Reviews February 2011 week two


Scenes From An Impending Marriage h/c (£7-50, D&Q) by Adrian Tomine…

“Haha haha, he’s just like you.”

Not a quote, but in fact my wife’s chortling comment after reaching the part where Adrian decides to walk home to save a few bucks rather than get a taxi whilst laden down with several boxes of freshly printed ‘authentic hand-set type and letter press printed’ wedding stationary. In my defence I am from Yorkshire, a county renowned for producing fiscally prudent individuals perhaps second only to Scotland in that particular respect. I’m not exactly sure whether Adrian’s home state has the same reputation for parsimony, but I personally applaud his financial sensibilities nonetheless. Weddings are not cheap.

Actually after finishing reading, my wife did remark Adrian actually reminded her of me all the way through the book, and I heartily concur with that cheeky observation. From choosing a venue, to caterers, to music, to attire, to guest lists (particularly guest lists) I found myself nodding in agreement with Adrian, and in memory of my own travails. People who read this work will thus fall into two distinct camps: those who have been through the stress-inducing, blood-pressure-raising, three-ring circus that is otherwise known as getting married, and those who have not yet had that particular pleasure. Consequently whilst the force-ten farrago that ensues in the run up to the said ‘big day’ will be all too familiar to those of us in the former camp, however at least we’ve been through it and hopefully won’t have to endure it again. Hopefully the rest of you will have to, I mean get to, experience all that it entails at some point…

Indeed literally every single page of this book brought back some teeth gritting memories regarding my own (well, to be precisely accurate my wife’s) wedding preparations, and even Mr. and Mrs. Tomine’s post-nuptial comments in their hotel room afterwards about not even getting chance to enjoy the delicious looking food served up to their guests rang all too true.

About the only thing we didn’t seem to have had in common with our wedding preparations was having a priest of my wife’s religion (Catholic) ever so politely point out my religion of choice (Buddhism) was regarded as a cult rather than a bona fide religion by the Catholic Church, and thus we wouldn’t be able to have a full Catholic mass on the day in addition to our wedding ceremony. It would also be remiss of me not to point out I was absolutely delighted by that. I also like to think Adrian would have been equally amused / bemused had it happened to him.

And I’m also quite sure that every man who has been through the experience of preparing to get married has made exactly the same jokey comment Adrian makes to his fiancé on the prologue page of “Any chance you’d want to elope?” Sadly, he got met with the same response I did when I too asked that impertinent if somewhat hopeful question right at the beginning of proceedings… a rather stern stare.



Daytripper (£14-99, Vertigo/DC) by Gabriel Bá, Fábio Moon.

“In order to go after your dreams, you must live your life. Wake up, before it’s too late.”

Quiet, contemplative and so beautiful to behold, this is the most startlingly original book from Vertigo since Paul Pope’s HEAVY LIQUID. Every fluid stroke is steeped in humanity or the living world bustling around it, and it’s so full of grace I could cry.

From the Brazilian brothers who brought us DE TALES and the artists on books like UMBRELLA ACADEMY and CASANOVA, a book about family, fatherhood and friendship; an outlook on life and the mortality that defines it; twelve separate yet integrated stories about the life and different deaths of aspiring novelist Brás de Oliva Domingos.

Aged merely 32, Brás is feeling old. His father is such a successful Brazilian author that the literary community is throwing a great gala in his honour tonight, while he’s stuck writing obituaries for a newspaper. Oh yes, and neither his father nor mother appear to have remembered his birthday. So he’s feeling a bit morbid, he’s feeling a little dejected and he’s… well, he’s sulking. Nevertheless he hoists on the tuxedo and makes his way to the Theatro Municipal just early enough to grab some smokes and a beer from a local bar. Which is where a different family’s argument ensures that his family will never forget his birthday again.

