Reviews October 2014 week three

October 15th, 2014

“Okay, this… this looks bad. Is there a plan here, Kate?”

Oh, Kate, of course you’ve no plan. You’re as bad as Clint is!

 - Stephen on Hawkeye vol 3. There’s a new Blacksad below as well.

The Motherless Oven (£12-99, SelfMadeHero) by Rob Davis.

“Mums know more than they let on.”

Never were truer words written.

“They say it’s natural for mothers to be protective of their kids. I don’t see why. They need protecting as much as we do.”

Welcome to a graphic novel that is so wickedly new and so densely inventive that comparison points virtually elude me.

Its warped reality reminds me of Gorillaz tracks with their attendant videos. There are weather clocks issuing knife-storm warnings; instead of the goggle box there’s a Daily Wheel to watch; and teenage Scarper Lee may not know his birthday but he certainly knows his deathday: it’s in three weeks time.

I shouldn’t be surprised and I’m not: THE MOTHERLESS OVEN comes from Rob Davis, the creator of THE COMPLETE DON QUIXOTE and the instigator, director and chief writer of NELSON, another all-time classic which – like the equally original THE NAO OF BROWN – won the British Comic Awards for best graphic novel of its year, deservedly.

Everything here will sound so very familiar although almost everything here has been turned on its head. Truths are often much more enlightening when seen from a fresher perspective.

It is a truth universally acknowledged, for example, that children are created by parents – not just by procreation but by osmosis as well: nature and nurture. The behaviour of parents rubs off on their progeny. But even without the following reversal, the behaviour of children must surely, similarly, rub off on their parents? Or at least wear them down. Or buoy them up. We just haven’t given that enough consideration yet.

But what if children created their parents? We might look at things differently then, and so now we do.

“We were sat on Peter Cake’s Mum as usual. Pete’s Mum used to be a dinner lady at the school. She had a breakdown in the playground a few months back and no one has come to pick her up yet. It’s funny, Pete never used to go near her when she was working.”

It is so typical of Rob Davis’ love of language that he bestows on the word “breakdown” two different meanings with identical results.

In THE MOTHERLESS OVEN, you see, children fashion their parents as paintings or mechanical objects as if made from Meccano, and Pete’s Mum had a physical breakdown like any old car and a mental breakdown like any highly stressed, under-paid, overworked parent trying to provide with a job. Now she just lies there where she fell, inert, like so much scrap metal. They sit on her.

“Turned out today is the day they tow Pete’s Mum away. They’ll take her to the Mother Ruins, unless Pete’s Dad can get permission for a permanent residence in their front garden. He wants to turn her into an ornamental fountain.”

Another play on words: Mother’s Ruin becomes Mother Ruins and wait until you see that nurseless nursing home.

Scarper Lee isn’t a misanthrope. He actually cares. He’s just very private and prefers sitting at home. He’d rather not be bothered with people.

Then along comes Vera Pike, the most bothersome girl in the world, and Scarper Lee can’t get her out of his head. She’s direct, disruptive and completely unphased by the weather. She’ll even go out in a knife storm, carrying a thick wooden table over her head like an umbrella.

“You don’t like the laughing gales, then? You do realise the wind isn’t laughing at you, don’t you? I mean, you’re not so vain and neurotic as to think that, are you, Scarper?”
I know for a fact the wind is laughing at me…
“Having said that, if the wind is laughing at you, you might as well just laugh along, right?”

Needless to say, at school she’s immediately shunted off into the deaf unit where all the kids with “special needs” go – just like Castro, whom she calls her “new toy”. Castro has “medicated interference syndrome”, with a “brain aid” to modulate his behaviour.

“Just watch him go when I turn it all the way up! Ask him a question. Go on, Scarper, ask him anything!”
“Y’alright, mate? Your nose is bleeding! D’you need a tissue?”

I told you he cared.

Scarper cares most about his Dad, a brass, land-bound boat yacht whom he polishes meticulously every Sunday, tightening his seals. He keeps his Dad chained up in the shed for his own safety, though on Saturdays he’ll sail down the pub, as you do.

Saturdays are the best!

“Saturday is the day when I feel like I can see the horizon. It’s the day that doesn’t ask for anything and is happy with what you give it.”

That’s a fabulous page: a small-town high street on a sunny day with a thrilling, open perspective. There are shops, snap-frame A boards and Scarper himself, idling along the pavement in a striped jumper and jacket and tight, black denim jeans. You might not even notice the parents being driven down the road.

Davis’ designs on the Daily Wheels are well worth studying closely, but it’s his faces and figure work I love most: lithe forms with slim legs, and Scarper’s bushy hair, bulbous bottom lip and eyebrows as thick as big, black caterpillars frowning deep over his eyes. Ian Culbard told me Mike McMahon is a huge influence on Rob and I can see that, transformed here into something a lot less angular and cheekier so I’m sticking with my Jamie Hewlett comparison. It creates a stark contrast with the sculptures, murals and trundling mechanical objects which are everyone’s parents.

The grey, pen-brush washes are warm and soft, while the knife storms – kitchen-knife storms – are stark and sharp and I’m never going to complain about hail again.

As to the inventiveness, it’s thoroughly organic. Davis doesn’t just drop a pun and run. He rolls an idea out, rolls it around in his mind, follows it through then sits it spinning in yours, whether it’s nature, billboard newspapers, circular history, Castro’s Mum or the secret of the Motherless Oven itself. Here’s my favourite exchange, Scarper being “reassured” by his headmaster about his impending deathday:

“When I was your age, a classmate of mine faced his deathday in year eleven, just like you. And, just like yours, his deathday was on a Wednesday. I saw him on the morning of his death, stood at the bus stop. His mother was beside him, leaking everywhere. His father, it turned out, was hiding in his pocket…

“He did all his lessons that day and afterwards played for the school football team against the local girls’ school. Thirty minutes in, a big girl with an eye patch stood on his leg and snapped his shin. The poor fellow bled to death on the halfway line.
“The boy’s father remained in the lost property box for years. The mother went quite doolally, I’m sad to say.
“She had a propeller hairstyle, all the rage in those days – damn thing went into a hysterical spin cycle. Ripped her head off her shoulders. It flew around the school for weeks before the groundsman shot it down.”

So with his deathday approaching and the clock ticking inexorably on, what will Scarper Lee do with the little time left? Momentum doesn’t seem to be something he’s ever built up. He’ll probably just stay at home with his Mum and Dad.

Ah. And then that happens…


Buy The Motherless Oven and read the Page 45 review here

Blacksad: Amarillo h/c (£13-50, Dark Horse) by Juan Diaz Canales & Juanjo Guarnido.

“I’ll just try to find a nice, quiet job here, where I don’t have to dodge bullets and nobody winds up dead… for a change.

Did you know that Walt Disney’s Bambi was originally a flop? It’s hard to believe these days, but the only thing that saved the studio was the Pentagon hiring it for propaganda purposes during WWII.

I mention this because we have a long love of anthropomorphism and most unused to comics usually associate the genre with childhood pleasures like Alice Through The Looking Glass or Winnie The Pooh. But don’t be deceived: like so much anthropomorphism in comics (MAUS!), BLACKSAD is decidedly adult in nature.

All the characters are bipedal animals working, living and loving like we do and they can be equally vicious and flawed. BLACKSAD VOL 1 contained one particularly powerful story involving racism, segregation and lynching using each creature’s colour to clever effect, while its star, P.I. John Blacksad, is a big black cat… with a patch of white on his chin. What I inferred from that is here – for the first time, I think – expressly explored when a hitch-hiking John is forced to endure the charmless verbal diarrhoea of a truck-driving macaw.

Yeah, don’t worry: it has been translated – the book is in English!

BLACKSAD books are all period pieces: the Cadillac on the cover isn’t a classic yet, it’s current. One glance at the glorious, dark grey spread preceding the story itself instantly reminds one of Will Eisner works like A CONTRACT WITH GOD set fairly and squarely in a bustling, fully functioning, very specific environment.

The level of craft on Disney-trained Guarnido’s part is mesmerising. When it comes to architecture, both exterior and interior, Guarnido is on a par with animator Hayao Miyazaki for detail. His line is seductive – both sharp and smooth – making it impossible not to linger on the curves of wood, the folds in bunched drapes, the intricately patterned rugs or even the general desk clutter which you’d normally not even register.

In BLACKSAD: A SILENT HELL there was a sunlit courtyard cafe dappled in leafy shadow, a funereal street scene populated by dozens more mourners than you’d think you could fit on a page, and even a thirty-page art class in the back, Guarnido explaining his compositional decisions through preparatory sketches and paintings – enlightening for aspiring artists of any genre, not just anthropomorphism. Here there’s a sunny, open airport, a grand old railway station foyer and one hell of a motorbike for Blacksad to stand astride on.

His clothes are so slick, sleek and attractive that you could actively consider them well pressed, and the expressions on each of these creatures are exquisitely realised each and every time – animal versions of our own, exaggerated with such energy that you’ll be grinning from cover to cover.

It begins with a moment of bravado by the private swimming pool of author Chad Lowell, a lion who’s spent two years on his latest manuscript in the days when there often was only one – no back-ups. His supposed friend and fellow writer, poet Abraham Greenberg, ducks then holds Chad’s head underwater, then sets fire to his own poetry before lobbing Chad’s scroll at the pool. The red-check-shirted Bison thinks this is funny.

“No guts, no glory, Chad. Give your story a happy ending for once, and leave that roll of paper in some toilet, where people can put it to good use.”

Chad catches the script – just – but the expression under his mane, dripping with water, says it all.

John Blacksad, meanwhile, is considering a change of career when his sharp eyes and act of kindness at an airport earn him the respect and trust of a wealthy, outbound bull. He needs someone to drive his expensive yellow Cadillac back to his house in Tulsa, so hands John its keys.

“Ya seem like a straight shooter, son – the kind who stays outta trouble.”

And he does seem that but we, by now, know differently. Blacksad’s a trouble-magnet, his sense of fair play his undoing, and the raw iron filings heading his way are those loose-cannon writers. Bloody writers, eh?


Buy Blacksad: Amarillo h/c and read the Page 45 review here

Hawkeye vol 3: L.A. Woman s/c (£11-99, Marvel) by Matt Fraction & Javier Pulido, Annie Wu.

“Okay, this… this looks bad. Is there a plan here, Kate?”

Oh, Kate, of course you’ve no plan. You’re as bad as Clint is!

Much of the mirth in HAWKEYE has been watching Kate Bishop, the younger, female and infinitely more clued-up Hawkeye, pick up the pieces of her mentor Clint Barton’s balls-ups. They have been manifold, and Kate has been constantly peering over her sunglasses at the archer / Avenger with a mixture of recrimination and resignation. Now it transpires that our equally impetuous Ms Bishop is equally prone to pratfalls.

I’ve described HAWKEYE as being a book about helping people starring the one guy who cannot help himself. We’ve now swapped coasts – New York for Los Angeles – as well as sharp-shooters’ perspectives, but hilariously nothing has changed except the age and gender of the dive-in-first and wonder-what-on-earth-went-wrong wrong-righter.

Okay, no, the artists have changed as well. While Aja will return along with Clint Barton in HAWKEYE VOL 4, Kate’s West Coast sabbatical is introduced by Javier Pulido who will delight Darwyn Cooke fans with a fine line in fashion coloured by Matt Hollingsworth as if L.A. was the brightest, most beautiful city with the freshest air in the world.

As Annie Wu takes the driving seat things grow much darker, though the body language – both broken and indefatigable – can rarely be beaten along with the facial ticks which reveal exactly what our Kate’s thinking long before she’s uttered a word.

Kate Bishop has set off for L.A. in a very flash car after finally losing patience with Clint as well as her cash-rich father.

“Kate, let your mother get you a little something to drink.”
“She’s not my mother.”
“Well, no, but I hope, maybe with time, you’ll begin to think of me as –“
“You’re three years older than me. We were literally in school together, Heather.”
“That was a nice time. Diazepam?”

Lovely touch with the Jack Kirby Sue Storm portrait in the background there!

Unfortunately before she even turned her ignition key Madame Masque had Kate in her revenge-seeking sights and arranged for her credit card to be bled, her stuff to be stolen and that car won’t last long, either. Broke and homeless, Kate is determined to reverse her misfortune by taking on taking on jobs as a Private Investigator. Alas, she has no knowledge of the law and absolutely no knack for investigating privately. She’s spotted within seconds. Also, swimming pools aside, L.A. isn’t all it’s cracked up to be:

“People can be so mean to each other and out here you can take bus tours to get better views of it all.”

But, as I say, this book at its heart is about helping people and, oh, it has so much heart!

There’s the tragic case of the Bryson Brothers who essentially were The Sixties to some. But the musical one, Will, became so absorbed in his masterpiece ‘Wish’ that he could never complete it to his own satisfaction so his production-orientated brother, Grey, could never release it. They’re now old, ill, and at odds in a sequestered mansion.

“It’s like if Mike Brady designed the Bates Motel. If I had to live here for 60 years I bet I’d have gone full Syd Barrett m’self…”

Fraction fills every page with these pop culture references both contemporary (which Kate mostly gets) and less so (mostly not, but please see above). It’s a completely different approach to writing a superhero comic that this isn’t one. Never has been. It’s an action-adventure comedy of manners.


Back to the heart of this book, and the first case Miss Bishop chances on involves her neighbours Marcus and Finch who, after waiting so long to be married, find their perfect day in danger of being ruined when the orchids of Marcus’ dream-vision are stolen. You won’t believe how fast that escalates and where it eventually leads to. Nor will Kate, but it all comes beautifully – yet appallingly – full circle.

Before then, however, there’s plenty of time to exasperate the L.A.P.D.’s Detective Caudle, infuriate Flynt Ward The Weed Lord (it is all legal there) and throw in a great many cat jokes while the mysterious man in the market aisle, a certain Harold H. Harold (you’ll never guess his middle name), offers words of encouragement at every wrong turn. Will our couple ever get their orchids back and their wedding on track? Regardless:

“Oh honey. You are my happily ever after.”



Buy Hawkeye vol 3: L.A. Woman s/c and read the Page 45 review here

Jacques Tardi World War One Box Set: It Was The War Of The Trenches h/c & Goddamn This War! h/c (£29-99, Fantagraphics) by Jacques Tardi with Jean-Pierre Verney…

To commemorate the 100th anniversary of the start of WWI, Fantagraphics has released a two-volume boxed set of these classics.

Of volume 1 I wrote…

“Joyful, despite their grief, are those families whose blood flows for their country.”

- General Rebillot December 13th, 1914

“Bastards, bastards, miserable fucking bastards! Fuck the army! France can kiss my ass!”

- Private Jean Desbois, 3rd Company of the 115th French Infantry November 27th 1916

Very powerful collection of short stories from the trenches of WWI which certainly will appeal to aficionados of CHARLEY’S WAR. Start with the premise that no one is actually going to get out alive – well, maybe one or two but they’re certainly not intact – and you’ll understand the approach Tardi is taking here. Not that it’s overly gratuitous, far from it; it’s merely realistic. Many a story actually starts with the knowledge that the protagonist ends up dead or disfigured and then lets things unfold so we can see exactly how inescapable their fates are in the wasteland of battlefields and trenches.

Possibly my favourite story (entirely the wrong word to use, really) involves the man who somehow survives all night in a shell crater in No Man’s Land wearing his gas mask after being gut-shot in the midst of yet another suicidal, failed attack. First light sees the maskless stretcher bearers coming towards him and, thinking he’s going to be evacuated home for certain with his wounds, he takes off his gas mask. Unfortunately for him, as he immediately remembers, mustard gas is heavier than air and the shell crater he’s laid up in is in fact a pocket of the undispersed toxin which instantly decimates his lungs and eyes. Tardi always approaches the stories from the most human of perspectives, which of course makes the inevitable bleak endings even harder to bear. I think that’s probably why most of the stories do start off with the denouement revealed to us, so that we’re already steeling ourselves for what’s to come.

The neo-’clear line’ art is classic Tardi, conveying significant details with apparent minimal effort and a certain distinctive rotundity of style that I really like. Something that suddenly hit me was the frequent lack of complexity in the structure of certain peoples’ faces throughout the book, and then you realise in fact he’s making their faces look almost skull-like as they approach their deaths. It’s powerful, shocking, and truly manages to capture the almost unbelievably hellish landscapes that were the battlefields of Western Europe in World War I.


This work is a fine starting point for people unfamiliar with Tardi and will almost certainly make you want to have a look at his WEST COAST BLUES about a depressive Parisian who accidentally witnesses a murder and is subsequently hunted by a pair of hit men who just happen to be lovers. It’s something which all noir fans out there really, really should be picking up and just aren’t for some reason. If you’re looking for a different creator to try, I sincerely suggest you try some Tardi.

For more, please see my GODDAMN THIS WAR! review with interior art.


Buy Jacques Tardi World War One Box Set: It Was The War Of The Trenches h/c & Goddamn This War! h/c and read the Page 45 review here

Hip Hop Family Tree Box Set: 1975-1983 (£45-00, Fantagraphics) by Ed Piskor…

If it were not enough that this box set collects both volumes of Ed Piskor’s epic chronology of the music form that first shook the South Bronx then the rest of the world, in a robust and bombastically designed slipcase (and you can read my reviews of both volumes below), there is the added ‘bonus’ of the exclusive ‘Milestone, Variant, Limited, Ashcan Edition’ Hip Hop Family Tree #300 with its gold-embossed Cable-esque flashing-eyed Rob Liefeld on  the cover.

Featuring the story as Ed so aptly describes it, of an ‘unconventional pairing of David Bowie / Bing Crosby proportions’, when Spike Lee picked up-and-coming comics creator Liefeld out of 700,000 entries in 1990 to feature in the next Levis Jeans commercial. I don’t think it ever aired in the UK, I certainly don’t remember it, so for those of you that have never seen it just click on the following link and marvel that someone could actually make such an epically awful advertisement…

I am particularly amused by the part where Rob is asked if he has any formal art training…

Of volume 1 of Hip Hop Family Tree I wrote…

“DJ Kool Herc is already a legend in the borough, but this doesn’t stop him from constantly practicing and experimenting to make his shows as enjoyable as possible. Using 2 copies of the same record he discovers that he can loop the instrumental breaks in his favourite music ad infinitum, if he chooses so. Tinkering in his apartment with the window open, he realises he’s on to something. Mixing one break into the break of a different song, a term he calls “merry-go-round,” becomes a part of Kool Herc’s arsenal. Adding such complexity to his performance, he makes the decision to enlist a friend to emcee and handle duties on the microphone.”

One of the most comprehensively researched examinations of the beginnings of hip hop I think I’ve ever read, and I have read a few, the prose work It’s Not About a Salary… Rap, Race and Resistance in Los Angeles by Brian Cross being a firm favourite though that obviously only takes in a West Coast perspective, and a slightly different time period. This work looks at the true beginnings of the scene in mid-‘70s downtown New York from parties in parks and baseball courts, DJ and MC battles in dancehalls, through to the eventual wider public recognition due to radio exposure and the early vinyl releases, and the evolution of the music itself into what we would understand as the modern day rap genre.

The ability of comics to transport you to a time and place in a manner that prose works just cannot match is demonstrated here as Ed perfectly captures the nature of street life and the crazy characters at that time. I did also like the fact that in one of the after pieces, he explains how you can dissemble hip hop considerably further back, but obviously you have to say there was a definitive point in time where hip hop as we know it began, and Kool Herc discovering the concept of mixing will do nicely for me. I can well imagine it was a transcendental moment for the good DJ!

It’s all the little anecdotal facts Ed just continually slips in that blew me away though, my absolute favourite being that Afrika Bambaataa was a massive fan of Kraftwerk! It shouldn’t surprise me really that such a muso would appreciate a not entirely dissimilar branch of music, it’s I just had never thought that the leader of the hardcore Black Spades gang would be chilling out to Trans Europe Express!

Fans of hip hop need this work, everyone else just won’t be bothered probably, but that’s fine. Ed seems far more interested in taking on projects that interest him personally like this one and WHIZZYWIG, and when he is doing it so brilliantly it is clearly all about reality and not the salary for him. Sorry, couldn’t resist slipping in one lyrical gag. Must just mention the gallery of artists at the end, which other creators have contributed to too, Jeffrey Brown’s Beastie Boys looking like butter wouldn’t melt in their mouths. You can scarcely credit the Daily Mail tried to have them banned from ever entering the UK all those years ago, being such a threat to the morals of the nation’s youth and all…

Of volume 2 I wrote…

“Why you lookin’ at me like that, Russell?”

Ha! I do love Ed’s portrayal of Russell Simmons, and I am pleased he gets the props here – to use the street parlance – that he so richly deserves, for his huge part in the explosion of Hip-Hop and its subsequent introduction to the club-going and record buying masses. He remains a fascinating bloke to this day, actually: a staunch vegan, transcendental meditation practitioner, and long-time supporter of gay rights, inter-faith dialogue and social activism. But, back in the day, his interests were somewhat more focused on getting paid by finding new musical talent, and having a good time.

That he kept his younger brother out of the studio for so long, despite his ever more vocal protests, is all the more amusing when you know his brother is Joseph Simmons, or as he soon became far better known, Rev. Run of iconic hip-hop grandmasters Run-D.M.C. When he finally let his brother and his mate into the studio, ostensibly to shut them up, Russell quickly realised he had struck not just gold, but multi-platinum. Their first few gigs as a lyrical duo, though, were something of a trial by fire, getting ridiculed for their check jackets and flares stage outfits. Cue one typical flash of Russell Simmons’ genius later, as he spied a casually dressed, hat wearing, sneaker pimped, ghetto blaster toting Jason “Jazzy Jase” Mizell entering the studios whilst debriefing the boys, and the fresh and fly trio of Run-D.M.C. that we know and love today were born. In an era of ever more surreal and outlandish performers’ costumes, their laidback street attire was exactly what was required to appeal to the masses.

The little nugget I have just described above takes up barely a couple of pages of this magnificent second volume, which explores 1981-1983, detailing the continuing, burgeoning public acclaim of the early pioneers like Grandmaster Flash, Melle Mel and Arika Bambaataa, whilst revealing the childhoods and very early days of future legends like Run-D.M.C., the Beastie Boys, Public Enemy and NWA. This series of books, for I assume Ed is going to continue onwards past 1983 which is where this volume concludes, is vital reading for anyone wanting to know more about this era of music. His knowledge of his subject is truly encyclopaedic, but the piecing together of all the various insane anecdotes to produce a coherent and engaging narrative is magnificent craft, and he captures the raw charisma and sheer chutzpah that many of the performers, who had polished their skills on the mean streets the hard way, possessed in abundance. Confidence, usually, was the one area they were not lacking in. Naivety in dealing with record labels, on the other hand…

Just going back to sartorial elegance, or the lack thereof, it takes some believing these days, the outfits some of the early pioneers used to wear. There is a great little scene where someone gets extremely excited over Ice T’s first proto-single simply because he looks like he is straight out of Mad Max. And I am talking Beyond Thunderdome, not Road Warrior… In fact when you look at how Afrika Bambaataa and his acolytes dressed around this period, you can perhaps understand how it wasn’t that big a stretch to someone coming up with the Village People…

I think the connections and friendships Ed details, between various apparently very disparate elements of the wider music and arts scene, particularly in New York, are absolutely paramount to understanding the fast-moving morphology of music at a time where public exposure was also exploding exponentially through MTV, which launched in August 1981. There are some bizarre friendships, occasionally of complete convenience, which you would never expect, yet in retrospect make perfect sense, both musically and indeed fiscally. So when a certain ginger, wild-haired chancer called Malcolm McLaren starts to take an interest in how he can export Hip-Hop to the UK, he insinuates himself into the scene like the veritable social and musical chameleon we now know he was, glad-handing and appropriating everything he needed for his next sonic experiment. Whether the tracks Buffalo Gals and Double Dutch deserve to be mentioned in the same breath as the canon of truly great hip-hop records isn’t for me to decide, but we can’t dispute they certainly played their dancefloor-filling part in helping to bring hip-hop to the UK.

I really do hope Ed continues with this work, not least because his still has a few years to go before hitting my own personal era of getting into rap and hip hop, circa 1988. That all began with catching the Public Enemy video for Don’t Believe The Hype on Top Of The Pops one Thursday night and simply thinking, “What on earth is this?” I did already like a bit of Chicago House at that point, probably had heard some of the Grandmaster Flash and Melle Mel stuff, but one purchase of “It Takes A Nation Of Millions To Hold Us Back” later the following Saturday and a lifelong love with that genre had well and truly begun.


Buy Hip Hop Family Tree Box Set: 1975-1983 and read the Page 45 review here

Explorer vol 3: The Hidden Doors (£8-50, Scholastic) by Kazu Kibuishi, Jason Caffoe, Jen Wang, Faith Erin Hicks, Johanne Matte, Jen Breach, Steve Hamaker, Douglas Holgate…

Another volume in the Kazu AMULET Kibuishi-curated anthology series where the seven completely different stories are only tenuously linked by the barest titular premise, in this case the hidden doors. So, the doors in the respective stories lead to: hidden parts of a patient’s mind, a giant’s kitchen, the person the opener really wants to be, a grand adventure but it requires two people to walk through together, a very unusual munitions bunker, a haunted tomb in a pyramid, where monsters are. Right, I think that last sentence just about makes grammatical sense.

As before the stories are all-ages fun, ranging from the all-out comedic through to some speculative fiction, with some great twists thrown in along the way. The key word is fun, though, and the contributors without exception all produce the goods. I think my favourite this time around is ‘Two-Person Door’ by FRIENDS WITH BOYS’ Faith Erin Hicks, due to its thought-provoking nature. I can imagine it giving a few kids some pause for thought as they think the potential ramifications through.

Definitely worth picking up if you’ve finished your copy of AMULET VOL 6 already…


Buy Explorer vol 3: The Hidden Doors and read the Page 45 review here

Costume Quest: Invasion Of The Candy Snatchers h/c (£18-99, Oni Press) by Zac Gorman…

I want candy. Which, I mention for no other reason than to amuse myself reminiscing about the classic Bow Wow Wow single. Well, maybe not the only reason, for our cast of lil’ monsters, or Grubbins as they are known, want candy too. Lots of it. But there is a nationwide shortage in their home dimension of Repugia, so whatever can they do? Well, it’s fast approaching Halloween, so they hatch the crazy idea of hopping through a magical portal into the human world to gatecrash the time-honoured tradition of trick or treating. Given that they already look like they are in costume, they expect it’ll be just like stealing candy from errr… dim-witted adults.

In fact there will be more sweet-pilfering going on than in the much-missed pick n’ mix departments of Woolworths (even as honest a child as myself couldn’t stop purloining the odd fizzy cola bottle as I went to peruse the latest singles and drool over Annabella Lwin…) as Klem and his sidekicks find themselves assailed by older, sugar-hungry bullies on both sides of the portal. Then there is the ‘slight’ added danger that once the portal closes at midnight on Halloween, it won’t open again for a whole year! It’s going to take all Klem’s considerable cunning for the friends to make it back to Repugia at all, never mind with their haul of goodies intact.


I am a bit of a curmudgeon when it comes to trick and treating, I must confess. I find the concept of myriad kids hammering on my door all night a total pain in the arse, to be frank, and I am dreading the day when my daughter is old enough to want to go out doing it herself. With me in tow, no doubt. Though bizarrely, last year was the first time we had got sufficiently organised to get shed loads of sweets in preparation, and there was not a single knock on our door… The wife and I kept looking out of the upstairs window wondering why on earth all these costumed kids (and adults) were avoiding us, wondering if the preceding ten years of closing the curtains and blatantly ignoring the door knocking had finally had the desired effect. But no, apparently you have to have a lantern in the window now, or some such, to indicate you are happy to be visited by junior ghouls and spooks. Which is a good thing, I guess, as it avoids the kids getting upset when people don’t answer the door, and the curmudgeons can just get on with doing whatever it is they do behind their curtains.

I seem to have digressed. I really enjoyed this work. It was funny. The art is a fizzing, colourful treat too, with the antics of the young Grubbins garishly illustrated in a manner that suggests the artist had consumed rather a lot of E numbers himself. The older bully Grubbins being just monsterly enough too, without being too scary for the youngest readers or listener / viewer in my daughter’s case. This was definitely a hit with her, and me, there being enough story and jokes to hold my marginally more demanding adult attention too.


Buy Costume Quest: Invasion Of The Candy Snatchers h/c and read the Page 45 review here

Manga Dogs vol 1 (£8-50, Kodansha) by Ema Toyama…

Sometimes you can look at a manga and see precisely which recent high-selling title has ‘inspired’ it. Without a shadow of a doubt this has been conceived following BAKUMAN, an intriguing story by the creators of DEATH NOTE, following two high school students wanting to be manga masters. There were some romance elements thrown in the mix but, by and large, it was a fascinating look behind the scenes of the insane workload that goes into creating, then sustaining, a hit manga series, the whole process of getting published, initially in Shonan Jump magazine, then in book form, and if you’re particularly lucky, the anime spin-off. They also do frequently mention the well used concept of, shall we say, emulating a premise whilst transplanting it into a different genre, to try and come up with a hit…

This work is neither as serious nor remotely realistic as BAKUMAN, but it does have the same relentless energy and sense of fun to it. Kanna Tezuka is a fifteen-year-old manga prodigy. She has already achieved the near-impossible feat of getting something published in a Shoujo magazine, but is concerned enough about maintaining the popularity of her series to enrol on a new manga-drawing course at her high school. Thus neatly introducing the most ubiquitous trope in manga as the setting for our yarn. I really don’t understand the Japanese fascination with manga set at high schools, the pupils being ghosts, witches, vampires, zombies and indeed even normal children, indeed sometimes a mixture of all of those, but it clearly works as the setting for many a yarn.

What there is also in abundance in these high school works is romance, and make no mistake this is a Shōjo (sometimes spelt shoujo) manga aimed squarely at teenage girls. Which probably explains why the three other manga class members, all boys, become completely obsessed with Kanna. Once they realise who she is, they’re demanding that she becomes their manga sensei and teach them all she knows, which appears to be considerably more than the teacher. Kanna, meanwhile, somewhat unused to any male attention, let alone the close proximity of three rapt, attentive, and rather dishy males hanging on her every word, competing for her attention, and no doubt in the not too distant future, her affections as well, is unsurprisingly finding it rather difficult to even focus on drawing a straight line.

