soon discovered that Howard was not only more than Conan, he was more than fantasy fiction... he wrote lots of horror stories, adventure stories, and wild comedy stories.

Steve Costigan. Black Vulmea. Skull-Face. El Borak. Steve Harrison. Breckinridge Elkins. Cormac FitzGeoffrey. Bran Mak Morn. Red Sonya. And dozens more crusader knights, pirates, and hard-bitten men of action--fighting, and sometimes losing, against impossible odds. If you like action, you should like Robert E. Howard, because his stories are crammed with it from beginning to end.

Since reviving NUELOW Games last year, I have been putting together little anthologies of Howard's fiction, focusing on his mostly forgotten works... including some that he counted among his personal favorites. It's my small attempt to call more attention to his many non-Conan writings. It's also my way of sharing my love for the body of work he left behind when he chose to leave this world so early in his life.

At the moment, NUELOW Games' anthologies are available at DriveThruFiction.com (as well as RPGNow.com and DriveThruRPG.com where the entire NUELOW Games line of products can be had) and only in PDF format. This format works on just about any laptop or desktop computer, as well as most Kindle models, iPads, and iPod Touch.

For a broad sampling of what Howard's non-Conan work is like, check out "Oriental Stories, Vol. 2." The book contains a sample of just about everything he wrote, except the playful first person style used in the Steve Costigan and Breckinridge Elkins stories.

If you like low fantasy or historical fiction, "The Deadly Sword of Cormac" and "Oriental Stories" is for you.

If you're in the mood for straight-on, Yellow Peril-style pulp fiction, "Skull-Face" is a novelette you'll enjoy.

If you like hardboiled detective tales (with a touch of horror), check out "Names in the Black Book".

If you want horror with a Southwestern flavor, "Shadows Over Texas" is the book for you.

If you like werewolves, "White Fell and Other Stories" is a must-read.

And if it's comedy or stories about boxing you want, "Fists of Foolishness" and "Shanghaied Mitts" are were you should look. (These books also include a roleplaying game and a solo adventure, respectively. The publisher is NUELOW Games after all.)

There are further comedic antics, centering on Howard's dimwitted western hero Breckinridge Elkins in "Bath-time on Bear Creek," "The Misadventures of Breckinridge Elkins," and "Breckinridge Elkins Rides Again."

Finally, if you want pulse-pounding adventure "Oriental Stories 3: A Texan in Afghanistan," stories featuring Howard's last great series character, El Borak, will fit your needs exactly.

When reading the stories in "Shanghaied Mitts", "Shadows Over Texas", "Oriental Stories" and "Oriental Stories, Vol. 2", I can't help but mourn for what might have been. Howard too his life just as he was on the verge of leaving commericial hackery like Conan the Cimmerian behind and pursue his true literary passions. In the final five years of his life, which amounts to the second half of his professional career, Howard not only kept improving as a writer, but he discovered the types of stories he was most comfortable writing--stories of action and adventure that were grounded in this world and real history rather than made up universes.

Tintin in the Land of the Soviets

Tintin in the Land of the Soviets (Little-Brown 2007)
Writing and Art: Hergé
Rating: Six of Ten Stars

Tintin, a young Belgian reporter, travels to the Soviet Union during the late 1920s to report on the socialist government of Joseph Stalin. He uncovers vast corruption in the "workers' paradise" and becomes marked for death by Stalin's secret police, prompting a string of adventures as he escapes back to Belgium.

"Tintin in the Land of the Soviets" was the first tale of the intrepid "boy reporter" and his dog Snowy that Herge wrote and drew. It is different in tone and style than all works that followed, and it is clearly the product of an artist still mastering his craft, not to mention finding the proper tone for the series that became his most celebrated.

Originally serialized in magazine from in 1929 and 1930, and published in book form shortly after completing its magazine run, Herge later a low opinion of this work. It's the only one of the 23 completed Tintin adventures that Hergé did not subsequently redraw in a color edition and/or update with more modern panels and references as the years went by. In fact, for decades, Herge blocked any efforts to republish "Tintin in the Land of the Soviets," and it wasn't until 1989 that he allowed an English translation of the book.

The style of story-telling "Tintin in the Land of the Soviets" is very different than the later stories that almost all saw some degree of revision by Herge over the years. It's closest in tone to "Tintin in the Congo" and "Tintin in America," which, if you read those three early works back-to-back, you can see the evolution of Tintin, even though Herge revised the two latter ones for later editions.

And, the art here is also far cruder than anything else I've ever read by Herge--it is barely recognizable, in fact. That said, I've never seen the original "Tintin in the Congo" nor "Tintin in America", but only the revised color versions. (And it's been 35 or so years since I read "Tintin in the Congo... and I'm not likely to get my hands on a copy again any time soon, as the hystrionics of the politically correct crowd and over-sensitive cry-babies successfully blocked its paperback re-issue back in 2008.)