It’s quite the startling conclusion to the first chapter of a twelve issue mini-series – the death of its lead character. But make no mistake, Brás is the main protagonist and successive instalments unveil what might have happened if Brás had died earlier or lived a lot longer, chosen different paths and come to understand what really matters. He makes bad decisions and stagnates; he finds true love at last and marries. He lives to see some give birth, others die, and this best friend run away in terror. In one instance he respects Jorge’s decision, in another he drives long into the night to find him.

“Jorge was his best friend, and that’s what friends do. They care. They find each other and stick together when things get rough. Friends are worth every effort. Friends matter.”

Twice Brás dies because he believes in friendship, but as young Jorge says, “If it weren’t for people, life would be a fuckin’ desert”. Indeed on almost every page there’s an exchange to give one pause for thought and there’s some very sound advice for a Brás who so often wants to shut out life altogether, particularly from his writing, from the very source of his ambition, his father, who here speaks of his mother:

“I remember when we first met. I told her I wanted to be a writer and that I knew a great romance was waiting for me to write it. She smiled and said that she hoped a great romance was waiting for me to live it.”

The most affecting chapter for me was the one in which an older, wiser and more successful Brás is away from his wife and son on a book tour, yet still there in every corner of the house. He sends letters and texts and emails every day and his son could not be more proud of him. His wife smiles at a mobile phone call or messages left on the answering machine, telling her he misses them, seeing them mirrored in a happy couple, but always reassuring her he’ll be back home soon. His son carries his father’s books with him to school even though he’s too young to understand them and, during a disquieting bout of bullying, more eagerly awaits his return. We know from the start that Brás will never be home again, but it’s so well crafted with those messages received that the illusion is maintained throughout that he will. So reliable is he that when there are “no new messages” it’s assumed that the internet server is broken. It isn’t.

The book’s as close as I’ve found to an exploration and distillation about the secrets to love, life and happiness outside of Kahlil Gibran: comprehending, appreciating and enjoying what you have before something goes so catastrophically wrong that you yearn for the past; not dwelling on others’ perceived greater fortune or resenting what’s missing, but acknowledging and embracing what you do have in front of you. Because there’s nothing like death to put life into perspective.

 “Wake up, dude. You’re missing it.”

Full colour sketchbook in the back. The brothers write, “The most difficult thing wasn’t trying to create a world that would look real. No, the hardest thing was creating a world that would feel real.”

It certainly resonated with me, whilst Paul Pope, Jeff Smith and Gerard Way line up to sing its praises. Terry Moore of STRANGERS IN PARADISE writes:

“DAYTRIPPER is the most engaging story I’ve read all year. [This] tale of the life and deaths of a writer is the creative love-child of Eisner and Fellini at their best; a love story grounded in stark reality, yet awash in the magic of circumstance. DAYTRIPPER is a fascinating puzzle I will be contemplating for the rest of my life.”

Illustrated introduction by Craig Thompson of BLANKETS.



Vietnamerica: A Family’s Journey h/c (£22-50, Villard) by GB Train…

For a certain American generation there is a word which perhaps inevitably carries more emotional baggage than any other, that word being Vietnam. This work, VIETNAMERICA is most certainly not a war story however, but a fascinating look at one (very) extended Vietnamese family’s history spread across several generations now living both in Vietnam and America. It’s documented and drawn by Tran Huu Gia-Bao (or GB Tran as he’s more commonly known) who himself was born in South Carolina in 1976 a year after his parents fled Vietnam leaving several family members behind them.

VIETNAMERICA immediately draws comparisons with FORGET SORROW: AN ANCESTRAL TALE, as the focus is firmly on family with a dash of politics and history thrown in for good measure. Such is the complicated nature of GB’s family, and the segmented way he’s chosen to tell his story, moving backwards and forward through time from the present to the past and back again, I did initially find myself getting slightly confused as to who was who, and thinking I could really do with a family tree, when lo and behold, up one popped on page 62.  