If you approach this type of work – and Yaoi as well for that matter – with the right attitude, and it is as well written as this, then it is rather difficult not to be amused by the comedy of manners and farcical humour of it all. In addition, I would even go as far as to say this title does have some genuine satirical points to make about the manga-creating industry, much like BAKUMAN does.


Buy Manga Dogs vol 1 and read the Page 45 review here

Crossed vol 10 (£14-99, Avatar) by Garth Ennis & Christian Zanier…

“Look, Harry, et me walk you out. There’s something I need to talk to you about. We’re having to cut our losses for the time being. Senior government personnel and their families are being moved to installations like this one, from which… well, hopefully we’ll be able to regain some measure of control, at least in the long term. Doctor Chopra is here. If anyone has a chance of finding an answer to this, it’s her and her team. But if we can’t… this is a location, along with details how to gain access. It should be seen only as a last resort.”
“Thank you. It was… sort of over before it began in a way, wasn’t it?”
“Prime Minister?”
“The way events unfolded, since they brought that poor bugger in here. It felt like we never had a chance. I mean, you think about other times the country’s been threatened… what they had to cope with… Churchill. He had all the time in the world. How does it go? We shall not flag or fail… We shall move into broad sunlit uplands… We shall go on to the end, and so bear ourselves…
“You’re actually combining two separate speeches, Prime Minister.”
“This is where I leave you.”
“Well, good luck to you, Harry. Thank you for everything.”
“You too, Prime Minister.”
“It’s been an honour.”

It’s a funny old series, CROSSED. Every time I think I have had enough of it, I just think, well, I’ll read the next volume, and I get dragged back in. I thought the slow-burning spin-off series CROSSED: WISH YOU WERE HERE by Si Spurrier was exceptionally well written horror from start to finish, with some extremely gory moments, certainly, but it never overpowered the storytelling.

Whereas with this main title, passed from writer to writer, hopping from plot idea to plot idea as it does, there have been some suspenseful, gripping story arcs, and then some that were just pure gore trash. The best arcs, frankly, have all been penned by series originator Garth Ennis, though I did also very much enjoy the one by Jamie Delano, and here Ennis has returned to a previous set of characters from the ‘The Fatal Englishman’ arc in CROSSED VOL 6, to write a prequel for them co-starring none other than Gordon Brown in his time as Prime Minister.

Yes, it’s not enough that Tony Blair left him in the shit with the economy, he’s managed to swerve Armageddon as well, a fact that doesn’t escape poor old Gordon, which did make me smile. The Prime Minister as he is written actually comes out of this with a lot of credit, unlike his weaselly sidekick Alastair – wonder who that is meant to be – but it certainly makes for a great story, seeing the beginnings of the outbreak in the UK from his unique perspective, hunkered down inside a secure bunker.

Except, except, the other co-star of this tale, who may or may not be the mysterious patient zero and originator of the virus, is brought to the very same bunker for observation by the scientists on hand. Maybe not the best idea Alastair has ever had to help out the Prime Minister…

Ennis is also planning to write a sequel to ‘The Fatal Englishman’ for issue 100 of the title, which I am already intrigued about giving how that arc ended. But in the meanwhile Kieron Gillen is up next on writing duties, and is apparently going to look at previous historical outbreaks, thus neatly counterpointing Uncle Alan Moore’s tale in the forthcoming CROSSED +100, which obviously is going to look at how humanity is coping 100 years after this current outbreak started. I think Avatar have  finally got the idea that people are actually more interested in the characters and stories associated with the CROSSED, rather than the gore per se, which in my opinion is best used, as here, for ridiculous comedic relief. If so, I’ll keep reading.


Buy Crossed Vol 10 and read the Page 45 review here

America‘s Got Powers s/c (£13-50, Image) by Jonathan Ross & Bryan Hitch.

A) My favourite superhero artist of all time, THE ULTIMATES’ Bryan Hitch.
B) That Jonathan Ross, much more at home than on TURF.
C) Sarah Palin lookalike (actalike too!)
D) Something to say.
E) Effectively said.
F) Funny in places to boot.

This is spectacular stuff set in San Francisco seventeen years after a giant blue stone lands there, and every pregnant mother within a five mile radius successfully gives birth. No matter how pregnant, they all give birth at exactly the same time. To children with gifts. With powers. Every single one except Tommy Watts, brother to Bobby, the boy who burned out on TV.

See, there’s a TV show called America’s Got Powers which is a bit like Gladiators but without the – no, which is exactly like Gladiators: preposterous posturing, rabid crowds and its most popular star is the biggest dick.

So anyway, Bobby Watts won all his battles but it cost him too much and he died.

Which was absolutely fantastic for ratings! Hurrah!

Reacting accordingly, the producers of the new season of America’s Got Powers have lifted all limits on the level of violence permissible: the mechanical Paladins will be bigger, operating at maximum force, and the combatants can use all the power they’ve got. That there may be more military motivation behind the rule changes, nobody has thought about yet…

There’s so much merely hinted from the start: the San Francisco Power Riots that prompted the development of these TV tournaments in order to channel the children’s attention and give them a controlled outlet for their potentially destructive gifts; the military’s beef with the project’s head scientist Professor Syell (David Tennant); and Syell’s latest discovery which does sound ominous, doesn’t it?

I can assure you it’s all going to go to hell in a helicarrier with poor Tommy Watts the pawn they’d make king. Well, dauphin, perhaps.

Some of the best bits initially, visually, are set high above the stadium (which I note is adjacent to Alcatraz); also in the cash-cow gift shops of the super-mall surrounding the arena, which may sound odd when one considers Hitch’s gift for hyper-dynamic fist-fights which are indeed stunning here, but I’ve always loved his architecture, his everyday faces and civilian clothing even more. New artists would do well to study his emphasis on storytelling in BRYAN HITCH’S ULTIMATE COMIC STUDIO.

It’s the quiet moments later on which bring the biggest heart and make the big, big moments explosive. Conversely it’s the gargantuan moments – on a scale with will make your eyes blister – that make the soft scenes so much more tender.

Jonathan Ross has relaxed and really thought this through: the chirpy commentators’ blithe blood-thirstiness as combat goes disastrously wrong is perfect and far from overplayed – the key being “blithe”, oblivious to their own crass, crowd-pleasing cretinicity and indifference to everyone’s healthy and safety including innocent bystanders.


Tommy is spontaneously iconoclastic without being a relentlessly rebellious smart-arse and – given the reputation of San Francisco’s Haight-Ashbury – I love that the teenagers who received their gifts from that big blue stone are called “Stoners”.

When the military powerplay escalates, dividing the kids into two blood-thirsty tribes with another caught in their middle, it is hair-tearingly tense. Also, I concede, somewhat dense with recrimination after recrimination and almost no hope for anything than a blood-bath solution. There will be nuclear missiles aimed at San Francisco by America’s own military with the threat of an equal and opposite reaction.

At this point you might consider this over-thought through, but I’d disagree. I abhor simplistic superhero series where one side is wrong from smacking people upside the head and the other is supposed right for doing exactly the same. Here it is clearly demonstrated that just as there are three sides to every coin, there are at least three sides to every argument – it’s just that the third side (a coin’s edge) is far more difficult to keep balanced and upright so why even bother when dogma is easier?

No, it’s not over until Ross and Hitch say it’s over and Senator Hindler (that Sarah Palin substitute) won’t take “No” for an answer. She’s tenacious and she’s got balls – you’ve got to give her that. She’s also as callous and egomaniacal as her original. Unfortunately for everyone, she isn’t an iota as stupid.

“What about his family?”


Buy America’s Got Powers s/c and read the Page 45 review here

Captain Marvel vol 1: Higher, Further, Faster, More s/c (£13-50, Marvel) by Kelly Sue DeConnick & David Lopez.

That’s right, Kelly Sue DeConnick, as in the gothic western PRETTY DEADLY. The cadence of that comic was perfect.

So, isn’t that a lovely cover? It’s fairly indicative of what lies within: softer than usual superheroic art for a softer than usual superheroic saga but make no mistake: Carol Danvers is a very naughty lady. You can see it the mischievous smile and the I-know-what-I’m-doing smile.

Except that Carol’s never quite known what she’s doing: not in the wider scheme of things, anyway. Once she was lost to alcoholism and became ultra-defensive to boot. Now she’s having a tryst with Rhodey, former pilot of War Machine now Iron Patriot. They seem pretty well matched.

“Tony Stark just tried to play me with the suggestion that you’re a better pilot than me.”
“I am.”
“In your dreams.”
“Let’s talk more about my dreams. I’m seeing you in a little black lace number –“
“Careful. Your heart.”
“A cocktail dress. Colonel Danvers. Who’s the one with the dirty mind here?”
“I am. I thought we established that.”

Alas, the subject which Stark was trying to play her on was the opportunity to head into space as part of a formal, rotating Avengers presence and it’s seems the perfect opportunity during which to find herself.

Fast-forward to the first page and Colonel Danvers (who in costume appears to accept demotion) has accepted and gathered a personal posse of intriguing individuals one of whom nearly crash-landed on Earth in an escape pod six weeks earlier. This is very much a space-faring saga and an appearance by the GUARDIANS OF THE GALAXY is guaranteed!

The ever-competitive exchange between Stark and Danvers takes place while they nonchalantly deal with a couple of lowlifes, killing two narrative birds with one rolling stone and thereby keeping the whole thing popping along at a bright and breezy pace.


Buy Captain Marvel vol 1: Higher, Further, Faster, More s/c and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?


Expecting To Fly #1 (£3-00, Scary Go Round Comics) by John Allison

Hellblazer vol 9: Critical Mass (£14-99, Vertigo) by Eddie Campbell, Paul Jenkins, Jamie Delano & Sean Phillips, Pat McEown

The Collector h/c (£25-99, Archaia) by Sergio Toppi

Action Philosophers h/c (£22-50, Dark Horse) by Fred Van Lente & Ryan Dunlavey

The Art Of Princess Mononoke h/c (£25-99, Viz) by Hayo Miyazaki

Adventure Time vol 5 (UK Edition) s/c (£8-99, Titan Books) by Ryan North & Shelli Paroline, Braden Lamb

Doomboy vol 1 h/c (£18-99, Magnetic Press) by Tony Sandoval

Kick-Ass vol 3 h/c (£22-99, Titan Books) by Mark Millar & John Romita Jr.

Locke & Key vol 6: Alpha & Omega s/c (£18-99, IDW) by Joe Hill & Gabriel Rodriguez

Satellite Sam vol 2 (£10-99, Image) by Matt Fraction & Howard Chaykin

All-New Ultimates vol 1: Power For Power s/c (£13-50, Marvel) by Michel Fiffe & Amilcar Pinna

Amazing Spider-Man vol 1: Parker Luck s/c (£13-50, Marvel) by Dan Slott & Humberto Ramos

Daredevil vol 1: Devil At Bay s/c (£13-50, Marvel) by Mark Waid & Chris Samnee, Javier Rodriguez

Deadpool: Dracula’s Gauntlet h/c (£25-99, Marvel) by Gerry Duggan, Brian Posehn & Reilly Brown, Scott Koblish

Iron Man vol 5: Rings Of The Mandarin (UK Edition) s/c (£12-99, Marvel) by Kieron Gillen & Luke Ross, Joe Bennet, Scott Hannah, Cliff Richards

Ms. Marvel vol 1: No Normal s/c (£11-99, Marvel) by G. Willow Wilson & Adrian Alphona

Powers vol 1: Who Killed Retro Girl? (£11-99, Marvel) by Brian Michael Bendis & Michael Avon Oeming

Uncanny X-Men vol 4: Vs. SHIELD (UK Edition) s/c (£12-99, Marvel) by Brian Michael Bendis & Chris Bachalo, Kris Anka

Ranma 1/2 2-in-1 vols 7 & 8 (£10-99, Viz) by Rumiko Takahashi

Usagi Yojimbo Saga vol 1 (£18-99, Dark Horse) by Stan Sakai


ITEM! AMULET’s Kazu Kibuishi painting digitally, live. And Kazu Kibuishi’s finished painting. Wow! Cannot recommended AMULET highly enough to Young Adults, Adult Adults or even Addled Adults.

ITEM! Gary Spencer Millidge’s STRANGEHAVEN returns in the pages of MEANWHILE and debuts at The Lakes International Comic Art Festival. Some beautiful interior art there, plus the anthology also features Sally-Jane Thompson.

Page 45 will have copies, of course, on sale on October 17th, which is a slightly special date for us…! All three previous STRANGEHAVEN volumes in stock now! Read why it’s a favourite of Alan Moore, Warren Ellis, JH Williams III and Bryan Talbot!

ITEM! Our own Jodie Paterson’s new greetings card, ‘Baby It’s Cold Outside, perfect for winter!

ITEM! Leeds Film Festival is showing a documentary on comicbook creator Seth for free! We love Seth and I write about that town constructed from cardboard in  PALOOKAVILLE #20!

ITEM! The British Comic Awards 2014 judges announced! The very long long-list of British Comics 2014 before the committee whittle it down to five in each category for the judges to judge.

ITEM! Tom Gauld’s cover to The New Yorker!

And lastly… pretty obviously…

ITEM! Page 45 Celebrates its 20th Anniversary on 17th October 2014 at the Lakes International Comic Art Festival.

Don’t forget our Friday night Page 45 20th Anniversay Boozebash at Ruskins in Kendal transformed – I kid you not – into The Batcave!

All the weekend’s details in the blog linked to above.

I’m going to try to write something new for the website in time for Friday, but if not you’ll just have to wait until our 21st Birthday Booze on Saturday 17th October 2015 in Nottingham. There will be speeches, for sure!

Thank you for everything. It’s been the most remarkable twenty years and I’m honoured to have spent them with you!

- Stephen

Final Reminder:

Page 45 Signings Schedule in Georgian Room, Comics Clock Tower

Saturday 18 October 2014:

Main Tables

10am – 12pm   Scott McCloud
2pm – 4pm       Glyn Dillon

Table 1

10am – 2pm      Dan Berry & Kristyna Backzynski
2pm – 6pm        Lizz Lunney & Joe List

Table 2

10am – 2pm      Jack Teagle & Joe Decie
2pm – 6pm        Jade Sarson & Donya Todd

Table 3

10am – 2pm      Sarah McIntyre & Warwick Johnson – Cadwell
2pm – 6pm        Fumio Obata & Dan Berry

Sunday 19 October:

Main Tables

2pm: arrival of 24 hour comic marathon limited edition comics and all creators available

Table 1

10.30am – 2pm     Liz Lunney & Donya Todd
2.30pm – 5pm      Fumio Obata & Joe Decie

Table 2

10.30am – 2pm     Sarah McIntyre & Dan Berry
2.30pm – 5pm      Warwick Johnson Cadwell & Joe List

Table 3

10.30am – 2pm     Jack Teagle & Kristyna Backzynski
2.30pm – 5pm       Jade Sarson & Donya Todd

Please see Page 45 20th Anniversary At The Lakes International Comic Art Festival blog for more details including our own show-and-tell times and The Art Of Selling Comics talk.

Reviews October 2014 week two

October 8th, 2014

Zoey is made up of layers and layers of the things that make *actual people* tick. And she’s the lead character in a serial killer story. *And* she’s female. *AND* she’s not a white blonde girl.

Well bloody hell.

  – Dominique on A Voice In The Dark.

Southern Bastards vol 1: Here Was A Man s/c (£7-50, Image) by Jason Aaron & Jason Latour…

“Earl… where you goin’, boy?”
“You know where I’m goin’.”
“Vietnam, huh. That’s a long damn way from here. Why you wanna go fight in some war that ain’t yours?”
“It’s the right thing to do, ain’t it?”
“Son, if you gonna go half ‘round the world just to die… least be honest with yourself about why you’re doin’ it.”
“Goodbye, Daddy. Goodbye, Craw County. Good Goddamn-bye, Alambama.”

Earl Tubb never expected he’d be back in Craw County. It’s taken the death of his father to bring him home. There’s his childhood house to clear out, purely to let a realtor put it on the market, before he can leave again, and those three days he thinks it’s going to take are three more than he wants to be there. There are the ghosts of too many memories still present, that much is apparent as our story opens with Earl driving a removal truck to his daddy’s out-of-town property, leaving a message for persons as yet unknown with his mobile phone.

I enjoyed reading Jason Aaron’s foreword. He was born in Alabama, in a small town called Jasper. About an hour away from the town of Guntersville where I spent eighteen very pleasant if bizarre months, funnily enough. I fully understand his comments regarding the deep south of the good ole United States of America… “The south is more peaceful than any other place I’ve ever been. But more primal too. More timeless. But more haunted. More spiritual. More hateful. More beautiful. More scarred.”

And I equally understand why he says he’ll never move back there. I encountered some wonderfully hospitable people who treated me like family, saw places of rugged, outstanding natural beauty, but it also has a darker, other-worldly quality that takes some explaining, never mind understanding. I saw a Christian preacher handling snakes in front of an enraptured congregation. I was given a lecture on how I was going to hell for my Buddhist faith whilst playing pool with a scantily-clad stripper in a titty bar. I watched someone sink a friend’s speedboat with a gun over a disagreement about their water-skiing prowess. And was proudly told by a thoroughly upstanding member of the community that they didn’t agree with the fact that their father had been in the Ku Klu Klan, and that they had nothing whatsoever against black people, but gays, well gays were the devil’s work. All without any hint of irony. And that would be a fairly typical week.

Drugs were everywhere, coke and crystal meth, long before it was made fashionable by a certain Mr. Heisenberg, lurking just beneath the friendly facade of a world where everyone, but everyone, says hello when they pass you by in the street. To not do so is a massive social faux pas expected only of those without manners and any sense of decorum. A civilised veneer overlaying the rather more torrid goings-on.

Alabama is also one of only two places I have ever managed to get myself arrested (the other being at the Polish-German border on suspicion of terrorist offences, but that’s a story for another time). The crime? Public intoxication, for having three beers in a bar and walking one hundred metres down the street to my hotel. The police, meanwhile, were not remotely interested in the departing drinkers getting in their pickup trucks and weaving merrily back and forth across the white lines whilst they made their respective ways home. A stranger on foot though, well, no doubt bound to be up to no good, and more importantly perhaps, just likely to pay the $100 fine after a night in the drunk tank being serenaded by an orchestra of snorers without kicking up too much of a fuss.

So I fully understand the character of this world and its denizens which Jason Aaron portrays for us here. Trust me, much like SCALPED, it is not our civilised world. It is a world perhaps best avoided if you should happen to stumble upon it. For Earl Tubb, though, finally back in the town as a older, if not wiser, bull of a man heading rapidly towards his pensionable years, where his sheriff daddy used to rule the roost armed only with a very large stick both at home and on the streets, well, he just seems to have finally decided he’s not prepared to walk away anymore.

He’ll wish he had.

You certainly get a sense of Clint Eastwood in Earl Tubb. There’s bad men running the town now, controlled it would seem by the local football coach, who was one of Earl’s teammates back in the day. Earl knows he should just let it go, pack up his removal truck and head on out of town. But… the manner of his leaving perhaps means he feels he has unfinished business. There’s seemingly no one prepared to stand up to the Coach and his thugs, so, when Earl receives what he takes to be a sign from his late, if not so much lamented, father, he makes a decision. There will be consequences.

Grotesquely brutal art from Jason Latour, much like R. M. Guéra on SCALPED, which will make you feel every punch, every kick, every baseball bat to the head. Teeth go flying, fingers are smashed, limbs mangled. It’s extremely hard-hitting stuff, with a spectacularly brutal and somewhat shockingly unexpected conclusion to this first volume. Then, just when I was reeling from that, you get the final sucker punch, as you find out just who Earl was leaving that phone message for…


Buy Southern Bastards vol 1: Here Was A Man s/c and read the Page 45 review here

Sugar Skull h/c (£12-99, Jonathan Cape) by Charles Burns.

“N-no!! There’s got to be a way out!”

And then you wake up.

If you’re lucky the cold light of day is much kinder.

Before Doug wakes up, his dream alter ego Johnny has infiltrated The Hive to bring his bed-ridden beloved the romance comics she craves, along with chocolates in a red, heart-shaped box. She knows she shouldn’t eat them – she is kept on a special diet to maintain her strict schedule – but Johnny insists she at least try one. When they wake up, there’s a problem.

It’s the sort of nightmare scenario, vividly and so horrifically portrayed, that could only happen in dreams.

But Johnny’s reaction is telling.

So BLACK HOLE’s Charles Burns concludes the trilogy begun in X’ED OUT then continued deep in THE HIVE in which Doug dwells on his Dad and casts his mind back on two failed relationships with Sarah then Tina, his early experiments with photography and performance art behind a Tintin-esque mask, and a deep-seated fear of flat-door intercoms. “Bzzzt!”

As with all finales it behoves me to avoid revealing much in the way of detail except perhaps the most minute details of all. There’s a scene in which Doug attempts to win a tortuously circuitous argument by shrugging off his own role in its potential resolution, knowing he’s doing so and so only looking Sarah’s way – more than a little sheepishly, to see if it’s working – once her back is turned. It’s a precisely judged expression.

A little later there’s a rare glimpse at Burns’ talent for exquisite photorealism – on the television screen at his father’s which is where Doug retreats to.

“I wanted a safe, dark place to hide.”


As the conclusion kicks off, Doug’s Dad has been dead for six years but still very much on his mind. Doug’s now seeing Sally and has mended his drug- and alcohol-addled ways, having been clean for one year, seven months and fourteen days. But the past tempts him back in the form of tickets from Tina to see a punk band called Animal Byproducts formerly known as Bacon. That was the band Doug used to perform alongside and whose bandmate Nicky originally introduced him to Sarah.

Foreshadowed throughout, we finally find out precisely what went wrong between Doug and Sarah.

There, I hope you’ve been tempted to try X’ED OUT and THE HIVE. If not, both books are reviewed with far less evasion, especially the nightmare aspects which are threaded throughout the trilogy and so successfully evoke the worst of my own!


Buy Sugar Skull h/c and read the Page 45 review here

Star Cat Book 1 (£7-99, DFC) by James Turner.

Meet Captain Spaceington, deadly serious action man of no-nonsense derring-do for whom everything is one big frown!

Shake multiple hands with monocular Science Officer Plixx, she of the green, squidgey tentacles!

“She may not know the difference between a proton and a neutron, but she’s always happy to whack them both with a hammer and hope for the best.”


Duck as the most supercilious android of all time, Robot One, casts aspersions on our frail human inadequacies whilst covering up its own lo-tech leanings!

Then fjidbt jablyt when The Pilot sets course for it-gives-not-a-crap-where while attending to anything more interesting instead! That incluses grbatifleds, plimbragrs and blagandrars. Accuracy is irrelevant, disdain is all! Be careful where you leave your loved chocolate puddings.

These are your zero heroes on board Star Cat, the latest and most sophisticated spaceship in blistery whose Super Computer houses a mouse, a mallard and a fish. They will save the galaxy and many more chocolate bars besides from the vaguest of vampires, the worst ice-cream ever and that rage-prone rogue, the two-dimensional Dark Rectangle destined to fall flat on his back along with his paper-thin posse.

“Luckily I’m a Black Belt in Origami!”
“Ooh! Make me into a little hat!”

THE PHOENIX weekly comic for kids and its publisher DFC have become hallmarks of both literacy and lunacy, and this is no exception. LONG GONE DON, GARY’S GARDEN, BUNNY VS MONKEY, CORPSE TALK… even its art book, Neill Cameron’s HOW TO MAKE AWESOME COMICS, is hilarious while its puzzle book, VON DOOGAN, is also a thrilling interactive comicbook adventure!

Nothing escapes the ever-ready eye of Captain Spaceington. Everything escapes Science Officer Plixx.

“Red alert! Raise shields! Evasive manoeuvres! Activate repulsor fields! Pack away the board games!”
“Aye aye, sir!”

*waggle* *turn* *press* *push*

“You have no idea what those controls do, do you?”
“None at all, sir!”

The cartooning is exquisite – almost every expression guarantees grins – while the timing is immaculate. Some of my favourite jokes revolve around their space ship being a cat.

“Pilot, activate Hyper Warp, Level 5!” commands Captain Spaceington.
“Sbejtift,” replies that boss-eyed Pilot, yanking on a lever.

Cue external shot of the hybrid cat-craft, its gormless eyes staring to camera as a hatch in its head springs open. Then the final panel on the page reveals the elusive, rocket-science secret to the last-resort Hyper Warp 5: a dangling, giant, red ball of wool. The cat’s eyes spy it in a perfectly pitched moment of silent ellipsis…

… And boom!

James Turner is in absolute command of these bottom-page ellipses. There’s another in the very first episode when a space mouse in search of space cheese is considered space harmless, yet no one can work out why The Pilot is strapping itself in for dear life.

Clue: the pilot is also a cat.

As the space mouse passes outside, the Star Cat spaceship opens one eye and spots it…


Buy Star Cat Book 1 and read the Page 45 review here

Sam & Dave Dig A Hole h/c (£11-99, Walker Books) by Mac Barnett & Jon Klassen.


A new Young Readers’ graphic novel from the headwear-conscious creator of THIS IS NOT MY HAT and I WANT MY HAT BACK and with writer Mac Barnett on board, hats are no longer the issue.

Nothing here is missing, but an awful lot is missed.

On Monday, you see, Sam and Dave dug a hole.

“When should we stop digging?” asked Sam.
“We are on a mission,” said Dave.
“We won’t stop digging until we find something spectacular.”

And so dig they do. They dig and dig deep. They dig so deep that their heads disappear underground, and then they dig deeper still. They are, I would remind you, on a mission!

So intent are they on this Important Excavation, what they don’t seem to have noticed is that their dog has embarked on this mission too. Or they’ve forgotten. The dog happened to be standing between them when work first commenced and looked a little dubious from the start. On the cover his eyes are to camera, as if to say, “What a bunch of buffoons”.

Yes, Sam and Dave should probably take a little more notice of their dog.

But they do have a lot of digging to do…

Brilliant! As with both THIS IS NOT MY HAT and I WANT MY HAT BACK the words tell one story while the images reveal the truth! That’s what makes this comics.

What they also share is a comedic oblivion.


Buy Sam & Dave Dig A Hole h/c and read the Page 45 review here

The Hospital Suite (£16-99, Drawn & Quarterly) by John Porcellino…

Powerful, oh my…

“As the days passed by, despite my condition, things began to take on a startling clarity.
“The whole world seemed to be glowing…
“The trees, the squirrels, the grass, the curbs on the corner.

“And I realised I wasn’t afraid to die.”

I was moved to tears at several points reading this autobiographical tale of ill-health, physical and mental, and also marital breakdown from the creative genius behind KING-CAT COMICS. (Long-time Page 45 review readers will know it goes without saying, but I was on the tram at the time, of course…)

John Porcellino lays himself bare and simply takes us on his journey. You can’t help but feel such empathy for him reading this as he is put through the wringer by a long-undiagnosed medical condition.

He does a fantastic job of gradually self-diagnosing the root of his problem over time, when myriad healthcare professionals seem at a complete loss, but there is extreme punishment to endure along the way as his body and mind play havoc with him, with chronically painful episodes requiring surgical intervention and crippling, recurring bouts of OCD  that paralyse him completely. It’s testament to his ever-evolving Zen Buddhist faith that he has the indomitable will to carry on, where others would perhaps simply give in.

Yes, there are dark days, some very dark days, but once you have glimpsed the true nature of reality, touched it directly as happened to Jon during some of his physically weakest moments, as the line between life and death began to blur slightly, as he describes above, it gives you an inner strength to endure, and endure he does. There are some experiential aspects of faith it is impossible to put into words, they are by their very nature beyond words and ineffable, but John does a wonderful job of expressing the profound joy and deep serenity they bring. As a balm to the suffering, they are like no other.

Ultimately this is a work about transformation and perseverance. Positive change in one’s circumstances, of any sort, inward or indeed outward, can’t come without hard work. Also, you do need a lot of it to become one of the best autobiographical comics creators of your generation – of any generation – which John most certainly is. With a body of work stretching over decades that’s ultimately uplifting and illuminating in equal measure, he’s a genuine treasure. A triple treasure perhaps. (Sorry, a little Zen in-joke I couldn’t resist.)

I wish him continued good health and all the happiness in the world. Keep shining your light, John.


Buy The Hospital Suite and read the Page 45 review here

Loverboys h/c (£14-99, Dark Horse) by Gilbert Hernandez.

“Mrs Paz! How many people live in Lágrimas?”
“Well, last time I checked, it was six hundred and seventy-seven, Daniela.”
“Of course a teacher would know the answer! Thanks!”

Mrs Paz turns away from her window.

“Lágrimas… Tears…”

Whenever someone asks for recommendations we first enquire what they’re already into in this or other media, then what sort of a comic or graphic novel they’re after that particular day.

Matching the right books to the right people is crucial, and it’s very easy now there is so much quality and diversity in comics: plenty of politics, masses of memoirs, so much sci-fi, enough crime to fill the average jail cell and quite enough comedy to keep you chortling until you choke. You’ve seen our Young Adult sections, right? Plural, yes.

However, occasionally we’re asked for romance and although we fall far from short in that department too, when asked for romances to make you feel better, well… relationships do not end well in comics! Think about it: Adrian Tomine’s SHORTCOMINGS, Posy Simmonds’ TAMARA DREWE and GEMMA BOVERY (she’s dead at the start of that one!), Julie Maroh’s BLUE IS THE WARMEST COLOUR (ditto!) Will Eisner’s THE NAME OF THE GAME and even Simone Lia’s FLUFFY can’t be counted on for that!

There is one Los Bros Hernandez graphic novel that gives one unexpected cause for optimism, but if I reveal which one then I’ve rather spoiled it for you. Then there’s quite of lot of Yaoi which is inexplicable give how fucked up most of the protagonists are, and I guess there’s Tomine’s SCENES FROM AN IMPENDING MARRIAGE. That ended well: he got married!

But I tell you, we do struggle.

In the small town of tears called Lágrimas young Daniella is suspicious of a strange building, determined to avoid school and toying with idea of blowing up the school building or even the entire town with dynamite. I’m not sure where she’d get some. Now she’s discovered that Mrs Paz will be her new school teacher come Monday and she’ll be giving them a big test immediately. She settles on the more practical solution of pinching Mrs. Paz’s cell phone and cribbing the answers off that.