The overall style is also more in line with newspaper comic strips of the 1920s and 1930s rather than the action-adventure of later Tintin stories. While there are some serious matters addressed--such as the portrayal of the Soviet government as murderous, corrupt, and predatory toward the people they were supposedly protecting and serving, portrayals which history has shown to be mild when compared to reality--the over-the-top cartoon action is what is most memorable about the book... and which is not found on this level in later works. Scenes where Tintin builds a plane over night or is frozen solid after wet from a river into the cold Russian night are almost without equal in Hergé later Tintin efforts, with the possible exception of the major city being built overnight or some of Tintin's interactions with Indians in "Tintin in America."

Still... if you like Tintin, you're bound to like this book. I don't think Hergé ever told a bad Tintin story.

Forgotten Comics: Jake Thrash

Jack Thrash (Malibu Graphics 1989)
Writer: Barry Blair
Artist: Dave Cooper
Rating: Seven of Ten Stars

During the 1980s, Barry Blair and Aircel Comics were front and center for the "black-and-white boom"... and Blair rode the wave as the "black and white bust" crashed onto the shores of comics publishing during the 1990s and ended a very exciting and creativity-filled time in the North American comic book industry... a time of such creativity and comics in such a spread of genres that had not been seen since, perhaps, the 1940s. And at the rate things have been doing in the years since, i don't think we'll ever see it again.

Writer/Artist Barry Blair

Aircel Comics published some of my favorite comics of that period, and Blair created, wrote, and/or drew many of them. I eagerly awaited the arrival of each new isssue of "Samurai", "Elf Lord" and "Dragon Ring"/"Dragon Force" when those titles were at their height, either as black-and-white comics, or, for a time, color. In fact, I first became interested in game design as possible income source when an idea for an RPG (which was my main vocation from 1993 to 2003, and which continues to be a strong sideline) that could be serialized in the back of "Elf Lord" struck me... and Eiwin Mark, editor at Aircel, seemed interested in the proposal.

The idea ultimately came to nothing as Aircel hit a rough patch during 1988 during the first signs of trouble in the booming alternative comic book market, was acquired by Malibu Graphics, and everything changed. Such is life. (Echoes of that approach to publishing an RPG have been present in NUELOW Games' recent "ROLF!" game line that I've been producing, and it may become fully manifested in a possible new product we are looking into developing... time will tell.)

The notion of an "Elf Lord" RPG wasn't the only thing that fell by the wayside during Aircel's transition. There was the extremely interesting three-issue mini-series "Jake Thrash", a cyberpunkish dark future story about a drifter squaring off against a group of man-eating mutants to save the lives of some young thrill-seekers too dumb to stay out of the bad parts of a war- and toxic-waste scarred urban sprawl. The overall tone of the series, and personality of the title character, was as if the main character from "For a Few Dollars More" had been transplanted from the grimy wild west to an even grimier and wilder dark future.

Two full-color issues of "Jake Thrash" were published in 1987, then sky-rocketing printing costs forced Aircel Comics to convert their titles back to the black-and-white they had started as, the operation was acquired by Malibu Graphics... but the third chapter in the tale of "Jake Thrash" never appeared, an apparent victim of changing market conditions and business decisions.

But in 1989, Malibu Graphics published a "Jake Thrash" graphic novel that collected a six-page teaser that had appeared in several of Aircel's titles prior to the debut of the aborted mini-series, the two issues that had seen print, and the lost third issue between two covers. It was a handsomely designed book that mostly did the material proud. Some of the gray-scale art is a bit muddled, but in general what had been intended to be elaborately colored pages--Aircel's color comics were amazing for what was industry standard at the time--comes across nicely. Dave Cooper's unusual line-art almost looks better this way, so, in the end, a black-and-white Jake Thrash might be been best after all.

Like is so often the case when revisiting something we loved when we were young, I found that reading "Jake Thrash" again 20+ years later, it's not quite as perfect as I remembered it, but it's still much, much better than many modern comics I've had the misfortune of flipping through in bookstores of late. Barry Blair's dialogue is clunky in many spots, and there are times when Dave Cooper's presentation of a fight scene or chase scene is a little hard to follow, but these are minor flaws in what is, generally speaking, a pretty intense reading experience. Blair and Cooper are far more effective and clear in their story-telling techniques than many modern artists and writers and it's a shame that I have to list this book under the "Forgotten Comics" heading.

I find it to be doubly a shame, because, even though I now see the imperfections in Blair and Cooper's work, the scene I remembered the clearest from the book was exactly as I recalled it, and I still consider it one of the greatest comic book moments I've ever read:

Barry Blair passed away in 2010 after spending his last few years drawing comics that can generously be described as "adult comics" or "erotica." His output declined steadily in quality from the mid-1990s on, and Cooper has left the comic book field in favor of children's book illustrations, but during the 1980s, both men produced some excellent material. I will have to revisit more of it in this forum.

Space Girl Adventures, Part Sixteen

By Travis Charest

SPACEGIRL
by Travis Charest
Part Sixteen

To Be Continued....