Once you have the various characters’ relationships with each other a bit more firmly fixed in your mind, the work immediately becomes much more engaging, and you start to more fully understand some of the very difficult choices, and their attendant consequences, that were forced upon different generations of family members at times by the continuous political and social upheaval in Vietnam during various struggles against French colonialism, occupation during WW2 by Japan, the American war against the Communists, and finally the difficult period of internal unrest and uncertainty following that last conflict. GB manages to capture the flavour of ‘normal’ life for typical Vietnamese against such a continuous melodrama, without detracting from the central drama of the family history.

He also, wisely in my opinion, decides just to tell the family’s story, rather than bringing himself and his own views on events into the work. When he does pop up from time to time it’s usually providing a bit of light comic relief at his own expense, about his naivety concerning life and culture in modern Vietnam compared to the USA. Or providing a counterpoint for his mother to further elucidate some long-forgotten or hidden story, usually about his somewhat taciturn father. GB’s actually an extremely good story teller, having obviously learnt that most vital of lessons regarding the depiction of true life events, just let the story tell itself. 

The art is wonderful too, containing a seemingly never-ending host of clever visual devices such as panels spiralling out of his father’s cigarette smoke as he grudgingly recounts another story, and a truly vibrant palette of colours, occasionally switching into black and white, and even combining the two on occasion for further effect. It seems the family play a lot of Scrabble too, and one of my favourite bits of art is the double-page spread of a Scrabble board inlaid with various panels depicting GB’s parents early days in their newly adopted country. My absolute favourite artwork though, is the actual cover of the book (hidden under the none-too-shabby itself dust jacket) which features a partially constructed jigsaw puzzle of a face, made up from pieces taken from the faces of several different family members. The message, running throughout this work, is abundantly clear: you can separate people by continents, oceans and thousands of miles, but can you ever really separate a family? 



Evolution: The Story Of Life On Earth h/c (£13-99, Hill & Wang) by Jay Hosler & Kevin Cannon, Zander Cannon.

Light, bright, concise and precise history of life’s rich tapestry here on planet Earth, and the science behind it all right down to the specific single-celled organisms that grew more ambitious, and the bacteria that stayed still or became breakfast instead.

As a Professor of Biology the creator of the much missed CLAN APIS is eminently qualified to talk about DNA, RNA, proteins and animo acids, whilst his natural skill as a communicator turn it into a remarkable fusion of education and entertainment in the form of one long conversation between a monocular, professorial starfish and its alien prince and king. Even Charles Darwin pops up at a gig to explain his own theories…

“Natural Selection is the name of the evolutionary mechanism I proposed. It’s the process by which favourable traits are preserved in a group of organisms and harmful traits die out. Some also refer to this as “survival of the fittest”.”

… before expounding on the four basic conditions that must be met for the process to occur, how it occurs, and how he observed it occurring in a succession of phenotypes before the genotypes behind them – the unique set of genes in an individual’s DNA chromosomes that dictate their individual traits – were unveiled later on.

Each biological and evolutionary mechanism is backed up with such evidence and the history of its discovery which is vital in refuting the head-in-the-sand stupidity of Creationists who maintain that man was created from scratch last Thursday, and woman from his elbow or something.

Moreover what could have been an unwieldy tangle has been streamlined to perfection with room for recaps, and – this is the killer – the fact that this a comic rather than prose means that each step is easy to digest and you can refer back to previous panels for a quick recap because you’ll have an associated image for that key information already stored in your head. I used this myself when I needed to remind myself about the cellular differences between those three types of single-celled organisms – bacteria, eukaryote and archaea – and I knew exactly which image I was looking for. Can you imagine how much easier this would have been to revise for at school? It’s like a series of illustrated flashcards linked with a narrative thread!

And it’s funny! Just like the CARTOON INTRODUCTION TO ECONOMICS, the cartooning hits just the right note of parenthetical asides (fungal-infected ant: “I think there’s a fungus among us”) whilst never distracting you from the information they pertain to (the difference between plants, fungi and animals when generating energy).