Meanwhile, her old brother Rocky who looks after her in their parents’ absence is studiously fending the off the advances of his beautiful boss. He only has eyes for his former high school teacher, Mrs. Paz. She isn’t young. She has the worry lines of someone to whom life could have been kinder and a faraway look in her eyes. But with rich, dark hair and eyes to match she remains very handsome indeed.

“Will you go out to dinner with me?” asks Rocky.

Once again, there is that faraway look in her eyes, the top half of her face in close-up. She hasn’t turned round.

But on the very next panel she’s seated at the restaurant with Rocky, and her face has lit up. She’s now wearing lipstick and a simple, elegant necklace.

At which point I refer you back to the beginning of my sales pitch and leave you to wonder what happens next.

This is an original A5 graphic novel completely separate from LOVE AND ROCKETS. At eighty pages it’s a relatively slight affair compare to MARBLE SEASON or JULIO’S DAY but I found it charming. Well, the first fifty pages or so. After that some people start losing their charm, others their tempers, but the first fifty pages have a certain stillness to them. Some of the eyes in particular are very quiet. Also, I notice that with one exception the men are all straight, perpendicular lines – only the women have curves.

So often there is a strong element of folklore in Beto’s books. Jaime’s as well, now I think of it. And quite often that folklore’s proved true.

Lastly, as ever, the children with their often ill-informed perspectives play not inconsiderable roles, and come out with the bluntest of questions.

“How come your name is still Mrs. Paz? Just in case Mr. Paz ever comes back?”



Buy Loverboys h/c and read the Page 45 review here

Bumperhead h/c (£16-50, Drawn & Quarterly) by Gilbert Hernandez…

“Oh, there’s a bump bump bumperhead here! Thumpin’ bumpin’ bumper! El Bumpo!”
“What, you’ve never seen a ten ton bumposity before? Bump thumper! Ba-ba-ba-bumpus!”
“Bump. Bump.”
“WHOOSH! Bump. Bump.”
“Don’t get mad, bumpo! BUMP BUMPO BUMP!”

“Why, God? Why did you curse me with a bumperhead?”

His head, of course, is not that big or oddly shaped, but it is enough for Bobby to attract the unwelcome attention of his older neighbours. You never know with Gilbert what autobiographical material gets recycled into his works, by his own admission, but I will bet a pound to a penny, he knew someone who was just such an unfortunate in his childhood days.

Anyway, happily for Bobby, the Bumperhead moniker soon gets dropped and in fact he starts socialising with his tormentors, once the age difference starts to become less meaningful as they grow up and discover the holy trinity of most boys’ teenage years: music, girls and drugs.  In fact, he is a bit of a ladies’ man, our Bobby, changing his favourite highschool squeeze with a regularity even one Arthur Fonzarelli would approve of, I’m sure. He’s not quite so motivated in the schoolwork arena though, so as his peers start to go off to college and thus onwards and upwards to bigger and better things, he begins the first of many menial jobs, seeding a future social inequity between himself and others that will continue to flourish.

This lack of commitment, to relationships, to learning, to a career, is the major theme of Bobby’s existence, and it’s something that whilst he recognises is the source of much, indeed all of his suffering, he seems unable or unwilling to change his trajectory. There are glimpses of what his life might end up like, all too visible, in the shape of his own father. But again, Bobby’s either too stubborn or reluctant to see, and more importantly admit, that his own potential future is staring him right in the face. It’s like he has subconsciously accepted his fate, whilst all the while blithely assuming something is just going to come along and change everything for him.

You can see one of Gilbert’s favourite recurring themes, our formative years, explored thoroughly again here as he did so successfully in MARBLE SEASON, whilst also following the JULIO’S DAY near-cradle-to-grave story arc process of one person’s life. I think it’s great Gilbert is in such prolific form at this period of his career; he clearly has many stories left to tell, and clearly is no slacker in the application department himself.


Buy Bumperhead h/c and read the Page 45 review here

Some Comics By Stephen Collins h/c (£12-99, Jonathan Cape) by Stephen Collins…

‘We were all quite surprised when the high street left us.
It just stood up one day and said: “I’ve had enough of the empty shops and the bookies and the vomit. If I’m dying I’m bloody well doing it in style.”
So it went off travelling and after Andean trekking and skydiving in Chile, and a torrid affair with the Champs-Élysées, it finally expired during a PADI course off the coast of Mauritius. It gets a lot of visitors now…
“And to your left you can see the world’s deepest Gregg’s.”’

Do you know, I think this may be the most beautifully illustrated collection of gag strips I have ever seen. Each one is an exquisitely drawn and gorgeously coloured joy to behold.

Whereas most cartoonists have just one style, here every strip is appropriately rendered with incredible attention to detail. I think he ‘just’ does one a week for the Guardian, so obviously he doesn’t have to churn them out on a daily basis, but still, they are wonderful. I wouldn’t characterise them as laugh-out-loud funny gags, more pithy, expertly constructed tableaux that will make the corners of your mouth twitch gently into a smile. Those of you who have read his excellent graphic novel THE GIGANTIC BEARD THAT WAS EVIL will appreciate his refined sense of absurdist humour already.

With that said, one or two of the more ribald ones that are included in this collection did make me giggle, I must say, with Gwyneth Paltrow bemoaning to Facebook creator Mark Zuckerberg the mysterious appearance of a massive kebab, right in the middle of the emotional bit of her ‘look back’ Facebook movie, my favourite. His jokes frequently skewer their targets from multiple directions, and you might well need to be up on the current affairs of the day and also rather less newsworthy detritus to fully get all the nuances of some of them, but overall I thought the rib-tickle hit rate was extremely high.

I can see this being an excellent stocking filler for those wishing to find something more discerningly humorous for their nearest and dearest this Christmas. I’ll certainly be buying my dad a copy, along with a new whoopee cushion.


Buy Some Comics By Stephen Collins h/c and read the Page 45 review here

The Lonesome Go (£29-99. Fantagraphics) by Tim Lane…

“But my destiny lay elsewhere. So I rented a room in a flophouse on Valencia Street for fifteen bucks a night.
“There was an outdated neon sign outside my window that blinked and buzzed theatrically.
“The room was stuffy and the walls seemed to sweat. The air was dense enough to congeal in my lungs.
“I cut off my hair. I washed myself in the sink.
“In the early morning, while the junkies argued in the street, I asked God to shine his light.
“I slept in my sleeping bag rolled out on top of my bed.
“I spent my nights following the Mariachi musicians as they made their rounds from one Mexican restaurant to the next…
“… Watching as they divved up their tips in deliberate silence, tucked into shadowy alleyways between taquerias.”

Phew, Tim Lane really ups the Burroughs factor in this quasi-sequel to ABANDONED CARS. This is a considerably weightier tome at nearly three times the length. If that work proclaimed itself as the ‘Great American Mythological Drama’, this is heading way, way beyond that, deeper into the metaphorical heart of darkness. Again, it’s a narrative of sorts detailing a journey, less autobiographical this time I think, at least I hope so, interspersed with all manner of strange vignettes, bizarre adverts, short pieces of prose and even song lyrics. The overall effect is disorientating and disturbing in equal measure, clearly quite deliberately so.



Yes, Tim Lane wants you to feel disgusted and possible a little aroused by what he is showing us, I’m sure. It’s a freak show of the veritable American heartland laid bare. I came away, just like ABANDONED CARS, feeling somewhat sullied and perturbed for the experience.  The most disturbing thing of all is we know he’s really only showing us what horrors are truly out there, if we were foolish enough to go looking in the wrong places. He may have strayed into the realms of the unreal, with the more surreal elements perhaps, but not by much, perhaps not at all.

There are also some uplifting moments in here though, punctuating the tension and leavening the insanity. I was particularly touched by the ‘Pacific Ocean Or Bust!’ monologue that is pure Kerouac in its Beat faux-Zen optimism. Though I’m not entirely sure whether he is trying to offer up any hope, or merely demonstrate its futility in the face of the overwhelming chaos of existence. Maybe a bit of both, just to keep us off balance emotionally, before he moves on unabated.

But these moments are like rays of sunshine during the darkest of days, something to cling onto during the maelstrom that is this work. He’s a very talented writer Tim Lane I think, and as before, with his rawer than Charles Burns’ BLACK HOLE-esque art style, well, he knows just how to burn his dystopic visions into the very fabric of our souls. I don’t know where it will all end, I really don’t. If you’ve ever seen the 1998 film Dark City, it’ll probably be something like that…


Buy The Lonesome Go and read the Page 45 review here

Doctors (£12-99, Fantagraphics) by Dash Shaw…

“I’m sorry I took the form of your daughter.
“She gave me permission… she was the only person in your mind I thought you would listen to…
“I’m sure you must be very confused.”

Ah, Dash Shaw, a man who loves his metaphysics, philosophy, speculative thinking and just generally fucking with your head in his comics. Here he manages to not only do that with us but also his characters as, after their expiration and entry into the unknown limbo of what lies beyond, they are going to get a rather unexpected wake-up call.

For Doctor Cho has invented a device called the Charon, allowing for the temporary resuscitation of a deceased individual – though only for a finite number of day or weeks – in theory to allow loved ones to say their final goodbyes properly, and the reanimated to set their affairs in order. It’s a top secret procedure, of course, available only to those ultra-wealthy and in the know, as Doctor Cho and his assistant, his daughter Tammy, are understandably wary of what would happen if the wider world found out.

There’s just one small, weeny catchette. So far, every single patient they have brought back – by inserting them into someone’s remaining consciousness in the guise of a loved one to tell them they have passed over but can return if they so choose – has ended up going stark raving bonkers. It’s probably not going to be too long before the authorities cotton on to what’s happening…

Great fun, this, and nice to see Dash doing something fairly short form but still substantial, plot-wise. I do love his really brief minis like NEW JOBS and 3 NEW STORIES, but you don’t get enough with those to get a handle on what his writing is really like, and his very chunky longer works like BODYWORLD, THE BOTTOMLESS BELLY BUTTON, THE UNCLOTHED MAN IN THE 35th CENTURY A.D. and NEW SCHOOL can possibly look a bit daunting for those unfamiliar with him, I suspect. This, I reckon, neatly encapsulates what he’s all about: surreal, haunting, hilarious pieces that are illustrated in his own inimitable fashion in what looks like pretty much just a black felt tip pen. He makes it look so bloody easy, but in reality, that’s just another way he’s fucking with you.


Buy Doctors and read the Page 45 review here

A Voice In The Dark vol 1 (£14-99, Image Comics) by Larime Taylor -

Messed-up stories messed-up people doing messed-up things are (judging by what we seem to like reading and watching on TV) fascinating to us. We love seeing the world from a skewed viewpoint, travelling a totally different, dangerous path and from that fascination some of our greatest stories – horror stories in particular – have come.

Messed-up stories featuring messed-up women doing messed-up stuff, however, tend to be of a very stilted ilk. A (very) few notable exceptions aside, they usually involve heavy doses of tits ‘n’ ass, voyeurism and some version of “Oooooh, I’ve been a very bad girl” along the way. They are generally devoid of plot or character development and are all about titillating the audience until the main girl finally “gets” whatever it is that is apparently “coming to her”. It’s still quite rare, especially in a horror / crime context that we get to see a complex, competent female character that isn’t defined primarily by sex or sexual vulnerability but rather by, you know, all those millions of other things that other characters (a.k.a. male ones) get to be defined by. Obsession, anger, revenge, ego, loyalty, love, passion, moral outrage – Zoey (the main character here) is made up of layers and layers of the things that make *actual people* tick. And she’s the lead character in a serial killer story. *And* she’s female. *AND* she’s not a white blonde girl. Well bloody hell.

So, yes, Zoey is the serial killer. When we meet her she has “only” killed once but clearly it’s not going to stay that way for long, because she did rather enjoy it. She feels bad about it, but she definitely did enjoy it all the same. And she’s clever enough and disciplined enough to get away with it, at least for a while, I would guess. The whole murdering thing aside, you’d have to say she’s a good person and that the lives of the people around her, (her sister, her new roommates, her Uncle who’s a Homicide Detective, ooopsie!) would be poorer without her in them. She’s a little reserved at first but once you get to know her she’s warm, clever and interesting. She’s a thinker, a realist and she only really murders people who are kind of dickheads so…

Well yes, it’s murder and clearly that’s not OK and there will have to be a reckoning at some point. But meeting Zoey and following her story through this first volume you can’t help but think that, for the moment at least, the only person who’s in a position to dictate how this all plays out is Zoey herself. She knows what she is doing in every sense of the phrase and watching her come to understand this darkness within herself is far more entertaining and fascinating than a lumbering chainsaw wielding maniac chasing an inexplicably bra-less girl through the woods could ever be. Clever, funny, dark, delicious stuff.


Buy A Voice In The Dark and read the Page 45 review here

Moon Knight vol 1: From Dead s/c (£13-50, Marvel) by Warren Ellis & Declan Shalvey.

“What are you supposed to be?”
“I’m the one you see coming.”

Here’s what you need to know about Marc Spector AKA Moon Knight: he’s barking mad. Or at least we thought he was.

Turns out he’s merely brain damaged, his brain colonised by an ancient consciousness with whom he communes late at night. It appears to him as a cobwebbed, skeletal humanoid in the same white suit Spector wears, it’s skull reminiscent of a Plague Doctor with a big beak. Maybe this is a reference to the Benu Bird, I don’t know. Spector believes it’s the Egyptian god Khonshu under whose statue he died before rising again from the dead with four individually functioning personalities to protect travellers in the night – dreamers included.

The storytelling is as efficient and effective as Moon Knight himself: sparse dialogue with the narration left largely to Declan Shalvey using a lot of landscape panels. There are six self-contained chapters, each with a succinct, one word title and a colour scheme of its own heralded by the covers. Green was particularly well deployed. The last is a reversal of the first and so it is inside, following the repercussions of a dismissive discussion in chapter one.

There Ellis swiftly establishes a new aesthetic and modus operandi.

Rather than descend, crescent-caped from a ‘copter, Spector sits sedately in the back of a whit, voice-controlled stretch-limousine, calmly coordinating technology to take him to the scene of a crime. He inspects the scene of that crime. He doesn’t exactly consult with the cops although he does acknowledge their presence. He analyses, deduces and decides on a unilateral plan of action.

He is, in short, a gentleman in a gentleman’s attire, and he will take matters into his own more-than-capable hands with the maximum preparation that’s possible for an impromptu operation with the minimum of fuss.


The action is swift, clipped and decisive.

There is something slightly Ditko-esque in Declan Shalvey’s side-stepping, white-suited squire and the way he descends through the city’s strata. Maybe it’s more Dean Mutter’s MISTER X – unlike Mark I never read enough of that. Regardless, I loved the way he strides to the scene, all matter-of-fact and determined, without a care in the world for how he’s perceived, gimp-mask and all. I also loved Jordie Bellaire’s complete disinclination to colour him in costume: it’s pure black and white. Spectral.

The second story starts out using panels in a similar structure to Ray Fawkes’ ONE SOUL and, more recently, THE PEOPLE INSIDE whereby the same panel every page is devoted to a single individual at the same time until each is taken out by a sniper one by one. The panel then disappears leaving a stark, empty space for Ellis to fill with narration, should he be so inclined. He is not.


Buy Moon Knight vol 1: From Dead s/c and read the Page 45 review here

Jim Henson’s The Musical Monsters Of Turkey Hollow h/c (£18-99, Archaia) by Jim Henson,  Jerry Juhl & Roger Langridge.

Ian Herring’s colours on Langridge’s line-art are a joy.

There’s not a spot of black. The closest you’ll get even at night is a purple, and that’s not as dark as it looks.

As to what he’s done when there’s music in the air, it’s like ten of the most expensive Catherine wheels going off in your living room all at once. Which is not as good an idea as it sounds.

As to the Musical Monsters, they’re an instantly recognisable Jim Henson / Dr. Seuss hybrid: strange, colourful, adorable.

However, if you take a look at the photo Jim Henson took in 1968 in the woods behind his house (reprinted on the inside front cover)… well, it’s quite a surprise. The original puppets Don Sahlin built from Jim Henson’s designs which Jim then posed with his children amongst the undergrowth (it was always going to a be show set outside) are a perfectly camouflaged dark, mossy green. Their eyes are bright and shiny, but their fur is scraggy, scruffy and matted like they’ve all jumped in a stagnant pond and haven’t yet dried off.

Now, I like that look – I love it. But I think it goes some way to explaining why the proposed TV show was never optioned.

As to actual graphic novel, I found it all a bit obvious. Eccentric, loving family – already persecuted by pitchfork-wielding, irascible neighbour Mister Sump who is determined to lay claim to their land – befriends music-loving, rock-munching, non-monstrous monsters which then provide the perfect excuse for Mister Sump to terrorise them further.


The gag that did make me laugh early on was the poor man who’s finally finished painting his huge “Welcome To Turkey Hollow” sign (Human Population 28; Turkey Population 3,687). He’s just had to change 28 to 27 and now another truck-load of caged turkeys passes by, either to be released into a farmer’s open enclosure or on their way to the Turkey Burger factory 50 yards up the road.

Take your pick: either up or down, that population just changed substantially.


Buy Jim Henson’s The Musical Monsters Of Turkey Hollow h/c and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?

 Blacksad: Amarillo h/c (£13-50, Dark Horse) by Juan Diaz Canales & Juanjo Guarnido

The Best American Comics 2014 h/c (£18-99, HMH) by various including Jaime Hernandez, Gilbert Hernandez, Charles Burns, Adrian Tomine, R. Crumb, Raina Telegemeier, Fanny Britt, Isabelle Arsenault, Tom Hart, Brandon Graham, Chris Ware, Ron Rege Jr, Michael DeForge, Theo Ellsworth edited by Scott McCloud

Jacques Tardi World War One Box Set: It Was The War Of The Trenches h/c & Goddamn This War! h/c (£29-99, Fantagraphics) by Jacques Tardi with Jean-Pierre Verney

The Motherless Oven (£12-99, SelfMadeHero) by Rob Davis

Costume Quest: Invasion Of The Candy Snatchers h/c (£18-99, Oni Press) by Zac Gorman

Crossed vol 10 s/c (£14-99, Avatar) by Garth Ennis & Christian Zanier

East Of West vol 3: There Is No Us (£10-99, Image) by Jonathan Hickman & Nick Dragotta

Explorer vol 3: The Hidden Doors (£8-50, Amulet) by Kazu Kibuishi, Jason Caffoe, Jen Wang, Faith Erin Hicks, Johanne Matte, Jen Breach, Steve Hamaker, Douglas Holgate

The Goon vol 13: For Want Of Whiskey And Blood (£12-99, Dark Horse) by Eric Powell

In A Glass Grotesquely (£14-99, Fantagraphics) by Richard Sala

Regular Show vol 2 s/c (£10-99, Kaboom!) by various

The Unwritten vol 10: War Stories (£10-99, Vertigo) by Mike Carey & Peter Gross, Al Davison

America’s Got Powers s/c (£13-50, Image) by Jonathan Ross & Bryan Hitch

Batman vol 5: Zero Year – Dark City h/c (£18-99, DC) by Scott Snyder & Greg Capullo

Earth 2 vol 3: Battle Cry s/c (£10-99, DC) by James Robinson, Paul Levitz & Nicola Scott, various

Green Arrow vol 5: The Outsiders War s/c (£12-99, DC) by Jeff Lemire & Andrea Sorrentino

Captain Marvel vol 1: Higher, Further, Faster, More s/c (£13-50, Marvel) by Kelly Sue DeConnick & David Lopez

Hawkeye vol 3: L.A. Woman s/c (£11-99, Marvel) by Matt Fraction & Javier Pulido, Annie Wu

She-Hulk vol 1: Law And Disorder s/c (£11-99, Marvel) by Charles Soule & Javier Pulido, Ronald Wimberly

Dragon Ball 3-in-1 Edition vols 16-18 (£9-99, Viz) by Akira Toriyama

Manga Dogs vol 1 (£8-50, Kodansha) by Ema Toyama

Spice & Wolf vol 9 (£9-99, Yen Press) by Isuna Hasekura & Keito Koume

Vinland Saga Book 5 h/c (£16-99, Kodansha) by Makoto Yukimura


ITEM! Equality versus Equity – such a clear, clever image brought to my attention by comicbook creator Kate Brown (@autojoy on Twitter).

ITEM! Jamie McKelvie (THE WICKED + THE DIVINE) posted some fan art he’d drawn 10 years ago. Super-sweet!

ITEM! FLUFFY and FLUFFY VISITS PAGE 45 and PLEASE GOD, FIND ME A HUSBAND’s Simone Lia has a revamped website including pages from BAD MOTHER for you to read.

ITEM! ELLERBISMS’ Marc Ellerby visits Page 45 for the first time ever! I was so stoked! Here is Marc Ellerby with John Allison on Page 45’s counter.

ITEM! SelfMadeHero to publish Scott McCloud’s THE SCULPTOR! There’s a link there to some beautiful blue art!

ITEM! Gorgeous roofscape by Ian McQue! Believe it or not, that is a work in progress. Compare it with this interior art from Robert M. Ball’s DARK TIMES below:

ITEM! Well impressed by Salgood Sam’s DREAM LIFE preview pages! Such a lot of work has gone into them. If you too are impressed you can buy the graphic novel in print or digitally by following this link.

ITEM! HOW TO DRAW AWESOME COMIC’s Neill Cameron continued his Comics And Literacy campaign for Young Adults throughout the whole of last week. You can read his final post there with links to the others.

ITEM! Andrew Waugh has a new website: clean, elegant, full of beautiful art.

ITEM! A lot of American Comic Conventions stopped being comic conventions a long time ago, but it’s only getting worse. Here the The Beguiling’s manager and Toronto Comic Arts Festival explains exactly what’s wrong and why these conventions are so wrong for comics.

ITEM! Thankfully The Lakes International Comic Art Festival is ALL about comics. AND IT IS ALMOST UPON US!

ITEM! Glyn Dillon (THE NAO OF BROWN) and Fumio Obata (JUST SO HAPPENS) have an exhibition of original art in The Warehouse Café in Kendal. If you’re up for The Lakes International Comic Art Festival this October, make sure you visit!

ITEM! Page 45 Celebrates its 20th Anniversary on 17th October 2014 at the Lakes International Comic Art Festival. So much going on in our very own comicbook-creator-crammed room.

As to my own ticketed talk, The Art Of Selling Comics, it is now in the can!

Which is an odd place to give it, I grant you.

Page 45 Signings Schedule in Georgian Room, Comics Clock Tower

Saturday 18 October 2014:

Main Tables

10am – 12pm   Scott McCloud
2pm – 4pm       Glyn Dillon

Table 1

10am – 2pm      Dan Berry & Kristyna Backzynski
2pm – 6pm        Lizz Lunney & Joe List

Table 2

10am – 2pm      Jack Teagle & Joe Decie
2pm – 6pm        Jade Sarson & Donya Todd

Table 3

10am – 2pm      Sarah McIntyre & Warwick Johnson – Cadwell
2pm – 6pm        Fumio Obata & Dan Berry

Sunday 19 October:

Main Tables

2pm: arrival of 24 hour comic marathon limited edition comics and all creators available

Table 1

10.30am – 2pm     Liz Lunney & Donya Todd
2.30pm – 5pm      Fumio Obata & Joe Decie

Table 2

10.30am – 2pm     Sarah McIntyre & Dan Berry
2.30pm – 5pm      Warwick Johnson Cadwell & Joe List

Table 3

10.30am – 2pm     Jack Teagle & Kristyna Backzynski
2.30pm – 5pm       Jade Sarson & Donya Todd

Please see Page 45 20th Anniversary At The Lakes International Comic Art Festival blog for more details including my own show-and-tells, The Art Of Selling Comics talk, and the Page 45 Booze Bash on Friday 17th October!

- Stephen

P.S. Click on this cover for the coolest comic in town!


Reviews October 2014 week one

October 1st, 2014

Poblin himself is the most manic and crush-worthy creation in town! Fall for his lop-sided lunacy, gawp at his gormless grin and then hug him to death for his wide-eyed naivety and the most tactile, svelte pelt in history!

 - Stephen on Destination: Kendal by Jonathan Edwards, Felt Mistress, Sean Phillips

Fatale vol 5 Curse The Demon s/c (£10-99, Image) by Ed Brubaker & Sean Phillips.

The FATALE finale!

Now this is what I call a cover!

Thematically, it hones in on everything this book is about: passion and horror and the latest in a long line of men in thrall to a woman who cannot help herself, knowing he is in thrall yet willingly, ecstatically abandoning himself to her. Their soft bodies yield to each other, Josephine’s on top. All the while the world is being watched for any and all signs of their activity – of Josephine’s in particular – and those awful, burning eyes are staring directly into yours!

The colours are far from obvious, their thrillingly unnatural hues glowing all the stronger for being framed in a crisp, pure white. Combined with the logo, it is a design masterpiece and – haha! – how fortunate are we that Page 45’s shelves are black!

I promise you are in for a Sean Phillips surprise.

Oh, the majority of this volume is executed with the same shadow-intense, deeply troubling twilight you have come to expect, and the same rigorous discipline when it comes to the strict, tiered storytelling. But its climax is exactly that: an orgy of colour and composition as the barriers are broken, the walls between them collapse and all secrets are finally surrendered.

And it is at this precise moment that the most profound tragedy of Josephine’s curse is revealed. Her curse is that almost all men spending any length of time in her company will lose their hearts to Josephine and become emotionally and erotically obsessed. It’s a tragedy I never saw coming.

There’s even more to look forward to: architectural flourishes like San Francisco, 1906, and Otto’s library.

It is, however, the final two pages after such a long journey that are the belters. That face and that mouth and the far-away look in those eyes…

For far, far more on FATALE – on Ed Brubaker’s craft as well as Sean Phillips’ – please see our extensive reviews of the preceding volumes including the FATALE VOL 1 DELUXE H/C where I adapted my original review of its constituent softcovers to better reflect my seemingly spontaneous shop-floor show-and-tells.



Buy Fatale vol 5 Curse The Demon s/c and read the Page 45 review here

The Fade Out #1 – second print, first review (£2-75, Image) by Ed Brubaker & Sean Phillips.

“This was just how it was here… something in the air made it easier to believe the lies.”

Los Angeles, 1948.

Hollywoodland, to be precise, where the art of selling lies is its business.

Acting itself is a form of lying – creating the semblance of someone else – but there are also the myths spun to make actors more attractive to their idolatrous fans. Take the profile of dreamboat actor Tyler Graves, concocted by bright publicity girl Dotty Quinn, playing up his years as a ranch hand in Texas.

“Dotty, you’re a riot… I’ve never ridden a horse in my life.”
“I know, I still prefer the first one we came up with…”
“Oh right. I was a mechanic Selznick discovered when he broke down in Palm Springs.”
“It was your own little Cinderella story.”

But there’s a telling line in Posy Simmond’s British classic TAMARA DREWE from the horse’s mouth of successful crime novelist, Nicholas Hardiman:

“I think the real secret of being a writer is learning to be a convincing liar… I mean, that’s what we are: story tellers… liars…”

He should know: he’s a serial philanderer.


Screenwriter Charlie Parish is already lying. He’s a good man at heart, though he does like to party, by which I mean he drinks much more than he should. He’s prone to blackouts: not just passing out in the bath – which he did, last night – but to alcohol-induced memory blackouts. He’s not as bad as Gil Mason, the former writer now blacklisted for supposed Communist sympathies. That man is a full-time drunk, a bar-room bore, badgering Bob Hope before being thrown out on the street. Charlie and Gil used to be friends before Charlie shopped him. Now it’s common knowledge that they hate each others guts.

That’s a lie for a start – a dissemblance. For a very good reason.

But this morning Charlie has woken up in one of those little bungalows set up in Studio City to keep people close to the set. The night before is a mystery to him, but there’s a lipstick kiss on the bathroom mirror that reminds him of a smile, the smile leads to a face, and that face belongs to the woman lying dead on the living room floor.

It’s Valeria Sommers, young starlet of the film Charlie’s working on. She’s been strangled while Charlie was sleeping. Slowly, assiduously, Charlie begins to remove all trace of his and anyone else’s presence. But that’s nothing compared to the cover-up the studio’s about to embark on, and it’s going to make Charlie sick to the stomach…

Anyone who’s read CRIMINAL knows of Brubaker’s unparalleled ability to immerse readers in the minds of others and make those minds utterly compelling. Anyone who’s read CRIMINAL VOL 6 knows he’s so good at it that he can make your root for a prospective murderer. You’re certainly going to want Charlie to get away with his role – however circumstantial it may be – in Valeria’s death and his complicity in the subsequent cover-up, even though the studio is going to smear the poor girl’s name.

“He felt sick. Because he knew exactly what they were doing.
“Studios had been covering up murder and rape and everything in between since at least the Roaring Twenties. That’s what men like Brodsky were there for… to prevent scandals.
“And he’d helped them this time. He’d helped them.”

Charlie is yet another man trapped by his own act of fear, plagued by his guilt and about to do something else he knows he really, really shouldn’t…

Oh, and if readers think they will miss the horror of this team’s FATALE, wait until you see what Phillips pulls off for the nightmare.

It’s a period piece, the period being rife with tight-knit nepotism, closed-doors studios and overtly voiced bigotry. Wisely Brubaker has refrained from redacting that. Some people are shits – they just are – and there is such a thing as the non-authorial voice.

It’s very claustrophobic.

And I do believe that THE FADE OUT #2 is released today.


Buy The Fade Out #1 and read the Page 45 review here

Destination: Kendal! (£1-50, Lakes International Comic Art Festival) by Jonathan Edwards, Felt Mistress, Sean Phillips.

There is nothing I love more than mischief.

And when it comes cloth-covered in kindness, I love it even more!

I love it when writers and artists – or indeed anyone else – understand and trust each other to the point where they relish having fun poked at them!

Me and our Dee are constantly teasing each other on the shop floor. We’ve worked with each other for nearly twenty years now, mocking our own mannerisms, our failings and foibles whilst poking each other in the metaphorical ribs all day long. It makes me so happy.

This too makes me very happy indeed!

Produced to promote The Lakes International Comic Art Festival 2014 and on sale there all weekend, this laugh-until-you-cry comic stars its Poblin’s Gang of hyperactive, completely deluded yet infectiously exuberant red, furry mascots.

Designed by POP! A COMPLETE HISTORY’s Jonathan Edwards, brought to lush, three-dimensional life by CREATURE COUTURE’s Felt Mistress and then photographed here by FATALE’s Sean Phillips, the Poblins are each as individual as the Banana Splits and are en masse an insane force of nature to be reckoned with. Now they are coming to town!

The town is Kendal, home to The Lakes International Comic Art Festival 2014 in this, its second year, and the town doesn’t quite know what’s hit it.

These gleeful nutters have made studious notes on which comicbook creators will be appearing where and when (Scott McCloud, Becky Cloonan, Jeff Smith, Mary and Bryan Talbot, Glyn Dillon, Lizz Lunney, Dan Berry, Eddie Campbell, Junko Mizuno et al) but seem singularly fixated on artist and patron, Sean Phillips.

“We really hit it off when I visited his studio,” claims Poblin. “When I climbed up his drainpipe to wave at him through his studio window he screamed with delight that I was back again!”

Poor Sean! As for Poblin’s unauthorised helping hand to TRAINS ARE MINT’s Oliver East and his painstakingly painted, black and white murals, it was at that point that tears of laughter ran down my face right there on the bus back home.

This too, from queen of the zines, Zinny:

“My first was called “Zinny’s Zine” then I teamed up with my friend Dan on “Zinny’s Zine With Dan”, then I thought it would be funny to do a zine about Zinedine Zidane with Dan called “Zinny’s Zinedine Zidane With Dan”. Then I got writer’s cramp.”

Poblin himself is the most manic and crush-worthy creation in town! Fall for his lop-sided lunacy, gawp at his gormless grin and then hug him to death for his wide-eyed naivety and the most tactile, svelte pelt in history!

Photographed by Sean Phillips against Kendal’s green grass and then framed on the reddest paper in history, our comic-crash casualties come truly alive! Those colours are to die for.

I so, so want to meet them. I wonder if they’ll wander into Page 45’s Georgian Room in Kendal’s Clock Tower where we will have over £12,000 worth of the most diverse and individualistic comics and graphic novels on sale and where we are playing host to so many of those creators noted earlier?

If so, I pray they will allow themselves to be photographed with us and by us – unless poor Sean has recovered enough from Poblin’s last apparition to stop by himself. I want this so much. I don’t normally fall for the hirsute but if Poblin ever exhibits any, you know, “tendencies”, then I’ve begged the magnificent Felt Mistress to let me know.

I’d send Poblin flowers, but he’d probably eat them.

The Lakes International Comic Art Festival 2014 takes place from 17th to 19th October. This is the Lakesfest website! This is the Lakesfest 2014 programme!

All proceeds from our sales go directly to the Lakesfest: we’re not taking a penny. We’re doing this because we believe in this festival with all our hearts plus its director and curator, Julie Tait, is a complete and utter star.

There: I’ve said it.

Big hugs also to the Lakesfest’s Jenny, Sandra and Sharon without whose organisational acumen – equal only to Julie’s – exhibitors would be dazed and confused. You are all so loved and thank you.


Buy Destination: Kendal and read the Page 45 review here

Like A Shark In A Swimming Pool (£6-00, Other A-Z) by Verity Hall –

This is a great little comic: a coming out story, a growing up story and a “some people can be absolutely awful, but others can be really quite great” story. Although told mostly in retrospect the key points, the ones on which the story hinge, hit you as very current, like the whole horrible thing is unfolding on you right now.

School-days drama is captured really well – boozy parties going a bit wrong, best mates transformed into bullies overnight and previously joyous things like favourite lessons and lunchtime hang-outs turned into desperate 45-minute sessions of hiding away in a corner. Even lovely parents, previously seen as protectors and champions suddenly just don’t seem to get it. Thankfully there are the little points of light too – the teacher who just “gets” it, the parents who *do* see what needs to be done and the friends who actually *are* friends, for real.

The art is nice with a blue and purple colour scheme that fits the story very well. There are a couple of truly great “what you look like in your mind’s eye” moments too which are both a bit funny and totally tragic, which is a pretty clever thing to pull off. A really touching, spirited and honest story, well told.


Buy Like A Shark In A Swimming Pool and read the Page 45 review here

Rover Red Charlie (£14-99, Avatar) by Garth Ennis & Michael Dipascale.

“I’m a dog! I’m a dog! I’m a dog!”
“I’m a dog! I’m a dog! I’m a dog!”
“I’m a dog! I’m a dog!”
“I’m a dog! I’m a dog! I’m a dog!!”
“I’m a dog!”

There’s a little more going on in a dog’s brain than that: more they’re communicating to each other, to other animals and to ourselves although we are far too stupid to comprehend what that might be! But when they bark for the sole purpose of barking – of meeting and greeting and delighting in each other’s new-found company or warding off predators or prey – they are expressing this and this only:

“I’m a dog! I’m a dog! I’m a dog!”

Communication at its purest.

From the writer of PREACHER, THE BOYS, CROSSED and HELLBLAZER vols 5 to 8, I have to confess that Ennis has been starting so many so-so series of late only to relinquish them to others, that I had no expectations of this.

I was wrong.

Like Morrison and Quitely’s WE3 it is in part a work which doesn’t reflect well on the way some human beings treat their household pets – that the humans are soon absent from the story altogether, having immolated themselves or each other, makes no difference for their shadow looms long. The dogs may now be free to roam the world untethered and without constantly being pulled back on their leads with a “No!”, but it is very much a world made by human beings for human beings and if you’ve spent your entire life on Manhattan Island being provided for by those whom dogs call “feeders”, you’re going to find much of the wider world a bit of an eye-opener, other elements incomprehensible.

Also in common with WE3, the animals here have not been anthropomorphised. They’re quadrupeds without opposable thumbs and though they communicate, they do so very much from an animal’s perspective, where instinct plays a prominent part. There’s some great use of language: night to a dog is “sun-lie-down”, cats are “hisspots” and all that a chicken thinks is “shit!” A military dog later on has been programmed – sorry, trained – to perform very specific functions and that too is reflected in its priorities and the way it expressed them.

Alan Moore, who in VOICE OF THE FIRE achieved something similar with language and perspective in early man, provides a glowing and informative introduction, including a passage about how difficult such a project is to pull off.

“Most evidently, there’s the risk of cloying sentiment bringing a diabetic sweetness to the work, especially considering the likelihood that anyone attempting such an enterprise is either an admirer or, potentially, an owner of the animal in question. Even were we to presume a high degree of self-control in our imagined wordsmith there are other, far more serious obstacles, foremost among these being Ludwig Wittgenstein’s astute and perhaps insurmountable conclusion that if lions could talk, presumably in our own language, we would nonetheless still be incapable of understanding them. That is to say that the mind of a different species, predicated on a different range of sensory impressions and prerogatives, would be completely alien to our own.”

I’d say Garth Ennis has made a bloody good stab at it! And although there is even more of a risk to the artist than the writer of cute-ifying this to a saccharine extreme, Dipascale doesn’t. There is some slack-jawed lolloping because that’s what dogs do, but there’s also some extraordinary body language in defeat, some deeply upsetting canine carcasses, half-eaten or otherwise.

However, please don’t presume that this is all gloom, doom and Alsatians being bludgeoned to death on car bonnets. There is that: this is, after all a post-apocalyptic scenario similar in more ways than one to CROSSED except that in our madness we have at least had the good grace to rid this poor planet of our toxic, execrable existence. But in spite of this being very much a top-shelf series (please, please do not let your children near it because there will be nightmares and a lot of awkward explaining to do), there are moments of utter hilarity like trying to explain to a Red Setter – the stupidest creature in Christendom, which is why I love them the most – the importance of being smart.


Nope, nothing going on upstairs whatsoever, just a tongue lolling out.

Charlie’s the bright one, a Border Collie guide-dog for the blind, trained to help humans and so better equipped for this sort of survivalism. But Red is the bravest, instinctively doing what Charlie is trained to, repeatedly saving their skins with his speed and his jaws continually clenched around one thing or another and, when thanked, mumbling with his mouth full, “Azzogay!” (“That’s okay”.)

It’s a comedic refrain which will lead to the single most moving moment in the book.


Buy Rover Red Charlie and read the Page 45 review here

Ex Machina Book 3 (£14-99, Vertigo) by Brian K. Vaughan & Tony Harris, John Paul Leon.

From the writer of SAGA.

EX MACHINA is a political comedy thriller, highly successful in all three aspects: it’s funny, it’s politically realistic rather than a big wet dream for pinko lefties like me, and it’s tense as hell.

Mitchell Hundred is mayor of New York City, but for some he will always be remembered as The Great Machine, a man who saved one of the Twin Towers from destruction using his ability to communicate with mechanisms. Until now we haven’t known exactly how he managed that; hell, until now we haven’t known where the powers exactly came from. All that changes at this half-way stage, and the signs are ominous.

As Mayor Hundred and his team gear up to tackle New York City’s drug laws – with internal debates as sophisticated as any of those you’ll have seen in that particularly cathartic episode of The West Wing – a woman sitting calmly on City Hall’s steps douses herself in kerosene and sets herself on fire. Is there a connection between that, Hundred’s recent admission to having smoked marijuana* and his earlier failure to get his priorities straight as a jet-packed crime fighter? Meanwhile his power to interact with machines appears to be overloading, and he’s having strange dreams with talking animals in them…

“These plants. They’re marijuana.”
“It’s not about the pot, 100. It’s about the black kettle.”

Threaded throughout is the search for a black male dressed in what looks like an authentic, department-issue fire fighter’s gear, using it to smash his way into apartments, assault and steal, with repercussions as brutal as The Shield’s. And that’s where Hundred’s liberal crusade to marry Wylie’s brother to his boyfriend so publicly comes back to haunt him, because Wiley’s brother is a fire fighter… and black.

“Actually, Mr. Major, I’ve got a pretty tight alibi. I was, uh… I was at a hotel. With another man.”
“When you say “another man,” please tell me you’re talking about your husband. Your lawfully wedded husband.”
“Sir, Bill and I have an… agreement. As long as it’s only physical, and as long as we’re safe and discreet, we trust each other enough to –”
“Jesus Christ, do you think that will mean anything to Middle America after some homophobic asshole in the NYPD leaks this to Limbaugh? You two had a responsibility! You represent fidelity and.. and commitment to millions of people who think that’s something your kind is totally incapable of!”
“”Your kind?”"

See, that’s what I love about this: even its chief protagonist is complex and flawed, and the issues – including the drug ones – will not be easily resolved, however good the intentions.

Now a man in what looks like a sophisticated deep-sea diving suit materialises by the harbour; the city is plunged into darkness as the electricity go out; the machines stop talking to Hundred.

The stranger is here with a warning, but where’s he from? Another planet? Another time? And what does he want with Kremlin, Mitchell’s old friend currently conspiring to sabotage his administration from within?


Buy Ex Machina Book 3 and read the Page 45 review here

Words For Pictures: The Art And Business Of Writing Comics And Graphic Novels (£16-99, Watson Guptill) by Brian Michael Bendis with friends.

“Inform, Inspire, And Entertain”

At the risk of sounding like a broken record, all education should be entertainment.

I’ve seen so many didactic and dry books on this subject, bludgeoning you with words while forgetting that this – the end product for which you are learning to write – is a visual medium and its audience are comics readers. This is not one of them. This is a highly personalised, engaged and engaging joy.

So much is given over to what the comics pages which have been written by Bendis (and guests Fraction and Brubaker) come to look like and the visual processes they go through in getting there, because it is vital that any writer understands those processes. You are writing for a comics-reading audience, for sure, but your script is a letter to your artist and – if you have one – editor.

“Inform, inspire, and entertain,” Bendis urges. “If your script is clear, precise, and a pleasure to read, you make your collaborator’s lives everything they ever hoped for. If your script is ill-conceived, clumsy, or naïve to the art of the comic book page, then you make artists’ lives a living hell.”

Here Bendis will help you understand the art of the comic book page – and understand your artist – the art of the pitch, the art of the story outline and the art of the full script while emphasising that unlike film scripts, there are no set rules: there is room for flexibility and personality and different working relationships. You will be privy to many, many examples of all three.

Crucially, his business manager – who like Terry Moore’s and Jeff Smith’s happens to be his wife – will also help cure your naivety when it comes to the business side of writing for comics. Because regardless of whether you are writing scripts as work-for-hire for giant corporations like Marvel Entertainment or whether you are self-publishing solo or as a team with an artist, you are also running a business: your writing is your business. And as Brian and Alisa agree, Brian was utterly hopeless at running his writing career as a business.

Fortunately Alisa Bendis has a masters in education and a degree in business and has worked successfully in this specific business for as long as Brian has. I’d take note even if you are working with friends. Mark was my friend: we had a partnership agreement. Jonathan is my friend: we have a partnership agreement. Memories are fallible; contracts are vital. “The trouble starts when the money comes in; so be prepared.”

Joe Quesada’s foreword is full of sage advice, reiterated later by Bendis. It’s not just your talent but your tenacity which will make you a successful comicbook creator. It is the way you deport yourself and your thirst for knowledge. Showing your portfolio isn’t just about trying to secure a gig: the best creators want to learn from the experience in order to improve that portfolio in order to better secure a gig which is potentially a long way down a crowded line. Use your failures to reduce your failures!

As mentioned earlier, the artist’s perspective on a script is vitally important – they’re the ones who are going to be drawing it – so the likes of Bill Sienkiewicz, Sara Pichelli, Klaus Janson, Skottie Young, Mark Bagley, Walt Simonson and Mike Deodato Jr offer their thoughts on the collaborative process: their likes and dislikes. There’s a lengthy conversation been Mack and Maleev, another with Michael Avon Oeming, an Editors’ Roundtable forewarning you about early mistakes and encouraging you on more positive ways to attract attention. Hint: take advice. Hey, seek advice! And, once you’ve got a gig, don’t disappear! Diana Schutz – a phenomenal writer in her own right but also the editor I would want giving me stick while watching my back – gives her invaluable Writer’s Guide To Editors.

Fraction is fascinating on lettering, on trimming the script after Aja’s turned in the art on HAWKEYE (whose individual issues were in any case written in a completely different order to the one they were published in), and there are revelations from Bendis too. Aunt May in ULTIMATE SPIDER-MAN? That’s Bendis’ mum!

Finally, Brian’s introduction is an infectious account of his early quest for knowledge during a time when there were no books like these nor seminars nor Tumblr FAQ’s from creators easily accessible online. Some questions kept popping up again by aspiring writers hungry for knowledge, and those are reprinted here – with answers, obviously. We too are asked on a regular basis, “How do I get into comics?” Which is a bit like asking a music store assistant, how do I get a recording contract, except it isn’t. One of the best things about comics is their D.I.Y. aspect: you can create your own with a printer and some staples.

“How do I get into comics?” Make comics! If it’s work at one of the bigger companies you seek, “They will be your calling cards to editors.
“Inform, Inspire, And Entertain”

That’s what Bendis exhorts you to do; that is what he’s done here himself. If I wanted to write for comics, having read this I would no longer be sitting terrified in front of a keyboard, paralysed by what I didn’t know. I’d have a big, broad grin on my face, a twinkle in my eyes, and I would start typing and typing until the writing I saw started to match the ideas in my head.

P.S. “How do I make comics?” See MAKING COMICS by Scott McCloud.


Buy Words For Pictures: The Art And Business Of Writing Comics And Graphic Novels and read the Page 45 review here

Marvel Masterworks: The Mighty Thor vol 5 (£18-99, Marvel) by Stan Lee & Jack Kirby.

“How monstrous! That unspeakable creature… is he… a troll?”
“Do not avert thine eyes, beloved! Thou must become accustomed to such sights!”

Or you could block him and move on.

I’ve been on Twitter for four years now and only blocked once. That’s how lovely our sympathisers are. Sorry…? @PageFortyFive, since you ask. Come join the good ship Drunk As Fuck as we sail the stormy seas of look-at-me online onanism. I’m as desperate for affirmation as the next narcissist.

Speaking of love, there comes a time in any relationship which looks like it’s getting serious; when you have to meet the in-laws.

Such is the stuff of comedy for it is a fact, universally acknowledged, that every kind and compassionate soul mate is in possession of parents who are a minefield of hidden neuroses, overt prejudice, or just plain rude. And if you thought Robert DeNiro was difficult, you should meet Odin, Thor’s old man and Asgard’s All-Father. At least, that’s what Thor suggests to his beloved Jane Foster.

“Hey, foxstress, come and meet Pops, he’s an absolute sweetie! He’s only down the road. Well, over the bridge – the Rainbow Bridge that leads to Hallowed Asgard. It’s beyond mortal ken, ye ken.”

It’s also beyond his poor mortal lovely. For within seconds of being led into Odin’s Beardedly Beloved Presence – before a single cup of tea or mug of mead has been poured – The Almighty One lands plain Jane with the gift of “unlimited flight”. Off she shoots o’er rooftops, scared witless.

She’s not given a moment to recover before her prospective All-Father-In-Law sends a minion to summon the dreaded Unknown, a being so terrifying that the Asgardian serf (who’s done little more than bang on a giant tuning fork) needs medical attention for a complete mental breakdown. So what does Odin do? He shoves the frail nurse into a locked room with the stygian soul. And Thor lets him do it!

It’s a test, you see. A bit like DeNiro and the lie detector, only with added instant death. You can imagine the arguments when those two get home!

“Forsooth, Jane Foster, my beloved and betrothed, thou art a scaredy cat indeed!”
“Forsooth my arse, you pig! You wait until I tell my mother!”

Anyway, that’s just one of the godly get-downs on offer for just under two tenners. Also popping their heads over this pantheon’s parapet: globe-guzzling Galactus, The Growing Man (guess what his special power is?), The Destroyer (no clues) and Ego, The Living Planet! It’s a semi-sentient shit-stirrer about the size of a planet, with an ego to match.

Which is where we came in, I believe.


Buy Marvel Masterworks: The Mighty Thor vol 5 and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?


Sam & Dave Dig A Hole h/c (£11-99, Walker Books) by Mac Barnett & Jon Klassen

Doctors (£12-99, Fantagraphics) by Dash Shaw

Edgar Allen Poe’s Tales Of Death And Dementia h/c (£18-99, Dark Horse) by Edgar Allen Poe & Richard Corben

Fairest vol 4: Of Men And Mice s/c (£10-99, Vertigo) by Marc Andreyko & Shawn McManus

Hip Hop Family Tree Box Set: 1975-1983 (£45-00, Fantagraphics) by Ed Piskor

Jim Henson’s The Musical Monsters Of Turkey Hollow h/c (£18-99, Archaia) by Jim Henson & Roger Langridge

Loverboys h/c (£14-99, Dark Horse) by Gilbert Hernandez

Mobile Suit Gundam Origin vol 7: Battle Of Loum (£22-50, Random House / Vertical) by Yoshikazu Yasuhiko

Some Comics By Stephen Collins h/c (£12-99, Jonathan Cape) by Stephen Collins

Southern Bastards vol 1: Here Was A Man s/c (£7-50, Image) by Jason Aaron & Jason Latour

Star Cat Book 1 (£7-99, DFC) by James Turner

Sugar Skull h/c (£12-99, Jonathan Cape) by Charles Burns

The Hospital Suite (£16-99, Drawn & Quarterly) by John Porcellino

The Lonesome Go (£29-99, Fantagraphics) by Tim Lane

Batman vol 4: Zero Year – Secret City s/c (£12-99, DC) by Scott Snyder, James Tynioniv & Greg Capullo, Danny Miki, Rafael Albuqu

Injustice Year Two vol 1 h/c (£16-99, DC) by Tom Taylor & Bruno Redondo, various

Wonder Woman vol 4: War s/c (£10-99, DC) by Brian Azzarello & Cliff Chiang, Goran Sudzuka, Tony Akins, Dan Green

Wonder Woman vol 5: Flesh h/c (£18-99, DC) by Brian Azzarello & Cliff Chiang, Goran Sudzuka, Aco

Kick-Ass 3 h/c (£18-99, Marvel) by Mark Millar & John Romita Jr.

Moon Knight vol 1: From Dead s/c (£13-50, Marvel) by Warren Ellis & Declan Shalvey

One Piece vol 72 (£6-99, Viz) by Eiichiro Oda

Seraph Of The End, Vampire Reign vol 2 (£6-99, Viz) by Takaya Kagami & Yamato Yamamoto


ITEM! Neill Cameron is on a kids’ comics crusade. And I love it! Comics And Literacy Part One and Comics And Literacy Part Two. More to follow! Oh yes! Simply click on this for Neill Cameron’s latest blogs

ITEM! We are similarly passionate about young readers’ literacy. Please see Page 45’s Graphic Novels For Schools And Libraries 2014!

ITEM! THE BAD DOCTOR is shooting out here. Everything and anything to do with mental and medical illness is. Haven’t comics come of age! Here THE BAD DOCTOR’s Ian Williams discusses how comics can bridge the language gap between fine art and medicine.

ITEM! Man receives jail sentence for Twitter rape threats. Brilliant! More jail sentences for all rape threats, please!

ITEM! This is not a comic about eating a cat. But you never know with Dakota McFadzean, do you?

ITEM! Finally! Hurrah! CEREBUS full-colour covers bound in a book full of beauty! We really need your pre-orders, please!

It’s not on our website, so please send your pre-orders in via phone (0115 9508045) or email (

And if you have no idea what the fuss is about, we have reviewed every single edition of Dave Sim and Gerhard’s CEREBUS, currently on the verge of new printings. Not only is it one of the most powerful works in comics, it is the most substantial: 300 issues beginning, middle and end.

Also, without Dave Sim and Gerhard, there would be no Page 45. Scroll down, do!

- Stephen

Reviews September 2014 week four

September 24th, 2014

As for the carnival in ‘Spring’ it is a riot of colour with a real sense of sound, such as I’ve rarely seen outside Paul Peart-Smith’s contribution to NELSON.

 - Stephen on The River.

The River h/c (£15-99, Enchanted Lion Books) by Alessandro Sanna.

A river is in constant flux.

Its very nature and purpose is a journey.

A coalescence of rain fallen from the sky which absorbs still more as it goes, it is its own transport to the sea.

Even its height and its girth ebb and flow. In the sunnier seasons its source may dry up or it may yield itself prematurely to the skies, but that is where the water was heading, inexorably, even via fauna and flora.

This theme of continual migration runs right through the book, a silent sequence of watercolour landscapes structured as a cycle of seasons; I was mildly surprised to see even evaporation alluded to in its quiet, closing moments. But it couldn’t kick off with more of a bang.

That this will be a journey is suggested immediately by the movement on the very first page. As a wild sky erupts and its bruised-berry clouds burst, the last leaves of summer scatter in the squall and birds take flight – as does a dog and its master. Could there be a greater sense of urgency?


The horizon disappears behind a curtain of rain while the river’s thin skin is lashed and slashed by the cascade. As we close in on its shattered surface there is a very real sense that the river is swelling. Sure enough the cyclist encounters a long line of locals – a very long line of locals – who seem to be watching and waiting. A second dog chases the first, and the cyclist overtakes cattle on the move, racing past tall, skeletal, Lombardy poplars to find another long line of locals, their silhouettes reflected in the ripples of the ever-rising river. They start shoring up the bank as the cyclist sets off on his last stretch home. Tomorrow it will look very different.

I love a wet brush and I love this cover anchored at the bottom by the same rich, rusty browns which draw your eye higher – along with the title and credit – to the sunken horizon, its partially submerged home, and the lone dog left peering anxiously in from the bow of a boat. Alessandro writes in the back:

“Here the rule of thirds is fundamental if you want to see things as they really are: one-third earth and two-thirds sky. When the river rises, the proportions are reversed.”

These proportions are maintained throughout the graphic novel bar each chapter’s opening full-page flourish, dominated by the endless, open heavens.

The colours are phenomenal. Throughout the opening season (‘Autumn’) I couldn’t get ice-cream associations out of my mind, the vanilla breaking through blackcurrant then blueberry frozen crush. I promise you many more palettes but have restricted the interior art to this one so that others remain a surprise.


They’re not obvious, either: ‘Winter’ is uncommonly clement. Sanna reserves the traditional crisp blue for ‘Spring’ with snow-white blossoms budding and puffing on the stark, bare branches. Instead the emphasis is on warmth emanating from within, whether it’s the children crowding at the windows of a school house, smoke rising from chimneys, breath drifting from open mouths or the calf emerging, seemingly white-hot from inside the womb. The overall effect of that stable sequence is like viewing it through a thermal scanner.

As for the carnival in ‘Spring’ it is a riot of colour with a real sense of sound, such as I’ve rarely seen outside Paul Peart-Smith’s contribution to NELSON.

Apparently Alessandro’s own river is The Po in north-eastern Italy but ‘Summer’ here is even more exotic than that – unless African elephants have migrated much further than I thought. The opening flash of colour there is so bright you’ll be reaching for your shades.

It’s an absolute masterpiece – and I rarely write that more than once in five years. It’s fluid and instinctive yet carefully controlled.

And here’s another thing I rarely do: suggest a soundtrack. But after you’ve floated through this a fair few times in silence, I’d heartily recommend David Sylvian’s ‘Gone To Earth’ – the entire album kicking off with ‘Taking The Veil’ whose musical ripples match those painted here perfectly.


Buy The River h/c and read the Page 45 review here

Courtney Crumrin vol 6: The Final Spell h/c (£18-99, Oni) by Ted Naifeh.

“They’re the most powerful beings on Earth, and they’re dying of boredom.”

If that doesn’t send a shiver up your spine, then it should.

I’m afraid it’s the end of the road for COURTNEY CRUMRINand Courtney Crumrin herself. I had no idea this would be so severe.

Its origins stretch through the whole of the series, reprising elements and plot points I thought long left-behind, but no. Obviously the last volume’s sheer, severe cliff-hanger must inevitably be played out, but what about the set-up in COURTNEY CRUMRIN VOL 2, eh? And I do mean set-up.

A faction within The Coven Of Mystics has grown weary with the restraints placed on them by Ravanna’s Law, forbidding their witches and warlocks to interfere or mingle with regular folk. Its Council still holds with the law but a council is rarely at rest; there is always a struggle for power.

Meanwhile, time is running out for Great Uncle Aloysius: he’s dying. Sustained only by an elixir withheld by the Council until he returns his niece for what it promises will be a fair trial, he must surely imagine that Courtney will come quietly. She won’t.

Courtney is on the run with her former teacher Calpurnia Crisp, the Council’s marshals mere metres behind. They’re racing round mountain roads, the ocean waves breaking beneath them and they cannot afford to be caught. Calpurnia knows there will be no fair trial and the fate that awaits them is much worse than death: they will be banished, all knowledge of magic and their memories of wielding it erased. They will become hollow shells, ghosts of their former selves, destined only to wonder what on earth could be missing, dimly in the back of their minds. As to Aloysius, Calpurnia knows something few others do, and that changes everything.

Oh my god, girls! Oh my god, guys! When I first realised what [redacted, redacted] was actually showing, my jaw hit the floor. Suffice to say that there is not a second’s preamble; it kicks straight into gear. Rarely have I read a series’ conclusion that wraps everything up not just neatly but nastily with a final confrontation foreshadowed by the words of the hermit Cerridean Olds and the early actions of another who wields far more magic than anyone suspected. If you are as ancient as I am, the words ‘Dark Phoenix’ will mean something. Really mean something, and Naifeh has out-burned John Byrne: if that blistering image swirling in purple above Aloysius isn’t a direct homage then I would be so, so surprised.


Ted’s design work has always been delicious. It manifests itself not just in this new full-colour, hardcover incarnation with its silver inks, but in the enemies themselves: the Rawhead And Bloody-Bones of COURTNEY CRUMRIN VOL 2 with which I am always at pains to frighten young readers along with their parents during shop-floor show-and-tells, and here the various skeletal Golems animated by Cerridean.

I love that there are electricity pylons straddling the cliff tops of the introductory breakneck car chase.

But I wondered why the colours were so studiously muted in purples and blues, pale lemon-yellow and deep olive-green. Well, let’s just say that the bright light of day would be a boon to some if deprived for so long of its beauty, yet to others it could be the worst thing in the world.

“Have you ever awoken out of a deep sleep and found yourself in a place you don’t recognise, forgetting for a moment how you got there? Sometimes, when you remember at last, it’s a relief.
“And sometimes it’s not.”

I am so, so sorry.



Buy Courtney Crumrin vol 6: The Final Spell h/c and read the Page 45 review here

Maddy Kettle vol 1: The Adventure Of The Thimblewitch (£10-99, Top Shelf) by Eric Orchard…

Poor old Maddy Kettle, the nasty old Thimblewitch has turned her mummy and daddy into rats! And if that wasn’t enough, now they’ve been kidnapped by some creepy creatures! Looks like it’s up to her to save the day, which is going to involve a very scary and spooky adventure fending off vampire bats and Spider Goblins, with peril and danger lurking at seemingly every turn. It’s a good job she’s not the type of girl who scares easily! She’s going to have some help along the way, though,  from Harry the bear and Silvio the racoon, who are cloud cartographers, and handily enough for a rescue expedition, have a hot air balloon powered by moon gas, the most floatable substance known to man, or indeed bear or racoon.

Aww, this is great fun, and it really is spooky. My three-year-old told me she found it scary after I read it to her, and I think it was the Spider Goblins that did it, because much like Maddy she’s not easily spooked!



I am fairly certain I have come across Eric Orchard’s artwork somewhere before, I know he has illustrated children’s books though this is his first graphic novel. The artwork, and tone, also reminded me a little bit of Coraline the film (rather than CORALINE the graphic novel) due to Maddy’s disproportionately large head and eyes, which is also a fright-fest for young kids. This isn’t quite so pulse-raising as everyone ends up friends by the conclusion, even the Spider Goblins, but there might be some peeking out from behind little fingers along the way!


Buy Maddy Kettle vol 1: The Adventure Of The Thimblewitch and read the Page 45 review here

The Storyteller: Witches #1 (£2-99, Archaia) by S. M. Vidaurri.

Little about that low-key cover can prepare you for the beauty with its inventive layout, light and colour within.

Fear not, I will show you inside!

Strictly speaking, this is STORYTELLER #1 of 4, but each tale is self-contained, by different and hopefully equally deft storytellers.

This tells of a time long ago when a wild, wooded land was so remote that its king had so far failed to claim it. Its virgin, snow-topped mountain overlooked a village so small that it was self-sustaining and at one with its local habitat. It was in harmony with nature.

“The years fell as quickly and as gracefully as the autumn. And what was once a small town became a city, and a king laid his claim on the forest.”

Specifically he laid claim on the forest’s tallest tree: so tall that its topmost branches were said to catch stars which imbued them with magical properties. The king chopped the tree down to fashion a crown for the day of his son’s coronation. But the tree was much loved by Lord Of The Forest, a tall armoured rabbit who took umbrage.