Over the subsequent chapters life on this planet is explored through fossils (a potential source of legendary creatures like the griffin and cyclops too?) as the notochords of chordates evolve into the backbones of vertebrates; and arthropods, with their supporting structure on the outside, develop eight jointed legs just to terrify Charlie Brooker in the bath. Plants start growing, insects start buzzing and hungry fish like the look of them so flop on the shore while those that see their brothers promptly expire decide it’d be better to wait until they actually breathed air first. Oh yes, and grow legs for non-flopping-about-ness. Amphibians, eh? Some decide to leave home altogether because their parents won’t let them smoke weed and then change their name by deed poll to reptiles just to have the last laugh. Just the sort of hubris that invites a mass extinction, which is what happens next.

Hosler entertains, but without the sort of buffoonery above that would make a mockery of his sound knowledge and expertise. There’s no disinformation to distract you for one second from the detail of what actual happens, how, why and when. He’s meticulous like that, right down to the evolution of insects which, unlike dragonflies, could fold their wings back after flight and so climb into crevices… and how the Permian Extinction, wiping out one-third of all insects, gave them a better fighting chance against the previously dominant species to the extent that 98% on all insect species can now fold their wings back.

I’ll leave you to learn of reptiles’ return to the seas (“Evolution is not a progressive march. Life has no destination, no ultimate goal. It evolves to take advantage of new ways of getting resources”), the emergence of mammals then birds and how their endothermy later proved a literal life-saver. But there’s nothing I have seen here that wouldn’t make this a perfect set text for schools – nothing that would be judged inaccurate or inadequate in an exam. As adult entertainment I know we’re now spoiled by David Attenborough and his successors on television, but I also like to retain knowledge and can rarely do so without the printed word which makes this the perfect medium, especially with its glossary at the back.


Stigmata h/c (£14-99, Fantagraphics) by Claudio Piersanti & Lorenzo Mattotti…

I have to say I was a little nonplussed by STIGMATA upon finishing it. I thought it started off very, very strongly indeed, taking the nameless main protagonist and plot very dramatically in some unexpected directions, and then it just rather trailed off, albeit gracefully, to its conclusion. Very much a book of two halves, then. The ending as it pertains to our nameless stigmartyr martyr (sorry, little Bauhaus joke, couldn’t resist) does make perfect sense, and it is emotionally satisfying in some ways, but after the barnstorming start to the first half of the book it all seemed rather tame and to an extent, passionless.

I guess what I don’t understand upon reflection is why the main character has the stigmata initially, and why, given that they briefly disappear when he falls in love with his wife, he then still has them at the end of the book. Despite the apparent resolution, it seems as though nothing at all actually has been. I feel as though I’m missing something fundamental about the ending, which I possibly am. With that said it’s still a powerful work, and perhaps I shouldn’t try and see meaning where maybe there isn’t intended to be one, at least not a clear-cut one, I’m not sure. What I am in no doubt about is the quality of the swirlingly mesmerising black and white art which at times put me in mind of Renee French and Craig Thompson, amongst others.

There is apparently a 2009 black and white Spanish film adaptation of this work called Estigmas. I can completely see that this type of story would make for an excellent art-house film, and despite my reservations – or perhaps lack of perception – about the work, I’d certainly be interested in seeing the film. If only to see if it sheds a little more light on the story as a whole for me.


Johnny Red vol 1: Falcon’s First Flight (£14-99, Titan) by Tony Tully & Joe Colquhoun…

Ah this takes me back to my youth, when after my mother had kindly cancelled my subscription to 2000AD (I suspect a belated peak inside had convinced her that the thrill power contained within was likely to melt my tender pre-teen mind – too late, Mum!) I managed to ensure I got my weekly comic kicks by persuading her to get me BATTLE ACTION instead. Never mind the body count was about a hundred times higher every week than 2000AD, at least to her it was recognisable human bodies getting blown apart, I suspect.