That king already had a daughter much older than his son but, of course – oh, of course! – she was but second in-line to the throne. The princess loved her family but cared not for the court and its mannered pageantry, pomp and dull dealings. She preferred to wander through the forest and was particularly drawn to the sturdy, hollow stump of the tree her father had plundered. It was while loitering, daydreaming there that the princess overheard a curse cast upon the crown and what happened thereafter would change the kingdom forever.

I love a good twist – see Becky Cloonan’s THE MIRE – and have chosen my words very carefully.

There is a lovely lilt to how Vidaurri’s words tumble and often chime, her hand-drawn lettering as much an intimate part of the art as it is in Dame Darcy’s MEATCAKE or Emily Carroll’s THROUGH THE WOODS.


She uses the space around each boldly inset panel – often no more than a single panel per page – to further her narration while decorating it with a vaulted ceiling, maybe mountains or mice, oak acorns or red-berried leaves.

The panel borders themselves might be composed as a cloak-clothed woman whose image is mirrored like a knave or queen playing card, or soared over by a majestic white swan.

It’s the sort of playfulness I relish in self-published works but which is then often jettisoned when a “proper” publisher makes claim. Not so here, and for that I applaud both Vidaurri and Archaia itself.

From the creator of IRON, OR THE WAR AFTER.

Spellbound. Enchanted. Enthralled.


Buy The Storyteller: Witches #1 and read the Page 45 review here

Ikigami The Ultimate Limit vol 10 (£8-99, Viz) by Motoro Mase…

“I never dreamed this day would come. That was probably the last ikigami delivery I will ever make.”

The final volume! As Fujimoto becomes ever more dissatisfied with the National Welfare scheme of randomly selecting one young citizen between the age of 18 and 24 every day and informing them they have a mere 24 hours to live, ostensibly to keep the rest of the population in line, he finally finds the courage to join the shadowy group fighting undercover against this fascist policy. Given it’s Fujimoto’s duty to deliver this news, known as an ikigami or death notice, to the individuals in question, it’s not surprising it’s starting to affect him emotionally. Precisely who dies is decided by a small capsule inserted into every child whilst they were at junior school. One in a thousand capsules will prove fatal but there is no way of knowing in advance who has been given a death sentence.

In choosing to finally listen to his conscience and disseminate secret information he hopes will turn the weight of public opinion against National Welfare, Fujimoto risks everything, for if he is found out, he will be immediately arrested, labelled a thought criminal and disowned by friends and family alike, before being forced to undergo the rather grim thought-reform brainwashing procedure. But realistically, what chance do this tiny group of underground freedom fighters have to smash the system? Seemingly none, until war with a neighbouring state breaks out, changing everything overnight as the authorities reveal what they have always denied, that it is indeed possible to deactivate the capsules.

So for those who chose to be conscripted into the army, the choice is simple: are the odds of surviving on the battlefield better than the one-in-a-thousand lottery of staying at home? Or, if someone is already past the critical cut-off age of 24 they can chose to have a younger family member’s capsule deactivated instead, testing the bonds of family love and loyalty, by seeing who is prepared to risk their lives for their children or younger siblings. This revelation, coupled with the stark fact they are engaged in a war they might well lose, shakes society to its very core. But will Fujimoto even be able to have any further influence on what happens next, as unbeknownst to him the thought police are closing in on finding the leak…


I have really enjoyed this series. Most of the previous volumes have followed a set pattern of having Fujimoto deliver two ikigamis and then following the protagonists whilst they live out their final hours, knowing they are going to die, but also that if they commit any crime, their families will subsequently be ostracised by everyone they know, and indeed penalised by not receiving the generous stipend paid to the relatives of those making the ‘ultimate sacrifice’ for their country. Ikigami recipients are expected to die with honour, dignity and decorum of course.

Obviously, given the state of mental turmoil most recipients find themselves in, it doesn’t always work out like that, to say the least. Underpinning those dramas has been the ongoing story of Fujimoto, initially an idealistic believer in the benefits of National Welfare, but gradually having his blindly patriotic certainty eroded as he repeatedly witnesses the traumas and heartbreak caused by the policy. This final volume, after delivering his last ikigami squarely focuses on the nail-bitingly tense conclusion to his story. If you would like to read a series that has some thought-provoking points to make about the world we live in and is also packed with action, this may well appeal.

All IKIGAMI books in stock now!


Buy Ikigami The Ultimate Limit vol 10 and read the Page 45 review here

Time Killers (£9-99, Viz) by Kazue Kato.

Lord, there are a lot of exorcists in Japan, aren’t there? It’s quite the competitive career!

Nor are they wrinkly old God-bothers with round-rimmed spectaclays or fully-fledged men of the cloth. They tend to be sartorially sharp, dashing young dudes with the most enormous weapons for maximum demon-damage or (potentially) shafting their competition.

So it is with the most recent short story in this collection spanning the first ten years of Kazue Kato’s career, spawned from her early notes for what would become BLUE EXORCIST, one of the most resilient titles in the faltering fad that was that sugar-buzz manga. It was a generational thing, and that generation has moved on. Just the sugar-buzz bandits, mind you. I don’t see sales of SUNNY etc declining.

A little more love has been lavished on this, with over a dozen full-colour pages and a contents fold-out flap whose other side reproduces the front- and back-cover spread without words.

It kicks off with ‘The Rabbit And Me’ drawn when Kato was nineteen. Nineteen! Extraordinarily accomplished, there are elements of Otomo which she would swiftly ditch, most clearly discerned in the face and clothes of Shuri Todo. This is a young lad who mercy-killed his own dad, a worn-out street thief wanted for murder, with a sizeable pair of scissors whose handles were bunny ears. Now Shuri’s a killer for hire himself, receiving his contracts half-naked in a public bathhouse, before executing them in goggles and a floppy-eared bunny hat.

The second’s a Western in which an overzealous, tomato-craving bodyguard partnered with an anthropomorphic rabbit is hired to defend vast tomato fields belonging to another (rabbit). The tomatoes are not for eating. They are sacred or something! Apparently Kazue just wanted to draw gigantic tomato fields. Oh, and anthropomorphised rabbits.

She also wanted to draw Indians and horses (Wow! Most artists don’t!) and paint lots of red, so she cakes the next story in blood. She’s definitely driven by what she wants to draw and aimed for “something kitschy” in ‘USABoy’. Mission accomplished! Please find, in gaudy acrylic gouache: candy, flowers, a red-and-white chequered, linoleum floor and a five-year-old boy with a button nose, shiny eyes and big rosy cheeks. Also: a giant rabbit. Rabbits!

‘Nirai’ is a subaquatic dream piece about a drowning man and a beluga-like mermaid, ‘Master And I’ comes with a sudden burst of detail and crazy-paving for panels, while ‘A Maiden’s Prayer’ is rendered in pencils. A girl who’s been left all alone in a frozen, isolated village following the death of her parents determines to find somewhere sunnier and does so.

The End.


Buy Time Killers and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?


Bumperhead h/c (£16-50, Drawn & Quarterly) by Gilbert Hernandez

Ex Machina Book 3 (£14-99, Vertigo) by Brian K. Vaughan & Tony Harris, John Paul Leon

Fatale vol 5: Curse The Demon (£10-99, Image) by Ed Brubaker & Sean Phillips

Revival vol 4: Escape To Wisconsin (£12-99, Image) by Tim Seeley & Mike Norton

Rover Red Charlie (£14-99, Avatar) by Garth Ennis & Michael Dipascale

White Death h/c (£10-99, Image) by Robbie Morrison & Charlie Adlard

The Witcher vol 1 s/c (£13-50, Dark Horse) by Paul Tobin & Joe Querio

Words For Pictures: The Art And Business Of Writing Comics And Graphic Novels (£16-99, Watson Guptill) by Brian Michael Bendis

Harley Quinn: Vengeance Unlimited s/c (£14-99, DC) by A. J. Lieberman & Mike Huddleston, Troy Nixey

Guardians Of The Galaxy vol 2: Angela s/c (£14-99, Marvel) by Brian Michael Bendis & Sara Pichelli, Oliver Coipel

Marvel Masterworks: The Mighty Thor vol 5 (£18-99, Marvel) by Stan Lee & Jack Kirby

Uncanny Avengers vol 4: Avenge The Earth (UK Edition) s/c (£10-99, Marvel) by Rick Remender & Daniel Acuna

Uncanny X-Men vol 4: Vs. Shield h/c (£18-99, Marvel) by Brian Michael Bendis & Chris Bachalo, Kris Anka

Fairy Tail vol 42 (£8-50, Kodansha) by Hiro Mashima

Lone Wolf And Cub Omnibus vol 6 (£14-99, Dark Horse) by Kazuo Koike & Goseki Kojima

My Little Monster vol 4 (£8-50, Kodansha) by Robico


ITEM! I consider myself married to Page 45. In lieu of a boyf, I’m in a loving relationship with a semi-sentient shop and its entire customer base! It’s a monogamous relationship, and Page 45 has never been unfaithful nor let me down.

However, someone has recently – I kid you not! – actually married comics.

ITEM! FUN HOME’s Alison Bechdel wins award, rakes in moolah and announces her new graphic novel about her obsession with fitness fads!

ITEM! Alan Moore announces most unlikely comic yet: CROSSED +100! As in this CROSSED series, yes! Good grief! Well, I guess Alan Moore did write the Lovecraftian NEONOMICON. Brrrrr.

Famously, Alan Moore left comics many years ago. I know this because strangers tell me that with complete authority on a weekly basis. Funny how many new comics and graphic novels Alan has released over the last five or six years.

ITEM! Matt Wilson, colour artist on THE WICKED + THE DIVINE reveals #4’s mural credit. (Swoon!)

ITEM! Neill Cameron’s comicbook-creating workshops for schools and libraries!

ITEM! Niche, I know, but if you ever wonder why I cry when trying to complete the monthly PREVIEWS order form, here is Hibbs of Comix Experience and he doesn’t even mention all those wretched variant covers. Thank God we are primarily what Neil Gaiman called a graphic novel shop. For monthly comics, please help us to help you by setting up a Standing Order pull-list at Page 45, reserving the titles you want.

ITEM! So funny! Tom Gauld’s latest comic strip for the Guardian on literary awards!

ITEM! New TV series Gotham is imminent. If that takes your fancy Brubaker, Rucka & Lark’s GOTHAM CENTRAL was the finest ever on-going DC superhero series. Whilst it was going on, anyway. Four books in total, all out and in stock – that link in capital letters takes you to our review of book one with interior art.

ITEM! Bryan Lee O’Malley convention sketch: SCOTT and SECONDS!

ITEM! The Lakes International Comic Art Festival 2014 launches with Scott McCloud’s talk The Magic Of Comics! Here’s an idea of how much of a coup that is: the creator has 350,000 followers on Twitter. If you click on “creators” each is linked to the talks and workshops they’ll be giving, or try the gorgeous Lakes International Comic Art Festival 2014 programme!

ITEM! Alex Valente reveals Creator Signings Timetable for Lakes International Comic Art Festival 2014! Zoom in and click through – all of ours in the Georgian Room are there!

Not long now. Eeeeeeeeep!

- Stephen

Reviews September 2014 week three

September 17th, 2014

I.N.J. Culbard has kindly agreed to sketch in all pre-orders for H.P. Lovecraft’s DREAM QUEST OF THE UNKNOWN KADATH placed with Page 45. (Due mid-November).

 - Stephen digressing from Abnett & Culbard’s Wild’s End #1

An Age Of License: A Travelogue (£14-99, Fantagraphics) by Lucy Knisley…

“2011 was a year of travel! Through coincidence, work, and luck, I was offered opportunities to take trips. I took as many as possible. Recovering from heartbreak, I was determined to spend my travels having adventures and being a free agent.
“Some trips are more than distance travelled in miles. Sometimes travel can show us how our life is… or give us a glimpse of how it can be…”

I do love a good travelogue! Here Lucy Knisley stretches her wings and heads to Europe in search of adventure, and perhaps a little romance. Well actually there’s definitely going to be romance as she knows she’s meeting up with a boy called Henrik in Sweden, whom she recently made the acquaintance of at a fancy dress party in her home town of New York and was instantly smitten. Combined with a comics convention in Norway that she’s been invited to as a guest of honour, stops in glamorous cities like Berlin and Paris, plus a road trip to meet up with her mother and some of her friends who are housesitting in rural France, it sounds like the perfect cure for a broken heart.

She’s nervous about her trip, though, both in the practical and emotional sense, leaving her apartment, and cat, in the care of her recently exed boyfriend. They’re still good friends, but it seemingly leaves her unsure of whether she’s moving on or perhaps holding on. Sounds like she needs a holiday!


Cue much sight-seeing and smooching as she takes in some European culture, and allows herself to fall in love at least a little, as readers will with her. She’s honest and heartfelt about her emotions without being remotely angst-laden or schmaltzy. Fans of Lucy’s previous work FRENCH MILK will undoubtedly see the leaps and bounds she has made in terms of her storytelling and art, whilst refreshing our mental palettes for the obvious passion she has for her cuisine and gourmet ingredients, also amply displayed in her most recent previous work RELISH.


Buy An Age Of License: A Travelogue and read the Page 45 review here

The Wrenchies (£14-99, First Second) by Farel Dalrymple.

“In this doom only children come and go listening to illegal radios.”


This is akin to a nightmare Never Never Land, a dystopian future in which only the children remain.

Those few who survive long enough to come of age are picked off, one by one, then absorbed by the suit-and-tied Shadowsmen. It’s how they reproduce.

The wastelands go on forever. The entire world is one great big landfill of garbage and trash, scavenged by feral gangs under constant assault from zombies, vermin, rabid dogs and the Night Creepers. If you slash off their heads, be sure to stamp on the swarms of green-sputum-spitting flies which loiter within bearing messages implying that The Wrenchies are next.

The very air is toxic and corrosive to body and mind, sapping hope, debilitating will and swarming with that which is rotten and putrescent. Entropy increases, things fall apart, and all that is left is dour determination and youthful grit. A catapult in hand and a voice calling out on the radio.

The Wrenchies are one such gang of girls and boys, holed up in their pretty neat bunker and subsisting as best they can. Boy, can they scrap! Armed with rocks, knives, catapults and baseball bats, they and their blue wolf Murmur fearlessly defend their territory from the ever-encroaching hoards.  They took their name from a comicbook written and drawn by one Sherwood Presley Breadcoat featuring adult adventurers in equally dire straits. And, advised by the solemn and ancient grey giant known as The Scientist, before long their own quest begins to read like a comicbook written like a daydream of children at play.


Back in an urban world more familiar to us with comics and Sunday school and bullies on every street corner, Hollis – a paunchy boy with a penchant for dressing up as a crimson superhero – struggles with what he worries is bad behaviour displeasing to God and obsesses about the safety of his soul. He fantasies about having friends but makes do with a silent ghost only he can see which seems to spend an awful lot of time in the open-plan apartment opposite Hollis’ where Sherwood Presley Breadcoat resides, drawing comics.

When he was ten Sherwood Presley Breadcoat and his younger brother Orson entered what they considered a cave. It was actually a vast industrial pipeline as big as a boy. At its entrance crows – the majority of them dead as doornails, flat on their backs, claws reaching from the skies they should never have flown down from – stalked about the detritus, disinclined to scatter as the two boys approached.

“The cave changed us. Made us. The cave cost us.
“I tried, but couldn’t close my eyes.
“We weren’t supposed to go in there. We never should have entered the shadows.
“Something left a back door open.”

As I say, crikey. We haven’t even touched on adult Sherwood’s drunken self-loathing.

“Jesus, I really have no idea what I’m doing. Nobody does. Some of us are just better at faking it.”

This dense, 300-page graphic novel with its complex, intertwined threads sewn together then spooling out madly, took me ages to absorb. You could write a dissertation on it, but I don’t have time and neither do you.

The detail is staggering, from the contemporary tenemenents with their iron fire escapes to the sprawling, apocalyptic trash heap of the future. There are elaborate cross-sections of those apartments, of The Wrenchies’ HQ and Olweyez’s “Hole” of silos and ducts and The Scientist’s Lair is a subterranean warren of wonder including a big but botched attempt at horticulture.

The colours are earthern and blood-caked and angry as anything at the drug-addled nightclub, with enough snot-green to make you feel queasy: if you have an aversion to flies you’ll find it amplified exponentially here.

The Wrenchies’ behaviour as a gang – their levels of respect and appreciation for talent – is as acutely observed as Taiyo Matsumoto’s SUNNY and TEKKON KINKREET, and I loved how Olweyez began to bore them with babbling until flashing in front of them a drawing dashed out before their eyes. Altogether:

“Ooooooh, COOL!”

Everyone loves an artist, right?


Buy The Wrenchies and read the Page 45 review here

Shoplifter h/c (£14-99, Pantheon) by Michael Cho…

“Ok, people. It’s new and it’s in 30 days. Thoughts?”
Hot. Nine to twelves is a great place to expand their brand. That segment is really opening up. I can get Liz at ChildLike to put together a focus. We’ll get specifics.”
“Right. And parents are a non-starter here. Obviously we’re doing placements, but how many blocks are we talking about? kTV? Street teams? I’d do games but that’s still iffy with girls. Print?”
“Print is dead. And TV is dead. I say we keep building something viral. We’ve been having some fun with Twitter later. But we need a new meme. A new story.”
“How about “Daddy says I smell special?”

“It’s perfume. For little girls. For little nine-year-girls.”

“Well, that was a bit awkward.”

Ha ha, advertising people. I’ve always had the strange feeling with the few I’ve met that they’ve sold so much bullshit to so many people, they’ve actually started to believe their own hype, in that they are a vital cog in improving people’s lives by bringing to their attention things people absolutely need to feel happy and fulfilled. Deep down, I’m sure they probably know that’s absolute nonsense, but if they admit it to themselves, well then how can they keep up the whole charade of what they do, pushing endless inanity to other people?

And so it is with Corrina Park… With a degree in English literature she always imagined that her first job at an advertising agency was merely to get some life experience and pay off her student debts before moving onto her dream career as a successful novelist. Five years later and she’s in a rut, both professionally and personally, and it’s becoming rather apparent to those around her. Her one outlet, to make herself feel at least a little alive, is shoplifting from her local convenience store. Nothing large, just the odd magazine here and there. She’s knows it wrong, but she manages to justify to herself regardless.

The shoplifting element is merely an aside to this work, as it happens, though it does contribute a pivotal moment when her pilfering is finally discovered. What this really is about is being at a crossroads in life, and having the mental strength to make the correct decisions that will keep you moving forward emotionally, rather than merely treading water and stagnating unhappily. Which is something everyone will be able to relate to, I’m sure. You’ll find yourself rooting for Corrina as she struggles with the difficult decision of whether to give up the apparent safety net of a secure if unfulfilling job, to pursue her dreams.



It’s certainly impressive writing from Michael Cho, but the art is even more so. If you’re a fan of Darwyn PARKER Cooke, the comparison will be immediately evident, even down to the use of a single colour alongside black for shading. Though whereas Darwyn usually picks blue or brown to provide an appropriately pulpy noir feel, Michael has gone for a pastel pink that is just perfect for this work, which is obviously completely different in tone to Cooke’s crime joints. From the endless bustle of the big city to the silent, lonesome box of Corrina’s apartment, the art is awash with exquisite detail. A genuinely uplifting read which I enjoyed immensely from start to finish.


Buy Shoplifter h/c and read the Page 45 review here

Wild’s End #1 of 6 (£2-99, Boom! Studios) by Dan Abnett & I.N.J. Culbard.

Surely there must be someone out there as dim as me who didn’t cotton onto the titular pun in Abnett and Culbard’s THE NEW DEADWARDIANS (“The Nude Edwardians”)?

Culbard had to tell me himself.

Which was embarrassing.

While we speak of the prolific craftsman known as Nottingham’s I.N.J. Culbard, the man has kindly agreed not only to sign but to sketch in all pre-orders of his forthcoming adaptation of H.P. Lovecraft’s DREAM QUEST OF THE UNKNOWN KADATH placed with Page 45. (Actually due mid-November.) Ian’s in so much demand that he cannot find time to hit the American comicbook convention circuit but, since we ship worldwide, this would be the perfect opportunity for those on t’other side of the pond to get a free sketch.

End of blatantly self-serving Public Service Announcement.

Abnett & Culbard seem to have a thing for alien invasion at the moment. In DARK AGES #1 and DARK AGES #2 (both still in stock at the time of typing, #1 reviewed with interior art) a cadre of 14th Century mercenaries were wishing for war and got what they wanted. Whoops.

Its alien invasion aside, this couldn’t be more different.

The leafy, tranquil and idyllic English country village of Lower Crowchurch is planning its annual fête over a few pints down the King’s Arms. Judging by the open-topped motor cars parked up outside, we’re looking at the early or mid-1930s. The wobbly-necked solicitor Gilbert Arrant is a shoe-in for the committee chair again. A natural leader, he’s confident, encouraging, forward-thinking and assertive without being overbearing. His good friend Peter Minks, a journalist for the local paper with his hat permanently set at a jaunty old angle, will be in charge of the tombola.

“That’s right, so bring along all your donations to me. Nice prizes, please. Not a lucky horseshoe again, Frank.”
“It were a lucky horseshoe!”
“Not for the winner it wasn’t.”

Monocled Squire Umbleton will be demonstrating his revolutionary new agricultural engine which runs on diesel combustion, and of course there will be all the traditional competitions for cakes, jams, vegetables, flower arrangements, arts and crafts and possibly farm animals.

Joining them this year is retired old seadog Mr Clive Slipaway who has just moved in to Journey’s End thatched country cottage and is giving its door and windows a fresh lick of nautical navy-blue paint. He appears reserved, even wary, reluctant to engage, but agrees to provide target practice with straw bales, tin targets and pellet guns. Nothing too dangerous, anyway…

Unfortunately for everyone danger is heading their way, regardless. I suspect you’ll have taken note of the cover.

The night before Fawkes and chum Bodie saw a falling star crash to earth on the other side of Hightop. He gate-crashes the committee meeting to warn his fellow villages, claiming it killed Bodie, burned up in a fierce flash of light. Unfortunately Fawkes is a fox who’s cried wolf way too often whilst under the influence, and only Slipaway gives credence to his cry for help.

“I’ve — I’ve seen enough young men gripped in terror to know what genuine fear looks like.”

As Arrant, Minks and Slipaway set off to investigate, something stirs at Shortmile End and heads for Mrs. Swagger’s cottage.

It’s all very Doctor Who. I’m thinking specifically of Spearhead From Space, John Pertwee’s first episode, with an element of Christopher Eccleston’s second. Except, of course, this is anthropomorphics – I haven’t mentioned that yet, have I?

It is, however, quite different from any anthropomorphic comic I’ve seen before. Compared to the likes of GRANDVILLE and BLACKSAD this looks far more like a children’s story book with bright colours, bold, clean lines and shapes, and a map at the back which has aged at the edges. It has that magical, fairy-tale aspect of Alice In Wonderland, the protagonists looking like actors who’ve donned oversized animal heads as they might for a pantomime. Whereas most anthropomorphic characters come with bright, shiny eyes, here – Fawkesie aside, wide-eyed in terror – the old ‘uns eyes are almost closed under the glare of the summer sunshine, giving them a terrific sense of age. When Gilbert’s do open a little indoors they have a fantastical sense of otherness.

Gilbert’s body language is exquisite, delicate, his hands afloat, fingers crossed or gently caressing his chin. Peter’s more of a cheeky chappy while Clive is doleful, heavy and tired with saggy jowls. The one time he becomes animated enough to exert his undoubted physical strength and authority, you can just about see his lower teeth bared to intimidate. It’s masterfully drawn.

It’s also very, very English. Not British – specifically English – with a fabulous sense of both time and space.


Buy Wild’s End #1 and read the Page 45 review here

Stumptown (vol 3) #1 (£2-99, Oni) by Greg Rucka & Justin Greenwood…

From the writer of LAZARUS. Brits: for flop, read “dive”.

“That was a total flop. You saw the way she was holding me?”
“Oh, I saw it… Now I’m wondering when you’ll finally get over yourself and ask her out?”
“Fuck you.”
“Hot sweaty bodies colliding roughly… if it’s not love, it’s lust, admit it.”
“She’s from Seattle. I do not date Flounders. The way you let her score on you, you’re one to talk.”
“That sounds like jealousy to me.”

P.I. Dex Parios returns, and in a football-related story to boot! Sorry, couldn’t resist that one, I’ll give myself a stern talking to, and a yellow card…

Ah, I really wish Rucka would make this an ongoing series, his characterisation and dialogue are superb. This time around, after the frankly odd artwork of STUMPTOWN VOL 2 which felt like an increasingly surrealist experiment (STUMPTOWN VOL 1’s art by the same artist was tremendous strangely enough), he’s also got an artist to match his talents in Justin Greenwood, currently also illustrating Antony Johnston’s THE FUSE.

This case opens with Dex playing in goal against the lovely ladies of Seattle Muddy Balls. Still, her team is called Reál Pain, which isn’t much better frankly, but considerably more classy than FC Vagisil, which was the name of my friend’s Sunday league team for a number of years… But, as Dex has to point out to her teammate Hoffman, it’s just a game. Hoffman, in the vein of Shankly, disagrees vehemently, and if you know the rest of Bill’s famous quote you might have half an idea where things are going…

After her kickabout, Dex is off to take her younger brother Ansell to the Portland Timbers vs. Seattle Flounders local derby. It’s a fiery affair to be sure, as much off the pitch as on it, I hadn’t realised Americans soccer crowds had become so skilled in the art of verbally abusing the opposition supporters. It quite took me back to my own salad days of terrace serenading. Issue one concludes with Dex’s friend Mike being found near the stadium, having taking a serious beating. On the face of it, it’s a simple case of hooliganism, but I’m sure there’s much more to it than that.

I really feel like Rucka is back on track with the emotional elements again after STUMPTOWN VOLUME TWO where I can’t say I really warmed to anyone, and Dex herself felt somewhat peripheral to the main action. Dex and her brother are key components of what makes this title so interesting so I’m pleased the focus, for this first issue at least, is squarely on them.

I am also extremely happy Justin Greenwood is on board for this arc. It’s exactly what this title required art-wise to bring it back to the forefront of crime comics. Clearly they’ve decided to go for less gritty and more colourful, but Justin’s style still adds a hard-nosed edge to proceedings.


Buy Stumptown (vol 3) #1 and read the Page 45 review here

Y – The Last Man Book 1 (£14-99, Vertigo) by Brian K. Vaughan & Pia Guerra.

From the writer of EX MACHINA, SAGA and PRIDE OF BAGHDAD, this new edition reprints the first two softcovers.

Gripping premise in which everyone on the planet in possession of a Y chromosome haemorrhages in an instant. Think about that – Vaughan certainly has.

“495 of the Fortune 500 CEOs are now dead, as are 99% of the world’s landowners. In the US alone, more than 95% of all commercial pilots, truck drivers, and ship captains died… as did 92% of violent felons. Internationally, 99% of all mechanics, electricians, and construction workers are now deceased… though 51% of the planet’s agricultural labour force is still alive..”

Then there’s the religious and governmental significance of this sudden shift in power. Oh yes, and the military. Planes drop out of the sky; the fields, cities, roads and oceans are full of corpses. And although this is itself a damning indictment of the current state of gender play, if you think that the world would be a more peaceful place with women in charge, this series soon puts paid to that. Amazon cults emerge, severing their left breasts, seducing the impressionable and imposing their own bigoted militancy on others. Others wrestle for power, and it’s up to one agent and a lone scientist to escort the sole surviving males – escape artist Yorick and his pet monkey – to a laboratory where the doctor was working on an illegal process she suspects had something to do with the catastrophe when she tried to give birth to her own clone.

An earlier work than EX MACHINA, SAGA or even PRIDE OF BAGHDAD, although some of the dialogue reeks of exposition in the first half, I can assure you it improves swiftly and dramatically, plus Vaughan follows up on more repercussions than so many would have thought of.

The pace of the plot – the twists and the turns – constantly kept me on my toes, and Vaughan really knows when to slip those surprises in. He also threw characters down some unexpectedly dark dead ends, including the protagonist’s sister, and here introduced a town whose inhabitants share a secret they cannot afford to divulge.

Then there’s the matter of a space station, manned when disaster struck but unable to make a safe re-entry. Did the dudes drop dead there? Toss in international espionage, a missing girlfriend and a mother at the top of a precarious political ladder and you have a recipe for ramifications it took Brian K. Vaughan 75 issues to cook through.


Buy Y – The Last Man Book 1 and read the Page 45 review here

Legal Drug Omnibus (£14-99, Dark Horse) by Clamp ~

On the cover you’ll see this book has a “suspicious” leaf motif; on the back, a green and white pill. Why?

Kazahaya Kudo works at Green Drug pharmacy with a tall moody feller called Rikuo and their boss, Kakei. Kakei took them both off the streets, gave them a place (the storeroom) and now they earn their keep filling shelves and sweeping up. Or at least that’s how it seems to outside world. When the doors at Green Drug close, Kazahaya and Rikuo really start to pay the rent. By going on secret paranormal missions for their boss and filling out prescriptions for people with “special ailments”. Things that cannot be cured with conventional medicine.

Oh! The two young bucks have strange, psychic powers too, which kind of helps. Although the plot seems kinda throwaway (which they often do), CLAMP have a great knack of leaving things unsaid or unexplained. Like the guys’ powers, the origins of which will probably be explained later on. With much dramatic posturing and a flurry of multiple close-ups/speedlines. Or the fact that almost all the male characters are gay. Which isn’t an issue, so there’s no prolonged thoughtful insights into what it is to be gay, because only groups of straight men do that.

You might want to check out TOKYO BABYLON as well on that score.

I love the design with this book, lots of nice green on black. The suspicious leaf motif from the logo pops up again throughout.


Buy Legal Drug Omnibus and read the Page 45 review here

Cyanide & Happiness vol 3: Punching Zoo s/c (£10-99, Boom! Box) by Kris, Rob, Matt, Dave.

Wrong, wrong, wrong, wrong, wrong.

I love it.

Short strips merrily defiling innocence on the internet with thirty additional episodes here deemed too way awful for such webular exposure* plus The Hot Date dinner disaster chews-your-own-adventure story.

Instinctively I turned to Page 45 – and you should too, for all your comicbook cravings – and what I found there was so appallingly that I sobbed with laughter:

“You’ll be a big movie star, baby! I see Oscars and Tonys in your future!”
“Where do I sign?”

… he cries gleefully. Later:

“Okay, Oscar and Tony, you’re up!”

I could not possibly even imply the punchline, but infer what you will. The look on the poor lad’s face as he contemplates the nature of niche markets…

Its closest comparison point is the PERRY BIBLE FELLOWSHIP ALMANACK which also straddles the fine line at times between that which is inarguably either spot-on observation of some humans’ nature or the most wittily rendered, left-field expression of a very real phenomenon and that which should perhaps have been left on the cutting-room floor. See also Ivan Brunetti’s HO! If you’ve the stomach for it.

* I am not even kidding you.


Buy Cyanide & Happiness vol 3: Punching Zoo s/c and read the Page 45 review here

BPRD Hell On Earth vol 9 – Reign Of Black Flame (£14-99, Dark Horse) by Mike Mignola, John Arcudi & James Harren…

So, just when think I can’t enjoy this title even more, it steps up the action and drama even further. Quick recap… the world has quite literally gone to hell in a badly woven handbasket following the events of the PLAGUE OF FROGS and subsequent spawning of huge Ctthulu-esque creatures, reducing pretty much every city in the world to slimy rubble.

Amidst the chaos, even darker forces seek to control what remains on behalf of the Ogdru Jahad, those seven entities with designs on our reality who lie beyond our space and time. For now… In New York City, the returned Black Flame, assisted by the ever-helpful Nazi remnants has complete control, reducing what remains of the city’s population to slaves. The BPRD doesn’t know what is going on within the confines of the city due to a strange electronic blackout preventing all communications and surveillance.

Thus, two teams, headed up by the bodiless Johann and resident pyrokinetic Liz Sherman, including various Russian elements from their own BPRD equivalent, are dispatched to reconnoitre and return with hard intel, without confronting the enemy. A simple in-and-out mission right…? Well, it certainly doesn’t help when people won’t follow orders. Still, that always was Liz’s strong suit, not listening to authority. Cue one spectacular conflagration when she confronts the Black Flame…



Buy BPRD Hell On Earth vol 9 – Reign Of Black Flame and read the Page 45 review here

Forever Evil h/c (£18-99, DC) by Geoff Johns & David Finch…

It is a little known fact that, for a number of years, my nickname amongst the circle of my oldest friends was “evil Rigby” for, well, a variety of reasons that I need not elaborate on here. Said behaviour was nothing too untoward, I should add, hence the non-capital ‘e’. Why I felt the need to share that I have no idea.

Anyway… there is a world within the DC Multiverse where those who are good in our reality, are evil in theirs… Thus instead of a Justice League there is the Crime Syndicate containing twisted, villainous versions of all our heroes, who have managed to kill all the heroes of their world and take over the planet. They are probably Evil with a capital ‘E’, therefore.

However, something considerably more powerful than even them has destroyed their world, forcing them to seek another to conquer… ours.

So, this was DC’s big summer event, written by Geoff BLACKEST NIGHT Johns, and it was pretty decent, actually. There were a few clever tricks and switches amidst the usual over-the-top set-piece melees, not least being that Lex Luthor has decided he wants to play hero and be a member of the Justice League. Oh, and he’s worked out who Batman really is. Not that Luthor’s entirely on the straight and narrow, obviously, his ego just likes the idea that they can’t save the world without him.

If you fancy a bit of capes and tights of the DC flavour going at it with everything including the kitchen sink, this will do nicely.


Buy and read the Page 45 review here

Winter Soldier Brubaker Complete Collection s/c (£22-50, Marvel) by Ed Brubaker & Butch Guice, Michael Lark.

“Your memorial starts in an hour. You planning on attending?”
“Ha. No… Just do me justice… And make sure all the girls are cryin’.”

Shadows and light. Like the weather itself – rain, sleet and snow at midnight – the colouring by Bettie Breitweiser is beautifully bleak: an erosion of Butch Guice’s phenomenal form and action so frantic that it’s like being tossed into the firefight yourself. Rarely do I rave so vocally about the colouring in a Marvel comic but it’s both brave and bold and works perfectly in what is essentially another espionage thriller by Brubaker who’s going out with a bang at Marvel, on his fiercest form there since the first three years of CAPTAIN AMERICA itself. And as an espionage action-thriller co-starring Nick Fury, there are apposite explosions of Jim Steranko and Gene Colan throughout – you really can’t miss them. A joy.

Following the catastrophic events in FEAR ITSELF, what’s left of the world is mourning for Bucky Barnes who fell on the frontline. For many years Steve Rogers’ best friend was thought dead, lost after a plane disaster in WWII, although in truth Barnes had been captured by the Russians, cryogenically frozen and brainwashed into becoming the Winter Soldier, their occasional stealth assassin during the Cold War. Thankfully he broke his conditioning and went on to sub for Steve Rogers as Captain America until being set up and exposed by Zemo for his Cold War crimes then sold out by elements in the US government to Russia. When he died on the battlefield of FEAR ITSELF, Bucky Barnes was still a wanted man.

Now: the report of Bucky’s death was an exaggeration. Nick Fury and Natasha Romanov, the Russian superspy codenamed Black Widow, conspired to save Bucky using an almost depleted source only at Nick’s disposal whilst covering up his survival. What did they use for a corpse? Oh, come on, you know your S.H.I.E.L.D. history! So that takes care of the international hunt for Bucky as fugitive. Only question is… who’s going to tell Steve?

Barnes and Romanov are now free to embark on a series of necessarily covert stealth missions to track down the three other Russian Sleepers that have since been shipped in stasis tubes to US soil. So far they’ve arrived just in time to be too late, finding the stasis tubes empty. And so desperate have they been to prevent the acquisition then activation of the Sleeper Agents, they’ve charged in too fast to take in the details: who they’re up against and the true identity of their opponents’ target.

The target is Victor Von Doom Esq, but the assassins have so far only used enough firepower to make Doom angry. To what end…? All will become a great deal clearer when you discover what else was bought alongside the acquisition codes. Oh yes, and who bought them.

This is slick as slick can be, with beautifully balanced banter between Barnes and Romanov. That they are lovers and equals makes for a different dynamic both in the field and in bed. Add in Natasha’s permanently arched eyebrow and you’re in for a treat. Doom too is the source of much mirth, and there was one panel in which he masked a certain degree of fretful guilt which I swear looks like it was drawn by SCOTT PILGRIM’s Bryan Lee O’Malley.

Of the second slice here, I wrote:

More exceptional, high-octane espionage action with one hell of a cliffhanger I never saw coming. I never see anything coming, do I? I shouldn’t be allowed to drive. Or cross the street.

Previously in WINTER SOLDIER VOL 1: two ex-Soviet sleeper agents, trained during the Cold War by a brainwashed Bucky Barnes then bought and brought to America, came close to starting World War Three. Two of them – and there were supposed to be three. Why didn’t the third one show?

The answer lies buried under San Francisco in an underground bunker where our Winter Soldier finds the shattered remains of that third sleeper agent’s cryogenic stasis tube. The whole place has been crushed. It’s as if a bomb went off or… when was the last time the San Andreas Belt shifted? Twelve years ago there was an earthquake and, as the saying goes, it woke the giant up. Unfortunately there was no one on hand to administer the reorientating drugs necessary for a successful resurrection or help acclimatise the walking, talking weapon of mass destruction as to where, when or who he was. He staggered naked to the surface, a lethal blank slate. So what’s he been doing for twelve years?

The central cast of S.H.I.E.L.D. agent Sitwell, Natasha Romanov (the Black Widow) and Bucky Barnes himself are so well played. And I mean that in both senses of the word for, without giving the game away, the Winter Soldier isn’t the only one who’s spent many years in Russia. Natasha comes with her own insider knowledge, set of skills and experience. And they’re very much in demand.

Of the third and final chapter:

“I like the rain… The way it sounds on the umbrella… The way the air feels.”

With which Ed Brubaker’s triumphant, epic stint on the world of CAPTAIN AMERICA which began with CAPTAIN AMERICA: WINTER SOLDIER comes to a devastating end. There are things worse than death, you know, and this is one of worst I can imagine. It is not what you think, no.

Butch Guice has been on blistering form with the mood-esque atmosphere enhanced no end by colour artist Bettie Breiweiser who made some very brave choices in volume one which paid off to perfection. Here they are better than ever, with rain that will soak you to your tear-stained skin and, boy, there are some neat Gene Colan riffs! Perfectly apposite as you will see, but I will not tell you why.

I have to be very careful what I type here so as not to spoil those books – particularly the second one – however…

“Here’s the thing about being under mind-control, the part nobody talks about… That you’re still in there… Some small piece‘a you is awake… watching. Like bein’ a passenger in your own body. You struggle to break free… but you lose… Over and over again… you lose… And it makes whatever you’re forced to do that much worse…”

Oh dear.


Buy Winter Soldier Brubaker Complete Collection s/c and read the Page 45 review here

Regular Show vol 1 s/c (£10-99, Kaboom) by various…

You know who else reads comics? MY MOM!

It’s true, actually, though probably not REGULAR SHOW. I would imagine it might fall into the ‘too weird’ category. Fans of the show will undoubtedly recognise the long-standing joke, repeatedly exhorted by Muscle Man to the increasing irritation of all the other crazy characters: Rigby, Mordecai, Benson, Skips, Pops and High Five Ghost, who are a bizarre mixture of animals, humans and even someone with a gumball machine for a head, who all live and work in a park. Where very, very strange things happen. A lot.

Obviously, I love comics. I have to say, though, I don’t fully understand the need to produce comic versions of cartoons, the blatantly apparent fiscal and cross-platform marketing benefits aside. To me, when comics and indeed prose books are converted to films or television shows, often much is left out and the adaptations are a pale imitation. I tend to find with cartoons being converted to comics that the same is equally true. For something as zany and insane as REGULAR SHOW, ADVENTURE TIME et al, to me their natural medium is on screen. I just find I am not as entertained by the comic versions of them to anywhere near the same extent as the shows.


Personal, curmudgeonly observations aside, if you are a fan of the coolest racoon* ever – and I don’t mean ROCKET RACOON, though that would be a pretty interesting rodent-related cross-over, now I come to think about it – and his friends, you probably will enjoy it regardless.

* Obviously I am heavily biased given my surname.


Buy Regular Show vol 1 s/c and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?


The River h/c (£15-99, Enchanted Lion Books) by Alessandro Sana

Courtney Crumrin vol 6: The Final Spell h/c (£18-99, Oni) by Ted Naifeh

Ricky Rouse Has A Gun (£14-99, SelfMadeHero) by Jorg Tittel & John Aggs

Maddy Kettle vol 1: The Adventure Of The Thimblewitch (£10-99, Top Shelf) by Eric Orchard

The Unwritten: Tommy Taylor And The Ship That Sank Twice s/c (£10-99, Vertigo) by Mike Carey & Peter Gross, various

Blue Estate h/c (£22-50, Image) by Viktor Kalvachev, Kosta Yanev, Andrew Osborne & Viktor Kalvachev, Toby Cypress, Nathan Fox, Paul Maybury, Marley Zarcone, Tomm Coker, Andrew Robinson, Peter Nguyen

Astro City: Through Open Doors s/c (£12-99, DC) by Kurt Busiek & Brent Eric Anderson

Forever Evil: Arkham War s/c (£12-99, DC) by Peter J. Tomasi & Scot Eaton, various

All New X-Men vol 5: One Down (UK Edition) s/c (£12-99, Marvel) by Brian Michael Bendis & Stuart Immonen

Deadpool Vs. Carnage  (UK Edition) s/c (£10-99, Marvel) by Cullen Bunn & Salvador Espin

Guardians Of The Galaxy / All New X-Men: The Trial Of Jean Grey (UK Edition) s/c (£12-99, Marvel) by Brian Michael Bendis & Stuart Immonen, Sara Pichelli

New Avengers vol 2: Infinity s/c (£14-99, Marvel) by Jonathan Hickman & Mike Deodato Jr.

Ultimate Comics: Spider-Man vol 5 s/c (£14-99, Marvel) by Brian Michael Bendis & David Marquez

Deadman Wonderland vol 4 (£6-99, Viz) by Jinsei Kataoka & Kazuma Kondou

Ikigami The Ultimate Limit vol 10 (£8-99, Viz) by Motoro Mase

Loveless vol 12 (£6-99, Viz) by Yun Kouga

Spell Of Desire vol 1 (£6-99, Viz) by Tomu Ohmi

Time Killers (£9-99, Viz) by Kazue Kato

Pandora Hearts vol 21 (£9-99, Yen) by Jun Mochizuki


ITEM! Swoon, swoon, swoon, swoon, swoon! THE RIVER by Alessandro Sanna is in stock at Page 45 now (see top of Also Arrived). Just look at those watercolour landscapes!

ITEM! Alan Moore finishes one-million-word novel, Jerusalem!

ITEM! Spanish artist Max draws Jeff Smith’s BONE.

ITEM! Advance review / preview of Scott Snyder & Jock’s WYTCHES!

ITEM! Thrilling sense of speed then break-neck brakes in MURDER + MIDNIGHT by Jon Eastman & David Ward. Kickstarter deadline imminent. Eeep!

ITEM! Sally J. Thompson’s gorgeous Estonia sketches. Swoon!

ITEM! Sean Phillips’ limited edition giclee for the Lakes International Comic Art Festival.

ITEM! Finally, fanfare, please…

Behold the brand-new Lakes International Comic Art Festival Programme 2014!

Oh my days, it is beautiful!

So much to see, so much to do, and yet it’s laid out with such clarity I could cry!

Almost everything at the Lakes International Comic Art Festival 2014 is FREE (click on that link for their website, click on the one directly below cover for programme) including Page 45’s signings with Scott McCloud & Glyn Dillon and Page 45’s 20th Anniversary Booze Bash!

However, please note that the ticketed talks with comicbook creators like Scott McCloud, Jeff Smith, Eddie Campbell, Becky Cloonan, Sean Phillips at the Lakes International Comic Art Festival do require a small contribution and should be booked as soon as possible because space is limited.

- Stephen

Reviews September 2014 week two

September 10th, 2014

There are thirteen chairs set round a circular table, one of them waiting for you.

In each other chair sits a stranger. In turn they tell stories by candlelight. None of their stories end well.

Will yours?

 - Stephen on Thirteen Chairs by Dave Shelton.

Baby Bjornstrand (£14-99, Koyama Press) by Renée French.

Mickey is peering down the back of Marcel’s pants. Marcel, just above his bottom, has a tail.

“You don’t have to touch it.”
“Ok, ok.”
“You can touch it if you want.”

Well, now. A new Renée French is always an event. Also, a mystery.

Previously she’s had Neil Gaiman singing her praises after picking up her comics at Page 45. Oh yes! This time it’s the unlikely pairing of Guillermo del Toro and Warren Ellis. The latter writes:

“Like watching David Lynch and Samuel Beckett get mean-drunk: a demented comedy from one of the medium’s authentic geniuses.”

“Surreal”, you’ll be thinking and it won’t disappoint, but Samuel Beckett is particularly perfect as a benchmark. This takes place in a limbo of sorts, a bit like Anders Nilsen’s BIG QUESTIONS and, as with BIG QUESTIONS, there is plenty of empty silence so that what is said attracts your eye and fires your curiosity.

It’s all in the few carefully muted colours, so cleverly deployed.

Played out on a sepia shore so shrouded in fog that the islands to begin with are blurred and unknown, three child-sized playmates wearing elasticated masks discover Baby Bjornstrand, a bird-beaked blob of no words, little movement, and only one sound – “Hoooooo!” – emitted sparingly. It just sits there, inert. Its very inertia is compelling.









Now, here come the colours (slightly more vivid on the printed page than here): each sprog sports a slightly different mask – variations on a theme – but they each also light up, along with the words that they speak: Cyril in yellow, Mickey in red, Marcel in turquoise. Baby Bjornstrand glows in green.







Formal word balloons with their tagging tails are therefore redundant and so discarded here, adding to the ethereal. The landscape, interaction and sparse sounds are as one, floating together just as they do in real life. Seriously: take a couple of friends out onto some misty moors, then watch and listen as they speak.

Three-quarters of the way through the landscape comes into focus: a vast, Scottish-like lake with sheer, vertical cliff tops on the other side. Are you wondering why this is so?

I was as mesmerised by this as Cyril himself is by Baby Bjornstrand. Marcel and Mickey stage a play of the proceedings. That was funny. There is also a very funny moment involving a ringed doughnut, but throughout I wasn’t sure whether I should be worried or not and that kept those pages turning.


Buy Baby Bjornstrand and read the Page 45 review here

Finder: Third World (£14-99, Dark Horse) by Carla Speed McNeil…

The debonair and devilish Jaeger, knower of hidden short-cuts and errr… much other useful stuff, takes centre stage in the first colour FINDER material!

It took me a little bit of getting used to that, actually, it being in colour, though I’m not sure exactly why. I guess I’m just subconsciously familiar with how it has always been before. It’s a statement on the quality of the previous material perhaps that I actually found it a little distracting at first, but ultimately the colour is a very welcome addition.

So, what we have here is something which actually adds as much to the mystery of the man as sheds lights on his many secrets, as he forced to take a job, a proper job, and so becomes a parcel delivery man. Which, you might think, would be a waste of his prodigious talents. But no, because these parcels are in places virtually impossible to make a delivery to… For any ordinary person, that is.

And, of course, along the way, Jaeger as ever finds time to become unnecessarily embroiled in other peoples’ business, as well as just doing the odd good deed like getting an old lady home safely. Mainly just getting himself neck-deep into trouble, though.



I think this volume may prove a very good jumping-on point for new readers in that it starts off all fun and froth before descending into typically darker territory as the level of drama – and  danger – escalates apace. Carla really does manage to pack a huge wealth of the diversity of the FINDER milieu into just this one book, a really great showcase for the spectacular speculative fictional world she has created.


Buy Finder: Third World and read the Page 45 review here

Void h/c (£8-99, Titan) by Herik Hanna & Sean Phillips.

“Nancy… Why are you dancing with that guy? He… he doesn’t even have a head!”

It’s been a complete and utter bloodbath.

Goliath 01 is a prison ship, lost in space. Its inmates – low-level threats like thieves and bankers* – have been slaughtered along with its crew.

It wasn’t aliens; it was a single human being: its commander, Colonel Mercer, officially marble-free and lying in murderous wait somewhere below decks.

There remains a solitary man in orange overalls recalling it all while desperately trying to find some means of escape and avoiding the fate of his fellow felons. Without food or water for two days now and surrounded by entrails and body parts, he’s beginning to lose the plot, hallucinating about an ex-girlfriend, naked. Then there’s the talking banana.

You never thought you’d see Sean Phillips draw a talking banana, did you? Sean is the artist behind FATALE, CRIMINAL, SLEEPER, THE HEART OF THE BEAST, 7 PSYCHOPATHS, INCOGNITO, SCENE OF THE CRIME and indeed THE ART OF SEAN PHILLIPS (one presumes). He’s well known for noir, but not for science-fiction nor comedy peeled fruit.


He does, however, bring all the nerve-wracking twilight he’s renowned for, and there’s one feverish sequence which has been lit like the nocturnal zone of a zoo’s Tropical House in electric blues and neon purples. He’s also emphasised the relatively low technological feel of a physically flown ship with submarine gauges, gangways riddled with thick electrical cables and heavy iron levers which require real elbow grease to grapple with.

All of which would be – and indeed was – a pretty intense read. However…

Oh, yeah, you’ll be wanting to read this twice.


* … he explains, tautologically


Buy Void h/c and read the Page 45 review here

Amulet vol 6: Escape From Lucien (£9-99, Scholastic) by Kazu Kibuishi.

“Cogsley, we need to tell the Captain about this! If there’s something hidden in that cloud, we need to go back and investigate.”
“We won’t have to go back.”
“What do you mean? Why not?”
“Because it followed us.”

Cue yet another Hayao Miyazaki-inspired double-page flourish! You won’t have long to wait this time, the action kicks off immediately.

Second only to Luke Pearson’s HILDA, this is our biggest-selling Young Adult series of graphic novels and if it wasn’t already one of my all-time favourites (it was) it would most assuredly be now.

So much happens, and so much is revealed that makes perfect sense of the strange allegiances in this far from black and white war. But, oh, no spoilers! Why don’t you go back and read our previous reviews of AMULET – each of them extensive – instead?

Suffice to say that for once younger brother Navin takes the lead in a desperate mission to reactivate a beacon in the burned-out city of Lucien below and promptly gets trapped there along with Colossus co-pilots Aly, Trish and Rob. Is anyone still alive there? Anyone – or anything – at all?

Meanwhile his older sister Emily and fellow Stonekeepers Vigo and Trellis are captured by another, part of whose past is played out in front of them while they seek to keep their amulets unaware of what they’re all up to. What are they up to?

There’ll be plenty of new faces along with some old friends long thought lost, and a great big secret, which I’d forgotten was a secret, from the very first book is explained. There will also be fatalities, I’m afraid.

There are so many landscapes to swoon over here, even in the rain, and one of AMULET’s strengths has always been Kazu’s eye for design, like the Elf King’s metal mask whose shallow, vertical, curved trenches are coloured to highlight their topmost ridges. It’s a design reflected in their airships and elsewhere, but I don’t recall seeing that mask applied before, direct to the face, its razor-sharp, thin, conical spikes slipping into the flesh with a sinister “SHK!”


Buy Amulet vol 6: Escape From Lucien and read the Page 45 review here

Long Gone Don (£6-99, David Fickling Books) by the Etherington Brothers.

Quality comedy all-out adventure starring a dude who’s gone and dropped dead.

Don drowned in a bowl of oxtail soup. “Which smelt a bit like wet dog.”

It was a freak accident.

It was a really freak accident.

Okay, it was a succession of really freak accidents which fell like dominoes in the form of custard, cards, the caretaker’s leg and a poor, startled hamster. Did I mention the step-ladder? I don’t think we’ll talk about the puddle of puke. That school’s Health & Safety needs a certain degree of attention.

This is perfect for kids aged 5 through 15 to 5,015 which is, I’m afraid, where I come in.

It is full-on mirth-making mentalism replete with puns like The Demon Drink’s salutary slogan: “Cures What Ales You!” Now that’s a pub after my own heart. And probably my liver.

It all takes place in the netherworld known as Broilerdoom with its holy Krapookerville and its less divine, adjacent Corpse City. There Don encounters Castanet the crow with his mortal terror of flying, experiences the Welcome Arena and is showered with gifts only to fall foul of its Unwelcome Arena where he is swiftly relieved of them.

“Lesson number one: Broilerdoom gives with one hand and takes with the other. This is an opportunist’s underworld, Don, which means if you think you can get away with something, you probably can.”

Point in question: the stall called Stolen Stuff which happily sells its second-hand goods back to their original owners.

The demon who’s been getting away with everything up to this point is General Spode, high up in his ivory Bone Tower Monolith. Ruling aside his Regina, he has stolen the crown from rightful king Ripley who has since retired to sign books and shrubs as a celebrity gardener. Think Alan Titchmarsh as a dilettante and dandy. Spode’s right-hand man is Count Valush, a red-eyed shadow in a cape and a tall hat that he is inordinately protective of. Excellent for target practice.

In the opposite corner sit Lewd and Safina back at The Demon Drink, along with many a hidden ally like Viktor Rictus, the sentient squid with sloppy pink tentacles and a singular eye for invention.

Don will encounter and make use of a Brick Licker (armadillo/slug/hedgehog hybrid), Castanet’s tail-feather plumes and a great big bucket of black paint. Also, a lamprey-like giant worm called Thanatos with terrible tombstones for teeth.

If all this wasn’t enough, the art is insanely detailed and lush, with exotic, Eastern architecture not even hinted at on the cover. There are maps and monsters and a magnificent, walled, tiered garden. Moreover, if this was really serialised in THE PHOENIX COMIC, I cannot see the joins.

Also, I have a new favourite expletive:

“Sweet Sherbet Dipdabs!”

Lorenzo Etherington you may already have encountered in the VON DOOGAN puzzle adventure.

“The work those guys put into LONG GONE DON blows my miiiiind. I’ve said it before and I’ll say it again: there are many, many creators whose work I love and admire and gasp in awe at, but Lorenzo is the only guy I know whose work I look at, and pause, and ask “are you actually HUMAN?””

- Neill Cameron of the awesome comic called HOW TO MAKE AWESOME COMICS

(Errrrr, in a private email which I haven’t even asked if I can quote. I am so indiscrete.)


Buy Long Gone Don and read the Page 45 review here

Thirteen Chairs h/c (£10-99, David Fickling Books) by Dave Shelton.

‘“Welcome,” says the pale man. “You are welcome.”’

Put yourself in young Jack’s shoes:

There are thirteen chairs set round a circular wooden table, one of them waiting for you.

In each other chair sits a stranger. There’s a big, bearded man with a bellowing voice; there’s a small girl with thick glasses who speaks in a swift monotone as if empty inside; and then there’s the pale man with well-behaved hair whose presence is commanding and whose posture is excellent.

In turn they tell stories by candlelight. None of their stories end well.

Will yours?

You know what they say about curiosity, and Jack is a curious boy. Come to think of it, each of these strangers in their own way is curious, as are their stories. Some sound like fables, others like confessions but they all are claimed to be true. Each involves death and most come laden with the weight of poetic justice, although one of the culprits is prose. Who knew that writing could kill you?

We stock very little prose at Page 45. For us, it is all about comics. Sure, we stock a full range of Neil Gaiman, but then he is ever so slightly renowned in our graphic world for things like THE SANDMAN and DEATH. There’s the heart-breaking A MONSTER CALLS by Patrick Ness and Jim Kay which you must never, oh never, read in public. But it’s packed full of the most jaw-dropping, Sienkiewicz-via-Steve-Bissette illustrations and – aside from the stories’ chapter breaks – this isn’t. What this has in common, however, is its horror yet humanity and its literary craft. I stole a little bit of it for my introduction. Here’s the pale man, the gathering’s compère:

‘He is a small man, soberly dressed in a dark suit that is neatly tailored and primly buttoned; a crisp white shirt with a wing collar; a plain dark tie. His hair is short and well-behaved. His posture is excellent.’

Try this, too:

‘”Come on in then,” she says, raising an arm and beckoning with long fingers, tickling at the air. “No skulking in the dark. Over here where we can see you.” Her voice is a soft and lovely thing, round and warm and with a sweet tang of teasing laughter.’

Dave Shelton is the author of the delightful all-ages comedy we also broke our no-prose policy to stock, A BOY AND A BEAR IN A BOAT, which we still seem to be selling at least one copy of every single week – usually to adults for adults. My Auntie Squee adores it. This is all-ages too, but emphatically not comedy. I was worried throughout, and so was Jack, and there is an ice-cold, chilling secret lying within which will reveal itself as soon as you’re ready to see it. The finale’s pay-off is sublime.

In the meantime you’ll enjoy multiple stories from diverse voices, each as distinct from each other as this is from A BOY AND A BEAR IN A BOAT. I was beseeched by its publisher to announce my favourite but I quite simply can’t. It could be the phantom in and of the deluge which I picture in my mind’s eye drawn by Will Eisner or coloured by Bettie Breitweiser. It could be Mr. Fowler’s childhood recollection of shirking work in his uncle’s tavern, spellbound by a ship all at sea and the cost to its crew of two brothers at war. Or maybe it’s matter-of-factual Amelia:

‘”I am not loud or funny or cheeky or popular. I am quite clever and quiet and not cool, and the other children make fun of my glasses, which are held together by sellotape at the moment because Dad fixed them with not very good glue in a hurry after Ellie sat on them, and so they broke again really easily when Sam kicked a football in my face, which was an accident again.”’

So no, actually, this isn’t without laughs.

‘”If Callum wants to try to make me cry he should call me something to do with being little, like ‘titch’ or ‘stick insect’ or something, because that would make more sense (even though it still wouldn’t make me cry because I don’t care about that sort of thing because I have a Positive Self Image because Dad told me I should).”’

She’s worried that Callum will “want to do revenge” on her because she got bored of him throwing her school bag in the air because it contained her school lunch and that contained tomatoes which could go squishy (they did) and so she punched him in the tummy and that made him sick all over his silly trainers.

‘”I try to keep an eye on them, but I drop some tomato on my biscuits (Dad gave me biscuits today because it is a Wednesday and Wednesday are biscuit days, and Mondays and Fridays are too, and Tuesdays are Healthy Choice days), and so I have to pay attention to that and get the seeds and juice off the top biscuit as fast as possible to stop it from being too tomatoey to eat (the bottom one is absolutely fine). I’m just deciding that the top biscuit is not OK to eat because it will be too tomatoey but that from now on I’ll ask Dad to wrap the biscuits in cellophane as well for extra safety, when I realise that I can’t see Mrs Fleet at all any more.”’

It reads breathlessly, like an infant’s school essay, doesn’t it?

I might have to concede, however, that my biggest soft spot is for big, bearded Piotr who repeats a story with a very grisly end told to him by his grandmother. (”My grandmother swears by her moustache that is true. So must be so.”) This is what I mean by completely different voices:

‘“So they take him to house, give him soup and bread and they tell him legend of silver ghost and red tree. Only they argue and can’t agree how story go. There is red tree and there is silver ghost, and some children and menfolk go missing in woods, and some cattle and plants die. This much they all agree. But rest? Oh boy! One say silver ghost live in red tree. One say, no, you fool, red tree grow fruit to protect from silver ghost. Another one say, you both wrong, silver ghost guard red tree. This all go on very long time and woodcutter bored. Also, soup is no good.”’

I’ve just realised I’ve picked out the two comically delivered monologues. I can assure you the rest will make you very uneasy.

So masterfully told are all these tales that only towards the end of each does it dawn on you where it is heading and whence it came: how expertly its outcome has been presaged. Within every one lies this moment of minor satori and that’s very clever, Mr. Fowler’s particularly so. All of which can be said for the book as a whole, but I see I must say no more.

So pull up a chair – any one from this spot-varnish cover, each as individualistic is its occupant – and prepare to be deeply unsettled by cats and by clocks and by things which are Not Quite Right.

The candles are burning low now.

But you may have just enough time.


Buy Thirteen Chairs h/c and read the Page 45 review here

Above The Dreamless Dead: World War I In Poetry And Comics h/c (£18-99, First Second) by various.