And Johnny Red Redburn was indeed by far one of my favourite characters, the scouse merchant navy deserter waging his own personal war against the Germans after having seconded himself to a frontline Russian air squadron called the Falcons, which seemed to be a somewhat motley collection indeed of pilots and ground crew, and have a rather brutal, never ending supply of commandants and secret police officers who always seemed to be two minutes away from shooting someone, often Johnny, for some trumped up reason or other.

Reading it again after all these years, it’s still great fun, fantastically well written by Tom Tully (as much appreciated in the foreword by war freak himself Garth Ennis) and illustrated by CHARLEY’S WAR artist Joe Colquhoun in a suitably all-action manner. When Johnny is piloting yet another obscure Russian crate through the trees at low level to escape a better equipped Messerschmitt, you can practically feel the branches taking off the tops of your ears! Whilst I’m not sure I could sit through 13 years worth of Johnny’s aerial antics, which is how long the strip actually ran for, longer than even CHARLEY’S WAR in fact, I’ll certainly enjoy reading the next few volumes at least.

Fans of Garth Ennis’s BATTLEFIELDS and WAR STORIES really should take a look at JOHNNY RED – it will most certainly appeal – and I’m sure aficionados of CHARLEY’S WAR will be doing so anyway.

More BATTLE ACTION action in the form of DARKIE’S MOB and MAJOR EAZY is apparently still coming out, just much later on this year.



Daomu #1 (£2-25, Image) by Kennedy Xu & Ken Chou.

Contemporary Chinese horror based on the roaringly successful novels of Xu “Kennedy” Lei with fully painted art (albeit on a computer, I’d have thought) by Ken Chou.

Sean Wu is not his real name.

Until he was ten the young man lived in China as Wu Xie but, after a rift with his wealthy father, his mother took him across the sea to Detroit where they made ends meet – barely – in a basement studio flat. But now, after a decade of silence, his father has sought Sean out for a reunion which lasts little more than a minute of bottled up resentment before a hooded figure emerges from the evening’s urban downpour, his face covered by a demonic Chinese mask. Umm… it’s not a mask.

Originally I wondered why the first issue kicked off with a full page of prose setting the far broader scene about elaborate tomb systems all over the globe and three factions of Chinese tomb robbers who plunder their targets either with respect or rapacious greed or, in the case of the Daomu, some sort of custodial protection. We’re also told that the Daomu have been corrupted, their prodigal son having defected, and that the Daomu legacy is currently left without an heir, while the shady, military-funded conglomerate called Coral do shady things in shady places, and I bet there’s a shady lady waiting somewhere in the wings.

It read exactly like the title sequence to a console game and I was unsurprised to find some brief biographical stats at the back as compiled by Coral Incorporated. This is, as I say, based on a series of novels but I bet you anything you like that the novels were partly inspired by Tombraider et al for, sure enough, following the armed ambush (check) and last-minute intervention by unknown field agents (check), Sean heeds his father’s dying words (check) by taking the hastily bequeathed key to his great, great grandfather’s opulent Chinese palace full of antiques (check-check) and unlocking its subterranean vault where the black stone coffin opens to reveal… (check, checkity check)

No, the real reason for the opening page, is that it gives you a far broader sense of the scope potentially on offer here than the first issue suggests. Well, it’s almost certainly also designed to appeal to us console addicts, but at least I haven’t played this game first so it may have something to offer me.

The human figures and faces are a little ropey but I’m relishing the landscapes so have some interior art. The fourth page is definitely worth enlarging:



Aftermath (£14-99, Humanoids) by James Hudnall & Mark Vigouroux…

I was so very disappointed with AFTERMATH, both in terms of the story and even more so the art. Overall it has the feel of a back-up strip from early 2000AD, and a weak one at that. It takes an interesting enough premise, concerning a now defunct military unit of weaponised individuals who defeated a (very) alien invasion, which has left the gradually recovering Earth with various xeno-contaminated no-go zones, but then fails to do anything else much with it, though are one or two neat little nods to some hard sci-fi gadgets and contraptions.