Eddie Campbell:

“It’s a bit preposterous us thinking we can illustrate this stuff that we know nothing of – sitting here in our air-conditioned rooms trying to imagine the horrors of being knee deep in mud with your feet rotting off.”

Well, quite.

Nevertheless, Eddie does a convincing impression of knowing precisely what it felt, looked and smelled like, at night, and throws it in front of your face. Towards the end there is a close-up of what left of a clod-encrusted cadaver, its skull-thin face with opaque eye-jelly being crawled round by maggots.

“A barb had pierced his eye and stuck there, rusting in the socket from which sight was gone.”

It opens with the occasional crack of sniper bullets whipping the sandbags as soldiers stumble about like phantoms in the miasmatic fog, barbed wire lit up in ghostly electric arcs or, later, glistening with spiders’ webs and dew drops as it resists being dragged down and sucked into the mud by the weight of what’s left of a once-living human being. What’s left of Loos church and graveyard is also lit up in a ghastly, bone-strewn son et lumière. The overall effect is like staring into old-school black and white photographic negatives: indistinct, often terrifying.

Campbell chose to condense the closing chapter of a novel by Patrick MacGill, The Great Push (1916), but the rest of this black and white book is given over to the World War I Trench Poets – writers on the frontline responsible for breaking through the propaganda with their terrible truths – interpreted by an impressive array of comicbook creators:

Hannah Berry, Stephen R. Bissette, Lilli Carré, Lisbeth De Stercke, Hunt Emerson, Garth Ennis, Simon Gane, Sarah Glidden, Isabel Greenberg, Sammy Harkham, Kevin Huizenga, Kathryn Immonen, Stuart Immonen, Peter Kuper, James Lloyd, Pat Mills, Anders Nilsen, Danica Novgorodoff, George Pratt, Carol Tyler, Phil Winslade.


George Pratt takes on Wilfred Owen’s Dulce Et Decorum Est and Greater Love. He notes in the back that, wishing to avoid overshadowing the words, he deliberately used thick tools like paint rollers and knives which wouldn’t allow him to overwork the images with details. It works.

My other favourite is Simon Gane’s second piece here, Osbert Sitwell’s The Next War, using war memorials from Britain and France, trailed with ivy, their age and textures perfectly rendered, each improbably well chosen to match and so evoke what was written. I urge you to hit the internet and gawp at the man’s architecture and landscape sketchwork.

Here you go, a rare external link:


There is an excellent introduction by Editor Chris Duffy, and commentary by the creators bringing up the rear. Kevin Huizenga’s is particularly worth noting.


Buy Above The Dreamless Dead: World War I In Poetry And Comics h/c and read the Page 45 review here

Truth And Dare: A Comicbook Curriculum For The End And The Beginning Of The World (£6-99, Ecosocialist Horizons) by Chris Cardenale, Ethan Heitner, Seth Tobocman, Kate Evans, Paula Hewitt Amran, Jordan Worley, Mac McGill…

Do you think the world is unfair? Specifically, do you think capitalism is an unjust system which can only inevitably end in the destruction of our planet if left unchecked? Many would agree, I think, to some degree at least, and so consider this a primer.

First of all in ‘Creation to Extinction’ and ‘the nightmare is real…’ we see it graphically explained where this path of rampant consumption is taking us. Then in ‘The Enemy of Nature’ we see how the capitalist juggernaut was created, and thus precisely why and how we find ourselves in a situation where over 99% of the world’s material wealth is in the hands of less than 1% of the population, and what that inequity inevitably causes to happen to those at the opposite end of the fiscal scale. For the creators of this work, capitalism is simply a cancer which, if left untreated, can only lead to a painful demise for us all.

Next up, leavening what is obviously a somewhat serious read is Kate Evans using the Three Stooges to explain why ‘Money is Green too’, ‘Environmentalism for Dummies’ and ‘Socialism for Suckers’. Here we see why even what most people would consider tools for good, like environmentalism, have been subverted by the capitalist structure and how what most people would consider as the obvious alternative to capitalism, socialism, has been expertly and quite deliberately demonised by those in control, particularly in American, as akin to communism.

Finally, alternative solutions to the impending apocalypse are pro-offered, along with a further reading list of some several hundred prose titles covering such diverse topics as ‘The Ecosocialist Horizon’, ‘Fighting Oppression’, ‘Anti-Capitalist Energy Transition’ and ‘The Solidarity Economy’.


I admire the enthusiasm and endeavour of all the creators. I agree with them to some extent, though I don’t entirely share their views by any means. But what this certainly is, though, is indeed a curriculum. The addition of the reading list, for those who do wish to learn more about class activism and the socio-economic chains that bind virtually all of us to lesser or greater degrees, is a fantastic collation of essential critical thinking and instructive works. A very worthy endeavour, which is also a fascinating and thought-provoking magazine-sized comic collection.


Buy Truth And Dare: A Comicbook Curriculum For The End And The Beginning Of The World and read the Page 45 review here

El Nino h/c (£26-99, Humanoids) by Christian Perrissin & Boro Pavlovic.

El Niño, of course, is the name for the massive warming of coastal waters around South America resulting in freakish storms, shifts in currents, raisins in jam and huge piles of pasta all over the floor.

Well, it does if you’re on board a boat in one of those storms. Guess where Vera is? On board a boat in one of those storms.

Returning to Paris from a gruelling Red Cross mission, Vera, a self-confessed Gadjo (non-Gypsy), visits her father’s grave in Père-Lachaise to find some of her old folk there, eating brunch. When she visits them later in a flooded suburb, they reluctantly tell her about Kolya, her supposed Siamese-twin brother, who joined the merchant navy before disappearing, never to be heard from again. The last thing they received was a letter from one Jean René Isnard in Polynesia, who claims Kolya’s safe and on his way back home.

Confused by the medical knowledge that Siamese twins can’t be of different sexes, and restless to leave Paris in any case, Vera flies out to Polynesia to discover that Jean René is dead and his son, now a captain of a vessel himself, isn’t best pleased to see her. Now obsessed, Vera tries to intercept the boat in Bora Bora, which brings us to the storm.

Prime European drama (he says, sweepingly), with exotic landscapes perfectly evoked and the mandatory gratuitous nuddie scene. I’m a third of the way through and I can’t put it down…

… I wrote back in 2005.

I did put it down eventually: once in 2009 to celebrate Page 45’s 15th Anniversary with Jonathan, Dominique, Bryan and Mary Talbot, dear Liam Sharp, Dr Mel Gibson and over a hundred of you lovely wastrels; twice in 2011 to go to the toilet; then once during our recent Bryan Lee O’Malley signing when I dropped it on my knee. It’s very heavy, and I’m still wearing a Tubigrip to bring the swelling down.

We should probably celebrate Page 45’s 20th Anniversary in some fashion this October. Fancy coming along?


Buy El Nino h/c and read the Page 45 review here

Death Of Wolverine #1 (£3-99, Marvel) by Charles Soule & Steve McNiven.

The cover is a great deal shinier than this, but the comic isn’t as long as it looks.

I warn you about that right now. Process pieces are fascinating, and in the second half Steve McNiven takes you through pages as they evolve and shows you a few he simply binned because the composition wasn’t right. He pays tribute to Barry Windsor-Smith’s work and shows have he’s incorporated that double-barrelled influence.

Then there’s an extensive interview with Wolverine’s co-creator Len Wein who pays tribute to Dave Cockrum and explains that the name came from Roy Thomas and how he lined Logan up in case the X-Men were ever revived from their hiatus.

Fab. I’m just saying, brace yourselves for the credits to roll halfway through: it’s a right downer hitting To Be Continued when you thought you’d another 20 pages in store.

Anyway, yes, Steve McNiven you may know as Mark Millar’s artist on WOLVERINE: OLD MAN LOGAN, NEMESIS and Marvel’s CIVIL WAR, all of which come with the highest recommendation to superhero fans, the first one being my favourite Wolverine book to date. Obviously to become an old man he’ll need to last a lot longer than this title implies which should probably be Looting Logan For All He’s Worth Although It’ll Be Pretty Damn Lucrative When We Bring Him Back Too.

As the weekly, five-issue mini-series kicks off, Logan is sat on a battered porch clutching his Mom’s sick note so he can skip P.E.. Both he and his claws are covered in blood, which is bad news because as Reed Richards explains, without his healing factor…

“You’re a prime candidate for heavy metal-related leukemia. If you don’t get endocarditis from all the bacteria you pull into yourself every time you use your claws.”

So far neither Stark nor McCoy nor now Reed Richards have been able to revive Wolverine’s healing factor so staying out of brawls until they do is Logan’s best bet. Unfortunately the second word gets out that small, dark and hairy is vulnerable brawls are going to be unavoidable. Word gets out.

There’s not a great deal more to report on the story front. You can expect at least one supervillain per issue and I suspect that will only escalate. It’s Steve’s art that impresses, increasingly so with each project he graces, and the double-page spread here may not be the flashiest you’ve ever seen, but its composition is impeccable: those man’s shoulders are very broad indeed.

No, no, you’re quite right: this may be the dullest review I’ve ever written.


Buy Death Of Wolverine #1 and read the Page 45 review here

Thunderbirds vol 1, vol 2, vol 3 (£6-99 each, Egmont) by unknown & Frank Bellamy.

“Thunderbirds are go!”

You’ve got to love that tune: a jaunty little western number given the Flight of the Valkyries treatment.

Just like the films of Ray Harryhausen, Gerry Anderson’s puppetry – or supermarionation – represented class and craft, as well as an easy-to-mimic wibbly-wobbly walk in the school playground.

The Thunderbirds themselves were some of the most thrillingly designed crafts of all time, none more so than Thunderbird 2: ribbed, thick and sturdy in army olive green, boasting two enormous red engines and a series of interchangeable, central pod / hangars to carry industrial drilling machines or, most often, subaquatic, canary-yellow Thunderbird 4. Ahead of the craft’s take-off from the Tracy family island, twin rows of palm trees would flop obligingly over to let it through. I built a gigantic beast of a version in Lego (complete with slide-down hangars, yes) and would flick my own Lego trees over manually, two at a time.

Thunderbird 1 exploded out of a hidden central silo, Thunderbird 3… well, we rarely saw that, nor does it appear here except on the third volume’s cover! But each was reached by secret metal chutes hidden behind trapdoors hung with their respective pilots’ portraits (whose eyes lit up during communication!).

And oh, those pilots were fit! Scott Tracy of Thunderbird 1 was one of my very earliest crushes. The other Tracys were way too blonde and Captain Scarlet had a propensity for six o’clock shadow which, as a five-year-old, I simply couldn’t get into.

Anyway, what I’m trying to say is that Thunderbirds was thrilling, and something we could all act out between episodes. Equally thrilling here is the F.A.B. art because, if I haven’t already succeeded in tripping your nostalgia switch, let me just repeat the name Frank Bellamy: Frank Bellamy, Frank Bellamy, Frank Bellamy. There is the sleekest foreshortening from behind or in front as each super-jet hurtles full-throttle towards you. And the colours, oh lord, the colours…

Of course, if you stop to think for five seconds, the whole Tracy set-up was one hell of a patriarchal boys-only club – science boffin Brains bobbing obediently alongside them, wittering “G-g-g-gee, Mister Tracy” before even evacuating his bowels – wisely eschewed by aristocratic super-sleuth Lady Penelope (who must surely be some sort of an influence for Lara Croft) who preferred to park up that pink Rolls Royce alongside her own English mansion, thank you. Or get Parker, her swarthy-faced butler, to do it for her.

At which point I’d like to close by ruining your childhood with one of my favourite jokes. You need to get into character for it, so practise Lady Penelope’s purring lilt and Parker’s sinus-troubled subservience…

Lady Penelope returns to her stately home after a night out on the town to find her butler Parker waiting dutifully at the door.

“Parker,” she murmurs in her sultry, upper-class accent, perhaps a little sloshed on champagne, ”Please come upstairs to my bedroom.”
“Yuss, m’lady.”
“Now, Parker, I want you to take off my coat.”
“Yuss, m’lady.”
“Take off my boots.”
“Yuss, m’lady.
“Take off my stockings.”
“Yuss, m’lady.”
“Take off my blouse.”
“Yuss, m’lady.”
“Take off my skirt.”
“Yuss, m’lady.”
“Take off my bra!”
“Yuss, m’lady.”
“Take off my knickers!”
“…Yuss, m’lady.”
“And never, ever let me catch you wearing them again!”


Buy Thunderbirds vol 3  and read the Page 45 review here

Buy Thunderbirds vol 2 and read the Page 45 review here

Buy Thunderbirds vol 1 and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?


The Wrenchies (£14-99, First Second) by Farel Dalrymple

Zero vol 2: At The Heart Of It All s/c (£10-99, Image) by Ales Kot & Vanesa R. Del Rey, Matt Taylor, Jorge Coelho, Tonci Zonjic, Michael Gaydos

BPRD Hell On Earth vol 9 – Reign Of Black Flame (£14-99, Dark Horse) by Mike Mignola, John Arcudi & James Harren

Crossed: Wish You Were Here vol 4 s/c (£14-99, Avatar) by Simon Spurrier & Fernando Melek

Cyanide & Happiness vol 3: Punching Zoo s/c (£10-99, Boom! Box) by Kris, Rob, Matt, Dave

Shoplifter h/c (£14-99, Pantheon) by Michael Cho

Uber vol 2 s/c (£14-99, Avatar) by Kieron Gillen & Canaan White

Y – The Last Man Book vol 1 (£14-99, Vertigo) by Brian K. Vaughan & Pia Guerra

Justice League Of America vol 2: Survivors Of Evil h/c (£18-99, DC) by Matt Kindt & Doug Mahnke, various

Justice League vol 4: The Grid s/c (£12-99, DC) by Geoff Johns & Ivan Reis, Joe Prado, various

Justice League vol 5: Forever Heroes h/c (£16-99, DC) by Geoff Johns & Ivan Reis, Doug Mahnke, Joe Prado, various

All New X-Men vol 5 One Down h/c (£18-99, Marvel) by Brian Michael Bendis & Stuart Immonen, Sara Pichelli

Castle: Calm Before Storm s/c (£11-99, Marvel) by Peter David & Robert Atkins

Thor God Of Thunder vol 1: The God Butcher s/c (£14-99, Marvel) by Jason Aaron & Esad Ribic

Thor God Of Thunder vol 2: Godbomb s/c (£14-99, Marvel) by Jason Aaron & Esad Ribic, Butch Guice

Uncanny Avengers vol 4: Avenge Earth h/c (£18-99, Marvel) by Rick Remender & Daniel Acuña

Winter Soldier Brubaker Complete Collection s/c (£22-50, Marvel) by Ed Brubaker & Butch Guice, Michael Lark

Attack On Titan Guidebook (£10-99, Kodansha) by Hajime Isayama

Bleach vol 61 (£6-99, Viz) by Tite Kubo

D. Gray-Man vol 24 (£6-99, Viz) by Katsura Hoshino

Legal Drug Omnibus (£14-99, Dark Horse) by Clamp

Noragami Stray God vol 1 (£8-50, Kodansha) by Adachitoka

Rosario Vampire Season 2 vol 13 (£6-99, Viz) by Akihisa Ikeda

The Seven Deadly Sins vol 4 (£8-50, Kodansha) by Nakaba Suzuki


ITEM! Tom Gauld’s hilarious Guardian comic on grammar-correcting gits – oh god, I may be guilty, myself!

ITEM! Come along, creatives! Neill Cameron has big blog of free resources to go with his awesome comic, HOW TO MAKE AWESOME COMICS! He even links to our review where you can buy it directly from us. Bananas!

ITEM! Awesome photos as ever: Sarah McIntyre’s blog on GARY’S GARDEN graphic novel launch night! Are your eyes boggling? Page 45’s review of Gary Northfield’s GARY’S GARDEN.

ITEM! Sarah McIntyre writes about why she loves teaching kids to create, she doesn’t want any of her own. Clear, candid and lovingly expressed.

ITEM! ‘Morrissey Gets A Job by Brian Brooks’. ( I Know It’s Going To Happen Someday — To Me.)

ITEM! Infiltration, ahoy! Susie Cumberland has taken it upon herself to promote quality British Comics – on a website which seems dedicated solely to American superheroes. Love the subversion! Love her choices, too. What a kick off!

ITEM! Following last week’s article by Leigh Alexander, Penny Red on how and why women in games and comics are winning the war against online misogynists. Brilliant!

ITEM! Oh dear lord, but I love me some neo-classicism. Paul Reid’s ‘Cernunnos Study’. Oil on canvas

ITEM! Our Jonathan will be speaking at this free Nottingham Trent University Event for Small Businesses. Please see “programme” for the, err, programme.

ITEM! Nottingham’s GameCity 2014 (25th October to 1st November) clashes not with the Lake District’s Comic Art Festival 2014 where Page 45 will be celebrating its 20th Anniversary! Both events linked to there, yes!

My own ticketed talk, The Art Of Selling Comics, which you will need to book in advance is, incredibly, one of the best subscribed to, so please book now so I can call my next one The Art Of Selling Bums On Seats.

I refer, of course, to bottoms (and so often I do) not the vagabond chic I doubt you’ll be dressed in. You leave that to me.

- Stephen

Reviews September 2014 week one

September 3rd, 2014

Buy this from Page 45 then post Anders an idea, and he will send you an original, signed drawing of your idea for free!

 - Stephen on The Monologuist: God And The Devil At War In The Garden by Anders Nilsen.

How To Be Happy h/c (£18-99, Fantagraphics) by Eleanor Davis.

“We are all going to cry tonight!”

I hereby nominate this cover as the best so far in 2014!

Its composition is immaculately weighted and its colours are as warm as a travelling rug and equallly as embracing. It makes me happy.

The comics inside make me so happy too, but few of its protagonists.

As Eleanor Davis is swift to point out before you’ve even begun, “This is not actually a book about How To Be Happy”. Instead it’s a graphic novel full of people looking for happiness in all the wrong places, and either failing or fooling themselves into the easily led lie that they’ve succeeded.

Take ‘No Tears, No Sorrow’ in which a gullible group of individuals, desperate to feel anything, fall for the fraud of a man making money from their disengaged doubts. ‘No Tears, No Sorrow. No Sorrow, No Joy!’ is title of his facile and fatuous book, and his workshop is worse. He presents them with abstractions to which he wants them to connect, and so determined are they in a competitive way to not be the ones falling short that they rewire their own brains leaving their emotions, forced here, to get the better of them outside.

It’s artfully swathed in a cacophony of light and bright colours contrasted by the emotions evoked: mostly anger rather than empathy. Anger at themselves for failing to feel the masterly manipulated mass hysteria all around them.

Now have a listen to this. It’s from ‘Darlng, I’ve Realised I Don’t Love You’ in black and white in which a couple commune. Sort of.

“If I loved anyone, it would be you. But I love no one.”
“I’ve come to understand I don’t care about anything except myself.”
“Any kindness I’ve ever shown has been in my own self-interest.”
“The very existence of other people seems doubtful.”
“I wanted more from life than this.”
“Let’s have a baby.”


‘Stick And String’ doesn’t reflect well on the strengh of a relationship, either.  Told in line and rich, tree-trunk colours, a lute player enchants his countryside audience by day then is lured into the depths of forest at night by the bom-bom of drums being beaten round a crackling fire. The wild wood creatures scatter but one woman is tentatively drawn back as the man strums his lute anew…

‘In Our Eden’ sees a small group gradually disperse as their self-proclaimed leader – who’s ditched the name Darryl in favour of Adam! – rages at them in blood-vessel-bursting red to return to the bliss that was Eden. Hmmm. ‘Nita Goes Home’, meanwhile, harks to a future when the organic / genetically engineered produce debate is far from over and, with her father ailing, a sister returns from Satorispace to a city so toxic that you have to wear full-body bio-hazard suits in order to venture outside. Naturally, fashionistas have been catered for. Here (and elsewhere) I was put in mind of Dash Shaw but the variety of styles being employed within HOW TO BE HAPPY is mind-melting.

A lakeside tale of longing and love was so poignant; another black and white tale, ‘Thomas The Leader’, less so, examining as it does the hegemony of boyhood friendship, both mental and physical.


Finally (although there are many, many more), ‘Seven Sacks’ was for me the most beautiful and unnerving. A ferryman is hailed by a succession of nasty-looking (and if one case, nasty-smelling) creatures to take them and their wriggling sacks across the river in his small punt. Apparently the sacks contain rabbits. I have my doubts. My favourite of the critters is either the whiffy, dark woollen one with eight dangling arms and an odour that curls and swirls out behind it (I’m thinking camel pong at the very least) or the brown, beaked beastie cloaked in the skin and plumage of some poor speckled bird, its evil eye glaring through the sewn-back socket, the overall effect being of a 17th century plague doctor.


Buy How To Be Happy h/c and read the Page 45 review here

Tomboy (£11-99, Zest) by Liz Prince.

Liz Prince likes who she is.

She’s always liked who she is. It’s just others who’ve had a problem with her being a tomboy. And you know what school’s like, right? Here comes one heck of a reminder!

Funny, thoughtful, thought-provoking and at times very poignant, what struck me above all about this is that kids wouldn’t have complexes if they hadn’t been given them by others.

In a sequence which reminded me of Hope Larson’s CHIGGERS not simply because it’s set at summer camp, Liz suddenly becomes painfully, heart-breaking body-conscious after hearing two girls bitch about – sorry, judge – another:

“Did you hear that Dakota actually got naked in the shower?”
“Oh, gross.”
“So gross, and afterward she put on a bra even though she has no boobs. Like, dream on.”

If you don’t go to boarding school then something like a girl scout camp is the first time you might shower and dress communally. Prince’s preference for boys’ clothes had caused her to be singled out for years, but not what lay beneath them.

“I knew that girls made fun of each other, but talking about someone’s body like that seemed so wrong. You can’t choose your body! I was suddenly aware that I was under-performing in ways I didn’t even know existed.”

Immediately she starts showering in her swimsuit because obviously that’s how you’re supposed to shower (thanks, girls!) but also, in an effort to avoid others judging her body’s lack of development, she begins swimming in a t-shirt thereby drawing attention to it.

“It is conspicuous,” she writes above a drawing of herself in a very baggy t-shirt sporting the slogan “I AM NOT COMFORTABLE WITH MY BODY”. The only thing that could have been worse would have been her boys’ tightie-whities falling out of her rolled towel or kit bag. Obviously that’s what happens next.

Anyway, we’re getting ahead of ourselves. Since the age of four at least, Liz Prince has been a tomboy: “a girl of boyish behaviour”, and of course “boyish” is or should be subjective but alas, we haven’t as a society quite got there yet. Liz didn’t just prefer boys’ clothing, she refused to wear dresses but when you stop to think about it, that’s pure aesthetics.

A dad recently told me his son’s favourite colour was pink. The dad found it charming if anything, and irrelevant at heart which it is: any colour is an aesthetic preference that says nothing about your gender, sexuality or algebraic aptitude for solving complex quadratic equations. But he confessed – with embarrassment – that it was a concern to him how others would react. No need for embarrassment: that is pure paternal love and completely understandable because, as a society, we have not quite got to the bloody obvious yet!

Anyway, as well as the clothes Liz happened to like a great many sports which for no very good reason were and still are, to a ludicrous extent, seen as the exclusive province of boys. Also, the toys. There’s one screamingly funny episode in which Liz and her mate Tyler terrorise the playground with their twin set of watches in the shape of emergency vehicles complete with very loud, requisite sirens, honing in on whoever’s to hand in a pincer movement with their arms outstretched:

“You’re under arrest!”
“And on fire!”

What isn’t so funny is what happens to their friendship when Tyler becomes the first boy ever to develop a crush on Liz. It is, in its truest sense, tragic.

Which is, I believe, where sex education comes in, and the irony that the gender boundaries come down (instead of girls thinking boys are icky and v-a-v, classroom crushes are ignited and the chases begin) then go straight back up again when it becomes clear that any such overt affections are one more flag-waving “target me!” for further teasing and worse. Still, who here hasn’t stalked a be-crushed one, artfully positioning yourself in the place most likely to meet them by complete accident?!

“Dare I drink from this anointed fountain?” ponders young Prince once so-sporty Caleb has sipped from the water font, so rendering it the equivalent of Lourdes.

The art of all this is that although Liz Prince has a specific story to tell about having the outrageous temerity to, you know, not like all things flowery and frilly, its incidents and even issues will all prove so painfully yet (hopefully by now) hilariously familiar.

The hilarious is due in no small part to the cartooning with bashfulness, embarrassment and pleased-as-punch pictured to perfection – along with one poor lad’s bugged-out eyes in a necklock.

There are diagrams like ‘Ye Olde Social Ladder’ so that you know (but also “know”) your place, plus faux diary entries and oh god please shoot me now.

The style seems on the surface to be a combination of Jeffrey Brown, John Porcellino and the UK’s Andi Watson, but it isn’t any of those individually. It’s far less abstract than Porcellino, much less dense and intense than Jeffrey Brown nor as precise as early Andi Watson, but fans of all three – who are legion here – will embrace it to bits. It is crisp, clear and emotive and playful as hell.

It’s also a much, much longer, less episodic and more focussed read than anything Prince has attempted before (ALONE FOREVER, most recently) and so shifts her standing from the effortlessly engaging and entertaining to the cream of the comicbook crop.

One final note. Liz is incredibly lucky to meet a woman called Harley. Harley spies her potential and encourages Prince’s creativity just when it’s needed the most. Later she will meet Maggie who will introduce her both to zines and to a scene which will finally make her feel comfortable. Prince pays tribute to both these women and I love that. She also records one conversation with Harley which puts a second reading of this firmly into perspective.

For all that young ladies like Liz have endured because of our obsession with the woefully superficial as opposed to what it is really important – what lies underneath – it is still much easier for girls to wear boys’ clothing than it is for boys to wear girls’.



Buy Tomboy and read the Page 45 review here

The Monologuist: God And The Devil At War In The Garden (£11-99) by Anders Nilsen.

Rare, limited edition, A-4 album of exquisite beauty from the creator of one of my all-time favourite graphic novels, BIG QUESTIONS.

This isn’t being distributed in the UK, so we bought these in direct from Anders himself.

Unlike future editions, if any, these initial copies come with the CONVERSATION GARDENING mini-comic bound inside.

As Anders explains within, if you buy this from an independent retailer like Page 45 then post him an idea, he will send you an original, signed drawing of that idea for free! You will need to send him your receipt: all items bought at our till or on our website come with such a receipt.

Why would Nilsen give you this labour-intensive love? To support independent retailers.

CONVERSATION GARDENING is a mischief in and of its own right in which a cartoon centaur of sorts, standing in for Anders himself, illustrates Amazon’s business practices and its customers’ all too willing compliance and collaboration by way of slapstick visual metaphors and dead-pan rejoinders:

“Hey, excuse me.”
“Ah, hi. Yeah?”
“Did you just throw someone into that hole?”
“Why, yes I did. Why do you ask?”
“Why would you do something like that?”
“Well, it was incredibly cheap. And super convenient. I didn’t even have to get out my credit card.”
“Oh. I see. Have a nice day.”
[To reader:] “See how that works?”


We’re still only touching on the mini-comic. I promise we’ll get to the main feature soon, but here’s Nilsen’s moment of satori after he has explained why the exchange of ideas through the previously free printed press is so important:

“So there I am, this super lucky author, drinking my coffee one morning and looking at the internet. And I read this blog post about how Amazon, who has a near-monopoly, is making books it doesn’t like disappear from its site.
“The main book they’re disappearing is called ‘The Everything Store’ by Brad Stone.
“It’s about Amazon’s history and business practices. How it used books as a way to get customers’ information to create a monopoly. How it puts small booksellers out of business.
“On purpose.
“As part of its business plan.
“So, it’s critical of Amazon.
“But they’re also disappearing other books by the same publisher, Machette.
“And it’s not the first time. They have a history of doing this with other publishers and other authors.
“When the mob does it, it’s called extortion.”

The main, album-sized event whose name is so long I am not going to retype it is riddled with similarly incisive socio-political commentary, often without recourse to words. The three-Act cover alone is a masterpiece.

The front depicts an Eden complete with tree – a few thorny vines snaking round it – lounged on by a leopard while wildlife roams freely below. Now open it up, and more majesty unfolds seamless on the other side: African plains as nature intended (bar a few touristy palms) and amongst the indigenous animal population streaks a naked boy playing with a toy plane in one hand and a leopard cub in the other. You may have noticed he’s white. Still, it remains pretty utopian. Fold out the final, french-flap segment, however, and you’re in for a surprise. Remember that long-winded title now?

I’m not going to give all of this away because then why buy the book yourself? However, the first image inside is equally telling. It’s another landscape seemingly pastoral and tranquil in nature but far further from Heaven. It’s populated by domesticated ducks surrounding two unicorns who graze and gaze round them; one quite mournfully, the other quite angrily for a unicorn. The lawn is hedged-in. There is soulless, geometric topiary: the sort of thing you might find shorn on a poodle-dog’s tail. There are rubber tires.

All of which is reprised on either side of two damning, war-centred shorts, in the Tree Of Knowledge Of Good And Evil’s rootball and a waste of land in a vast, vacant lot. I’ll happily chat with you on the shop floor about all that remains after you’ve read it.

For example, you may be used to Anders’ fragile line and vulnerable forms, but the man is a trained artist with neo-Classicism at his disposal so witnessing his silhouettes of a hand holding aloft a flawlessly facetted diamond in stark black and white is something which will elicit a sharp intake of breath.

The First of the Fallen bears witness to God’s creation of the universe and even nudges the Dithering Deity along, but then he detects a flaw in His latest project called Man. He warns God against it, but when you’ve created something in Your Own Image then you’re going to take that sort of criticism personally.

Those eyes are haunting.


Buy The Monologuist: God And The Devil At War In The Garden and read the Page 45 review here

The Fuse vol 1: The Russia Shift s/c (£7-50, Image) by Antony Johnson & Justin Greenwood.

“Only two kinds of police volunteer for The Fuse. Guys who are fucked back on Earth and guys who are fucked back on Earth!”

Do you think Dietrich is fucked back on Earth?


On paper Klem’s new partner in The Fuse’s Homicide Department is a catch. Aged 28 with a 75% case clearance rate over three years in Munich, he would be shooting up the ranks back on Earth. So why has he volunteered for an understaffed police department in an underfunded, patched-up, makeshift steel city on an energy platform orbiting 22,000 miles above terra firma? We don’t know yet. We do that that making friends with veteran Klem will prove difficult.