The story, such as it is, then involves a double-cross as team members and the scientists who helped create them starting being murdered, but despite the obvious attempt at misdirection it was pretty apparent fairly immediately to me who was behind it all. The art is so painfully basic in places, with faces being drawn particularly badly on several occasions to horribly jarring effect, it rather spoilt the whole work. If you want some quality Euro sci-fi just check out Universal War, Scourge Of The Gods or METAL instead. Not one of the Humanoids imprint’s finest moments I’m afraid.


Pandora’s Eyes h/c (£14-99, Humanoids) by Vincenzo Cermai & Milo Manara…

Astonishingly low tittie count this time around from the master of Eurotica art fiction. Unless I missed a few I think we literally have just the one bare breast, which is quite unusual for the great man. Maybe the author just asked him to tone it down a bit. So here we have an action-packed, if somewhat brief crime story, featuring the kidnapping of the beautiful Pandora, secret daughter of the crimelord Castex. Everyone thinks it’s Castex who has kidnapped her, having finally found out she exists, but as Interpol pursue the apparent kidnappers it becomes clear there’s someone with a rather different agenda in mind behind Pandora’s abduction. This is a great little story from Cermai, with the usual vigorous and energetic art we’ve come to expect from Manara, the only drawback being it does feel like just a very short story rather than a full-blooded thriller you can really get your teeth into, which makes it seems pricey at £14-99. It is a hardcover I suppose though.


Batman: The Return Of Bruce Wayne h/c (£22-50, DC) by Grant Morrison & Chris Sprouse, Frazer Irving, Yanick Paquette, Georges Jeanty, Ryan Sook, Lee Garbett, Andy Kubert…

Hmm, much like FINAL CRISIS you may find this needs a couple of readings to completely understand what’s going on, although that isn’t necessarily a bad thing as this is also a most enjoyable romp. Without giving too much away it seems that far from being killed by Darkseid’s Omega Beams at the climax of FINAL CRISIS, Bruce was in fact contaminated with Omega Energy and quite intentionally thrown back through history to Palaeolithic times. As he gradually slips forward through different time eras he’s accumulating more Omega Energy than Stephen does caffeine on a Wednesday sorting the customer orders, until he reaches the modern era where Darkseid intends him to detonate like a bomb wiping out all existence. Still Bruce being Bruce, and despite suffering from nearly complete amnesia, he’ll undoubtedly come up with a plan to save himself, and everyone else. As Superman observes, surviving is what Batman does.

What follows then is a reverse detective story in a sense, as clues Bruce has left for himself (how he’s done this finally becomes clear in the last part of the story) to find throughout time gradually restoring his memories, and allowing him to come up with a very ingenious way to foil Darkseid’s plan. Along the way we have cameos from Vandall Savage (twice, in different time eras), Blackbeard the Pirate, Jonah Hex, Doctor Simon Hurt of the Black Glove, and most of the JLA who are trying to understand where – or more precisely when – Bruce is, so they can help rescue their friend without him destroying everything. This last point is key, because there comes a moment when Bruce has to remember the first truth of Batman in order to finally save himself, that in fact he was never alone.

Morrison mixes in some nice little touches of hard sci-fi to the story for good measure, particularly when the heroes are gathered looking for clues of Batman’s whenabouts (more unabashed neology I’m afraid, Morrison tends to have that effect on me) at Vanishing Point, the temporal space station moored at the end of all time (no, there isn’t a restaurant) operated by the Linear Men.

And the distinctly different art contributions from everyone helping delineate the different time periods are all excellent, my favourite probably being Frazer Irving’s in puritan times which very much reminded me of his contribution to parts of Morrison’s outstanding Seven Soldiers Of Victory.

Overall it’s another very good Bat-book from Morrison, which has some of the zany feel of his BATMAN & ROBIN works in places as Grant has fun with some of the characters, but is actually much closer in tone to his BATMAN R.I.P. and the other immediately preceding books.


DC Universe Online Legends #1 (£2-25, DC) by Marv Wolfman, Tony Bedard & Howard Porter, Livesay.

Cynically conceived advertisement for (and cash-in on) the new online computer game which scores a double own goal on account of being atrocious. It’s dull, turgid and – the first page aside – I can see little of Porter’s flair. It’s the worst possible advertisement for the game and the worst advertisement imaginable for comics. Come back, Death Of Superman, all is forgiven.


Also shipped:

(Reviews may follow, softcovers of hardcovers may already be online…)

Lost Boys: Reign Of Frogs (£9-99, Wildstorm) by Hans Rodionoff & Joel Gomez
On The Line (£9-99, Device) by Rick Wright & Ryan Hughes
Quest For The Spark: A Bone Novel: Book One (£8-50, Scholastic) by Tom Sneigoski
Sonic Select vol 3 (£8-99, Archie) by Various
Kiki De Montparnasse (£14-99, Self Made Hero) by Jose-Louis Bocquet & Catel
Big Nate From The Top (£7-50, by Lincoln Pierce
Air vol 4: A History Of The Future (£10-99, Vertigo) by G. Willow Wilson & M.K. Perker
d’Errico: Femina & Fauna (£16-99, Dark Horse) by Camilla d’Errico
The Flash: The Dastardly Death Of The Rogues h/c (£14-99, DC) by Geoff Johns & Francis Manapul & Scott Kolins
Marvel Masterworks: Fantastic Four vol 5 (£18-99, Marvel) by Stan Lee & Jack Kirby
Shadowland h/c (£18-99, Marvel) by Andy Diggle & Billy Tan
Spider-Man: Big Time h/c (£14-99, Marvel) by Dan Slott & Humberto Ramos
Namor: The First Mutant vol 1 s/c (£10-99, Marvel) by Stuart Moore & Ariel Olivetti, Andres Guinaldo
Invincible Iron Man vol 5: Stark Resilient s/c (£11-99, Marvel) by Matt Fraction & Salvador Larroca
Daken Dark Wolverine vol 1: Empire h/c (£18-99, Marvel) by Daniel Way, Marjorie Liu & Giuseppe Camuncoli
Biomega vol 5 (£9-99, Viz) by Tsutomu Nihei
Naruto vol 50 (£7-50, Viz) by Masashi Kishimoto
InuYasha vol 6 VIZBIG Edition (£14-99, Viz) by Rumiko Takahashi
Mistress Fortune (£6-99, Viz) by Arina Tanemura
Kimi Ni Todoke vol 7 (£7-50, Viz) by Karuho Shiina
Gin Tama vol 21 (£7-50, Viz) by Hideaki Sorachi
Tegami Bachi – Letter Bee vol 4 (£7-50, Viz) by Hiroyuki Asada
Slam Dunk vol 14 (£7-50, Viz) by Takehiko Inoue
Genkaku Picasso vol 2 (£7-50, Viz) by Usamaru Furuya
Doctor Who vol 3: Final Sacrifice (£14-99, IDW) by Tony Lee, Jonathan L. Davis, Matthew Dow Smith, Al Davison & Matthew Dow Smith, Kelly Yates, Matthew Dow Smith, Al Davison
Ben 10 Alien Force / The Secret Saturdays (£9-99, CN) by Matt Wayne, Charlotte Fullerton, Amy Wolfram, Jason Hall & Rob Haynes, Mike Cavallaro, Mike DeCarlo, Min S. Ku
One Piece vol 56 (£7-50, Viz) by Eiichiro Oda


Happy Birthday to Gosh! comic shop opposite the British Museum in London. 25 years old this week! Drop them a birthday greeting:

Go on, it won’t cost you anything, and they deserve all the love in the world.

– Stephen

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