“Short for “Klementina”. You assumed I’d be a guy.”
“I assumed you would not be old enough to retire.”
“And I assumed you would be too old for High School.”

For a German, Dietrich can sure hold his own in a sharp-tongued bout of American verbal sabres. Let’s see how good he is at being thrown in at the deep end when a Cabler – one of The Fuse’s reclusive homeless – staggers out of the darkness and falls dead in front of him. In her pocket are a phone card which Cablers don’t use and an electronic card for a shuttleport locker which Cablers can’t afford.

Almost immediately a second Cabler falls flat on his face with a similarly fatal wound right outside Midway City Hall, dropping a gun with two empty chambers. And that’s an odd direction to head in. Inside Mayor Rocky Swanson is preparing for re-election by practising his speech craft:

“As you probably know, I lost my family in the riots of ’97.”
“”Fires of ‘97”. FLF will fall on any violent imagery. Add “like most of you”. Inclusive, even nostalgic.”
“When I needed help, Midway City took me in. Raised me, educated me, even sent me to college. This city became my family.”
“More vulnerable. Build up to the defiance.”
“Now, like any family… Sure we argue from time to time. We don’t always agree on how to get things done.”
“”Argue around the dinner table”. Like normal people.”

Oh, there will be family arguments all right. Did I mention that the phone card was used to contact the City Hall twice? And the riots…? They were race riots. There’s plenty of hard politics here along with a murder mystery which, in spite of hard-won leads, will confound Klem and Dietrich almost to the end.

Aside from the term “Cabler” which I promise you proves contextual, there’s barely a piece of the neologistic slang which always make me wince. (I liked the “Fuck a spaceman!” swear of exasperation or surprise.) Nor is there much in the way of futuristic design for the sake of it. The space shuttle interior is identical to a regular passenger aircraft’s. Why wouldn’t it be? We’ve already spent decades perfecting its functionality and design. The only difference is in docking: passengers are advised to be awake when the airlock’s thrown open or they’re likely to throw up.

Similarly, unlike many a space station full of free-standing stalls, the shopping streets are precisely that: streets with window-fronted shops, raised pavements and everything. This is all so familiar, creating a contrast all the more striking when you peer out of the passenger window to gawp at the sheer majesty of the five-mile-wide energy platform, shining in the night lie a gigantic electrical fuse.

Justin Greenwood and colourist Shari Chankhamma make the most of that moment, just as Justin makes the most of the crowd scenes and different physicalities: handsome, sprightly, dark-skinned Dietrich partnered with silver-haired, duty-worn Klem who has evidently seen so little sunlight of late that she is virtually an albino. No one looks particularly healthy – they’re all slightly wan – and you wait until you see where and how the Cablers live in their vertical shanty-town shafts of precarious metal ledges.

Let’s not forget another of Johnston’s passions: design. This is a classily designed comic whose cover doubles as a quick lesson in orbital physics, while subsequent chapter breaks are variations on that big, bold theme, all retaining its circular motif.

There were a couple of spreads I had to read twice, their top- tier panel layouts having failed to alert me that I needed to read right across the double page before dropping down (top tip: make sure the centre panel of that top tier is spread evenly over the crease, please) but that’s the VAT-man in me determined in find at least one fault in what’s otherwise perfection.

Antony proved himself a world-builder par excellence in UMBRAL without spewing it clumsily and messily at your feet all at once. Similarly here you’re left to learn the history and politics (office and otherwise) gradually and in manageable bursts as newcomer Dietrich does. He’s going to make mistakes. They all are.

Lieutenant Yuri Brachyinov:

“I hope we’ve all learned a valuable lesson today, or some other bullshit. Now get out there and solve these fucking murders.”


Buy The Fuse vol 1: The Russia Shift s/c and read the Page 45 review here

The Star Wars: Lucas Draft s/c (£14-99, Dark Horse) by J. . Rinzler & Mike Mayhew…

It’s Star Wars, George, but not as we know it.

A long time ago…

I heard a story regarding a young George Lucas, around the time he made THX 1138 – his first film, which if you haven’t seen you really should, it is a dystopian classic – touting a rough draft of his next film around various producers and moneymen in Hollywood, with a view to getting funding.

That was, of course, Star Wars but apparently the draft film, including sequences of space battles recreated with biplane dog fight footage, left the industry luminaries less than impressed and initially he struggled to find backers. This was perhaps not that surprising given the general attitude towards science fiction pictures at the time in Hollywood, post the 1974 debacle that was Zardoz* featuring Sean Connery rocking the mankini long before Borat made it popular. Seriously, how was he ever persuaded to wear that?

Anyway, what I don’t know is how much of that Star Wars proto-film was based on the final screenplay, and how much of it was based on this earlier draft, as the two are rather different. That proto-film is actually a DVD extra I would happily pay for, but maybe it is lost to the mists of time, or Lucas has long since wiped it, which would be a shame. In any event, this comic gives us a fascinating glimpse into a work in progress. It’s just as solid a script in its own right as the final version, and apparently Lucas himself okayed this comic page by page, so it is as close to a cinematic version of his original screenplay as we are ever likely to get.

Pretty much all the characters you would expect are here, just not as you know them. Not remotely. Certain key plot points also remain, but in essence it is a completely different story.


Nice, clean if slightly stilted art from Mike Mayhew, plus cinematically lit with vibrant colours from Rain Beredo, carries the relatively complex story well. Some may consider THE STAR WARS yet more indulgent and unnecessary retrospective tinkering with the Star Wars canon and established mythos by Lucas, but I think this work has genuine value for its insight into the early process that produced, whether you like it or not, a genre defining and generational cinema classic. Also, it is just great sci-fi fun in its own right.

(* If you have never seen Zardoz either, you really do need to see that as well, trust me. It takes some believing, given is truly awful on so many levels, with one of the most utterly bizarre ‘plots’ ever conceived, but it is a triumphant cult classic without a doubt.)


Buy The Star Wars: Lucas Draft s/c and read the Page 45 review here

The Killer Omnibus vol 2 s/c (£18-99, Archaia) by Matz & Luc Jacamon.

“Poor Mexico – so far from God and so close to the USA.”

- Diaz Ordiz, Mexican President, 1960

And so, with this reprint collecting volumes three and four, we start afresh with the titular assassin three years into retirement, lazing on the beaches of Venezuela. Lazing – that really doesn’t sound like him, does it? On the other hand he might well have stayed there had Mariano not sent fresh clients his way. Maybe they were the itch he couldn’t help scratching as they fed him a succession of contracts, one after the other.

The first seemed relatively straightforward: a Spanish oil broker living in Venezuela but thankfully staying in Mexico. Then an assistant manager of the Venezuelan National Bank: a little close to home but another easy target because riding a scooter in Caracas is tantamount to suicide anyway. But it’s the third target which begins to rattle our unflappable killer who hasn’t been as calculating as he should have been. Her name is Madre Luisa, much loved in Latin America as a nun working the shunned slums of Columbia. He’s basically been asked to off Mother Teresa. Why?

With the help of Mariano and his Padrino, the connections become as clear and as they prove crude. This is Venezuela, after all, the third-largest supplier of the USA’s oil. Its President Hugo Chavez is determined to nationalise the industry. Unfortunately that doesn’t change anything except the likely identity of his clients and their potential reach: if he doesn’t kill Madre Luisa someone else will, and then they’ll come looking for him.

As topical right now as I’m afraid it’s likely to prove for quite some time, events spiral out of control on a national level and when Cuba’s interest is revealed the cold cogitations inevitably take a turn for the political. Here’s our man in Havana:

“There were fewer people sleeping outside and dying of hunger in the streets of Havana than in New York or Bombay. Not bad for a country strangled by American embargos for more than forty years. They weren’t rolling in dough and might not eat their fill every day, but they weren’t America’s whore or flunky, or anyone else’s and they knew it.
“Why is Fidel criticised? ‘Cause Cuba isn’t a democracy? What country is? The USA and Europe are in name only. And they impose their so-called superiority on the rest of the world. Easy enough when you rape and pillage, when you grow rich off other men’s work, when you don’t respect the rules you force on them. Bolivar said in 1823: “Providence seems to have destined the United States to rain all sorts of calamities on South America in the name of liberty.” Seeing that far ahead is really something…
“Castro’s funny too. He once said Christ’s sermons would make for good radical socialism, whether or not you were a believer. At the UN, 184 out of 192 countries voted to lift the embargo on Cuba. Only Israel, the US, the Marshall Islands, and Palau voted no… and won. Democracy in action.”

There’s plenty more where that came from in a thriller whose killer has much more to say about foreign intervention and genocide throughout the ages and across the globe. You might say it’s his specialist subject and once more it’s that part of his nature he denies having that lands him in trouble: he can’t help but question everything he’s told, everything he sees around him, and in spite of his protestations he does actually care. In his line of work, nobody likes a troublemaker.

It’s the light that readers comment on most. Whether it’s the dappled shade at a corner café or looking up from the forest floor to the canopy above, the foliage growing fainter as more sunlight shines through, the colouring’s a joy. Plenty of Cuban sunsets this time, and Miami’s glorious aquamarine coastline is yet another of Jacamon’s flourishes which will have you gasping. His reflector sunglasses are out of this world – you’d think the paper had been chemically treated. Also, I love the way a puff of dusty sand, kicked up by the Cuban heels of our Killer’s cowboy boots as he strides across the Mexican desert, curls into the clouds on the very next panel.

Further “negotiations” will eventually take him to London and Paris where, of course, he will bide his time in boulevard bars, musing on human nature.

“Optimism can sometimes seem like naïveté, but pessimism is often a fruitless affectation. I’m all for clear-sightedness. Not wearing blinders, not getting hoodwinked by pretenders and received ideas.
“Meanwhile, I wait and watch. I want to see what’s coming.”


Buy The Killer Omnibus vol 2 s/c and read the Page 45 review here

The New Wipers Times (£5-00, Nottingham City Museums) by various including Helen Cross & Carol Adams…

A wonderfully witty nod to the trench magazine published by soldiers who were actively fighting in WWI. Not many people have heard of the original Wipers Times these days, let alone know it was produced by the Sherwood Foresters regiment. In 1916, the 12th battalion of the Foresters was at Ypres when they came across an abandoned printing press. One of the soldiers, a printer in peacetime, managed to get it working, and thus the satirical paper, its name a deliberate mispronunciation of where they had found the press itself, was born.

It proved hugely popular with poems, cartoons, essays and jokes regarding the War from anonymous contributors. I can well imagine the paper wasn’t particularly well received by the top brass, who were often portrayed as clueless and self-absorbed, but at least they didn’t try to suppress it unlike the French Generals did with The Song Of Craonne, offering a million francs and an immediate honourable discharge to anyone who identified its creators. Not that anyone ever did.

This tribute, published by Nottingham City Museums, contains a selection of material written by army families, adults and children, edited by Helen Cross and then illustrated in a variety of styles by the redoubtable Carol Adams that neatly captures the subversive and silly flavour of the original. Not that the stories are all WWI based, far from it, many illustrate the current concerns of modern military spouses and kids. The pieces are liberally interspersed with spoof adverts for ridiculous contraptions of the ilk that DR. GRORDBORT would undoubtedly approve of!

I was very impressed, I must say, both by the quality of writing and also the artwork. Yes, you can obviously tell what has been penned by the different age groups, but there is some rather moving material here, as well as the more overtly humorous. The co-ordinator of the project, Kay Culbard, mentioned to me that Helen Cross, the artist, was determined to use a number of different styles, despite a rather tight deadline, and it was well worth her efforts because it really adds to the depth of this anthology as a whole. Lovely to see people remembering the sacrifices made by those who fought in WW1 in a touching, contemporary and innovative manner.


Buy The New Wipers Times and read the Page 45 review here

Invincible Days h/c (£14-99, NBM) by Patrick Atangan.

“Bittersweet, joyful and reflective.” Yes, okay.

Childhood memories supplied to Atangan by friends and family then popped in a blender and poured onto each rigid, four-page tray like so much chocolate cake mix.

Look at the colours! They may be bright but they’re also pallid and opaque. Look at the anthropomorphics: each narrator’s child hasn’t been transformed into an animal, they’ve been turned into a plush-toy version of that animal. It’s like lingering uncomfortably long in a four-year-old’s bedroom. Cloying, to say the least.

My main problem, however, isn’t the colours or the teddybear protagonists, it’s the stop-start nature of the broken sentences divided almost equally and so arbitrarily between each unyielding panel of each identical twelve-panel page of each four-page story.

We’re not baking buns here, we’re making comics.

And actually, I’m not too sure about the “joyful” or “bittersweet” – most of those I’ve read are desperately sad, particularly when it comes to pets for whom it doesn’t end well. But yes, they are reflective and some are genuinely affecting, like ‘Displacement’. In it a grandmother is moved into a nursing home, enduring without complaint a feeding regime which will appal you, and leaving both a vacuum and a rift in the family household.

Moreover, the book ends on an absolute belter called ‘Responsibility’ in which the narrator’s sister is given a goldfish won by her boyfriend at a fair. Initially she is thrilled: she buys a bowl, some pebbles to line its bottom and even a plastic castle. But she swiftly loses interest in the bowl and its water’s maintenance and therefore the health of the animal, leaving her brother to intervene on the goldfish’s behalf or it simply wouldn’t get done.

She’s now pregnant.


Buy Invincible Days h/c and read the Page 45 review here

Sisters (£8-50, Scholastic) by Raina Telgemeier…

“Should we tell her?”
“I don’t know, what if it’s a boy?”

Ha, well it was a girl, but Raina certainly didn’t get the soulmate of a younger sister she was expecting. Instead she got a sibling, Amara, who seemingly has no interest in socialising with her, or indeed even being social to her. Right from her birth, her sister seems to take delight in generally antagonising and annoying her. Their only shared interest seems to be drawing, but even that doesn’t seem to be something they can bond over.

Meanwhile, the time has come for a family vacation and whilst Dad is flying to and from the destination of Colorado, Mum, the girls and their younger brother are going to drive in a VW camper van. From California. It proves to be a very long trip, in both directions, broken up only by a family reunion with various aunts, uncles and cousins, with whom they are staying. There is one female cousin in particular Raina is looking forward to catching up with, as she felt much more of a sisterly connection with her the last time they met than she has ever felt with her own. Several years have passed since then however, and now their slight difference in ages, Raina being the younger, is rather apparent, leaving Raina first a tad bemused and then disappointed.


If you are a fan of Raina’s previous work, the dentally traumatic SMILE, then you will be familiar with her cheerful, breezy art style, and find this just as much cringeworthy fun. I loved the recycling of the SMILE cover image into this cover as well, very amusing. This is a warmly written, humorous, and I am sure entirely accurate portrait of what it must be like to have endured a shared childhood with someone you could quite cheerfully have strangled at any given moment. Fortunately, being an only child I managed to avoid all that, though obviously now having Stephen as a business partner I feel I might be gaining some insight into the matter…

Amara can’t have been that bad though, or maybe they just get on better as adults, as Raina does dedicate this work to her!


Buy Sisters and read the Page 45 review here

Dream Locations Postcards (£5-99,) by Joe List, Lizz Lunney, Soju Tanaka.

Come visit Page 45’s brand-new Lizz Lunney Megastore!

“Greetings from the void,” says one of Joe List’s postcards, neatly naming my brain, while Lizz Lunney invites you to “Lovely, sunny, beautiful… Squirrel Park.” Keep your windows up and don’t get out of the car!

I was once chatting to a professional pest control expert and, if you think squirrels are cute little critters who just love to nibble their nuts, you wait until you get some in your loft. And if you do find some in your loft, under no circumstances try a summary eviction yourself. Rats will run away. Squirrels do not back down! Nuts are aphoristically famous for being tough to crack, so imagine the damage a squirrel’s teeth can do to yours.

Anyway (one public service announcement later), we are now bursting with Lizz Lunney epistolary madness, and this neat little booklet of 21 postcards by Joe, Soju and Lizz comes with a bonus of  8 glossy stickers.

I’m constantly misreading “the sea of faces”, though. I wonder if that’s intentional?


Buy Dream Locations Postcards and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?


Above The Dreamless Dead: World War I In Poetry And Comics h/c (£18-99, First Second) by various

Amulet vol 6: Escape From Lucien (£9-99, Scholastic) by Kazu Kibuishi

An Age Of License: A Travelogue (£14-99, Fantagraphics) by Lucy Knisley

Baby Bjornstrand (£14-99, Koyama Press) by Renee French

El Nino h/c (£26-99, Humanoids) by Christian Perrissin & Boro Pavlovic

Finder: Third World (£14-99, Dark Horse) by Carla Speed McNeil

Pariah vol 2 s/c (£10-99, Dark Horse) by Aaron Warner, Phillip Gelatt & Brett Weldele

Probably Nothing: A Diary Of Not-Your-Average Nine Months h/c (£16-99, Penguin) by Matilda Tristam

Regular Show vol 1 s/c (£10-99, Kaboom) by various

Thunderbirds vol 1 (£6-99, Egmont) by unknown & Frank Bellamy

Thunderbirds vol 2 (£6-99, Egmont) by unknown & Frank Bellamy

Thunderbirds vol 3 (£6-99, Egmont) by unknown & Frank Bellamy

Truth And Dare: A Comicbook Curriculum For The End And The Beginning Of The World (£6-99, Ecosocialist Horizons) by various

Void h/c (£8-99, Titan) by Herik Hanna & Sean Phillips

My Little Pony: Friendship Is Magic vol 5 s/c (£13-50, IDW) by Katie Cook & Andy Price

Batwoman vol 4: This Blood Is Thick s/c (£10-99, DC) by J. H. Williams, Haden Blackman & Trevor McCarthy, Francesco Francavilla

Deathstroke vol 1: Legacy s/c (£12-99, DC) by Kyle Higgins & Joe Bennett, Eduardo Pansica

Deathstroke vol 2: Lobo Hunt s/c (£14-99, DC) by Kyle Higgins & Joe Bennett, Eduardo Pansica

Forever Evil h/c (£18-99, DC) by Geoff Johns & David Finch

Green Lantern Corps vol 3: Willpower s/c (£12-99, DC) by Peter J. Tomasi, Geoff Johns & Fernando Pasarin, various

Battle Angel Alita Last Order vol 18 (£8-50, Kodansha) by Yukito Kishiro

New Lone Wolf & Cub vol 2 (£10-50, Dark Horse) by Kazuo Koike & Hideki Mori


ITEM! Colleen Doran’s Orpheus and Morpheus from SANDMAN!

ITEM! New Neil Gaiman short story collection (prose) Trigger Warnings: Short Fictions and Disturbances revisits American Gods. Due February 2015.

ITEM! Marc Laming is knocking it out of the park on a daily basis. Starlord – immaculate composition.

ITEM! Ian McQue’s sublime Lost World in green.

ITEM! Leigh Alexander writes about the damage done by Gamers to the reputation of the wider games industry. If you can’t see similarities with the less healthy aspects of superhero comics culture (I emphasise superhero there – not the Real Mainstream comics culture we all know, love, promote and propagate here), then I cannot help you.

ITEM! Comics and Graphic Novels for September 2014 onwards is up on Page 45’s website for free! Please add new titles you know you will want to your Standing Order here (or start up a new one) as soon as possible and you will be guaranteed copies! Alternatively please pre-order directly online!

Either way, ordering the day after publication reduces your hopes dramatically and may induce tears, making your mascara run so that you look like a raccoon. It’s not a good look.

Our Image Comics page includes Matt Fraction & Christian Ward’s ODY-C #1 What’s this? It’s Matt Fraction & Christian Ward’s ODY-C previewed here!

ITEM! Page 45 proudly announces its Lizz Lunney Megastore! A one-stop shop for all Lizz’s self-published comics and notebooks and cards. If it’s in print, we’ve got it!


Also: don’t forget Lizz Lunney’s TAKE AWAY, the TINY PENCIL anthology artefact, the HIC & HOC HUMOUR anthology and Page 45’s exclusive Lizz Lunney greetings card!

“You always have friends when you have comics.”

- Stephen

Reviews August 2014 week four

August 27th, 2014

“Sometimes I’ll be walking down the street and I’ll suddenly recall some unspeakable transgression of mine, and the shame and horror I feel will stop me dead in my tracks!”

 - Jim Woodring in Jim. Does that sound familiar or what?

Zaya h/c (£22-50, Magnetic) by Jean-David Morvan & Huang-Jia Wei.

“Please, sir, perhaps you should stop drinking…”

Pick a page, any page, and I promise you will lap this up.

A tonic for tired eyes, it is a sublime fusion of European science fiction settling into steampunk in places, with plenty to please more mature manga readers too in the form of the Chinese protagonists, antagonists and subaquatic, aerial and upper-atmosphere dogfights.

The architecture is exquisite, from Zaya’s countryside getaway – an ornate, gabled mansion with white wooden and stone features overshadowed by trees – to the early morning marina with its Venetian towers and baroque clocks in what is evidently a very rich quarter of a very rich city. You should see Zaya’s hotel room – and just wait until you book into the saltwater resort of Estrella del Mar whose hotels, each competing to outdo the others in opulence and originality, sit right on the immaculate beaches, their balustraded stone steps rising from the sands.

However the art is actually composed, it looks like good old-fashioned pencil and wash with exquisite figure work and a fine eye for fashion. Zaya’s black waistcoats, miniskirts and cocktail dresses could not be more chic; her hair, blouses and battlesuit too.

The palette, for the most part, is pure Arthur Rackham: sepia, creams and muted greens which makes the rich blue skies of Estrella del Mar all the fresher and the minimally deployed reds stand out a mile.

As to the steampunk aspect, there is a charming mix of the antique, antiquated and futuristic from Zaya’s mail box, country house and classic car pimped with rocket pipes to the giant floating liners, airships and spaceships and Zaya’s spaceship bathroom with its pumps, plumbing and small generator only partially hidden by chain-linked metal mesh! Also, coming back to the architecture, we’re not on Earth but a colonised planet so everything has been built afresh. When we do reach Earth you’ll discover the modern sits atop ground-level conurbations far more familiar. I love that either the writer or artist has thought of that.

This isn’t created in shorthand, either, so you won’t feel short-changed: plenty of extended scenes so you can soak in the eye-candy.

It’s opening night at Zaya Oblidine’s holosculpture exhibition. The centre piece looks like some tumour-ridden mammoth to me, but it’s being very well received. An over-entitled nitwit being pleaded with by the waiter is getting drunk and obnoxious. Zaya steps in. The drunkard “steps out”.

Meanwhile, a family car is being targeted by a top-heavy mutant of a man or machine that looks like it could have been designed by Zaya herself. With gigantic jetpacks armoured and weaponised to the max, she/he/it prefers an aerial assault and it’s devastating. The first strike takes out most of the mother’s face and only the father manages to crawl from the wreckage and scramble for cover. Pursued to a dead end, the man cuts off his own hand with a circular saw and jettisons it into a garbage chute so its signet ring can transmit into space, there to be detected by Spiral. Oh, and space has another useful property too…

It transpires that he’s not been the first former agent of Spiral to be tracked down. It also transpires that sculpture wasn’t Zaya’s first occupation. After twenty years working for the top secret agency called Spiral (she joined very young, as you’ll discover) she retired six years ago when she fell pregnant and has since raised the two daughters she dotes on as a more than capable single parent. Her younger sister Carmen visits often. This is not irrelevant.

Now Zaya’s being reactivated for what Spiral claims will be such a low-risk, safe and simple assignment that she won’t even need a gun: she’s to work for one day as a hostess on a yacht moored at Estrella del Mar. But if it’s such a low-level mission, why are there 341 other Spiral agents acting as crew members too?

So there you go: a summary of Act One. As you might infer Act Two goes postal with the most monumental all-out action you can imagine before Act Three takes a completely unexpected turn at the transdimensional traffic lights leaving Zaya confounded, distraught then devastated. Readers will be tearing their hair out under a deluge of dramatic irony. You know what’s happening: Zaya hasn’t a clue.

A final note on Estrella del Mar that made me laugh:

“Many beaches of the central island are clearly separated for naturists and other groups of religious thought, so that everyone can relax without having to face the gaze of others.”


“”Sorry” is really the last thing you should say to a woman after sex.”

My friend Cath found “Thanks for that” pretty shoddy too.


Buy Zaya h/c and read the Page 45 review here

Corpse Talk Season 1 (£6-99, David Fickling Books) by Adam Murphy.

Julius Caesar:

“I didn’t abolish the Senate, I just filled it with my guys who all did what I said.”
“Good idea, boss!”
“That made some people mad!”
“We need to do something about it…”
“Something stabby…”

Something stabby.

All education should be entertainment, and this was so entertaining that I learned more about history in these sixty pages than I did during six years of lessons at school. Moreover, I read so retained more than I did watching three seasons of Simon Schama. Studies have proved you retain more when reading; add in the visual cues a comic can connect in your brain and you have a Young Adult bursting with knowledge, having had a whale of a time in the process and so looking forward to more!

The cartooning is bright, gleeful and incredibly detailed as each interviewee takes you back in time to celebrate their crowning achievements and most moronic moments. Did you know, for example, that Florence Nightingale’s Crimean endeavours ended up killing more soldiers than they saved? Her Nightingale Rose diagram shows the number that died in battle was dwarfed by the thousands who died of infections caught and spread within the confines of the hospital.

Dick Turpin turns out to be a much less impressive loser than his enduring reputation would have you believe, while Queen Boudica (she of the multiple name spellings) almost had the Roman soldiers on the run…

“We had them trapped and outnumbered by twenty to one.”
“Uh, sir, I have to go. My wife’s giving birth…”
“My mum’s giving birth!
I’m giving birth!”

… but her soldiers, so confident that some charged in nekkid, all came a cropper at the impenetrable end of the Roman Tortoise, a wall of shields as strong as its shell with swords and spears sticking out of it.

That Adam Murphy chose conversations with cadavers is essential to the merriment: a long list of facts would have been so, so dull, and besides, kids love corpses. Instead the pun-prone man with the microphone really engages, aggravates and occasionally runs away from his guests in outright terror. It’s a performance like Kermit the Frog’s.

He’s also done his research like any smart interviewer and carefully constructs each episode around the most salient scenes, thus distilling but not distorting the stories, putting them firmly into perspective (especially Joan of Arc’s) and so really making you think! Just as education should be entertaining it should also be engaging: not just force-feeding students facts, but making them think about what they’re learning.

Marie Curie discovered radiation: hurrah! It killed her: hurr-oh! Her notebooks are so radioactive they still can’t be handled safely. Leonardo Da Vinci was a true Renaissance Man (he was both an all-rounder and had a slight helping hand in the Italian Renaissance) so studied the anatomy he painted so well. He then went on to design flying machines and weapons of war – lots of them including a robot! – but bought caged birds to free them and was possibly the only vegetarian in Italy. Unusual in those days. Pirate Anne Bonny initially cross-dressed to fool her crew but then got fooled too when the man she fell in love with turned out to be playing the same game. If you think Murphy could resist “What a drag!” you are very much mistaken.

Almost every conversation is curtailed with a similar pun, begins with a tombstone decorated according to the subject’s most iconic object or association, and is introduced to viewers with a big Kermit flail.

“This week, my guest is a truly timeless classic! It’s the piano prodigy, violin virtuoso, king of composers Wolfgang Amadeus Mozart!”

You can almost year the Muppets’ applause.

Like Andi Watson in GLISTER, Adam Murphy does not shy away from deploying what may be new words to young readers like “appellation” and quite right too: if you don’t encounter new words, how can you learn them? You can even learn a little Latin (“Ave!”) and where Crossing the Rubicon came from (clue: crossing the Rubicon).

The book begins with a chronological rabbit warren of graves, tombs and catacombs each denoting a key note in history, crucial for context, dating back from 1969 (Moon landing) to circa 3000 BC when writing was invented and I was aged five.

I leave you with a King Tut titbit in which we learn why the genetically disadvantaged Tutankhamun was a bit rickety on his pins and almost always ill: his dad married his own sister! And so did he!


Buy Corpse Talk Season 1 and read the Page 45 review here

The End (Silver Edition) signed & sketched in (£6-00, Thingsbydan) by Dan Berry.

“14 Days & Counting.”

Well, this will give you pause for thought.

Bound within a luxurious, rough-grained, card-stock cover which had been screen-printed with scarlet, black and silver ink are some of the most sobering pages I’ve read from Dan Berry. Such is the beauty of the cover you might not register at first that the objects which the gold [now silver] adorns are skulls.

It’s closer to CARRY ME in tone that the comedy of CAT ISLAND, THE SUITCASE, HEY YOU! and THROW YOUR KEYS AWAY, but in execution it’s yet another departure. The washes are in a wet, inky black and blue whose sheen is picked up beautifully on the crisp, white, satin paper.

A lot of this takes place at night, which doesn’t always bring out the best in us. We don’t like it when we can’t see what is happening. We don’t like it when we don’t understand what is happening. We don’t react well to that which we cannot control.

Time in particular we feel the need to control: we measure it out in years divided into months or weeks, which we decided should have seven days composed of twenty-four hours each housing sixty minutes and they, sixty seconds. A day makes solar sense, as does a year, but boy we don’t half attach a lot of importance to some of the more arbitrary measurements and a countdown sure gets the adrenalin rushing.

When the numbers first appeared overnight – all of them “14” – they did so on walls and billboards and buses: the sort of places you’d expect from a marketing campaign. So we shrugged because that’s what we assumed it was.

“Thirteen came and went the next day with a chorus of “I told you so” and eye-rolling from the people who kept up with this sort of thing. The progression from 14 to 13 was predictable and had been done to death, they said. If this was to be a truly effective ad campaign, we’d need to given a reason to car and we didn’t have that. 6 /10, must try harder.”

Love the smug, supercilious pundit there in his turtleneck sweater, brandishing a cigarette and tut-tutting with his fingers.

Dan’s put an enormous amount of lateral thought into this, a study in human behaviour under unusual circumstances extrapolated from how we do react to numbers and time. Also, I love the core conceit and where Dan ran with it right to the end.


Buy The End and read the Page 45 review here

Hip Hop Family Tree vol 2 (£20-99, Fantagraphics) by Ed Piskor…

“Why you lookin’ at me like that, Russell?”

Ha! I do love Ed’s portrayal of Russell Simmons, and I am pleased he gets the props here – to use the street parlance – that he so richly deserves, for his huge part in the explosion of Hip-Hop and its subsequent introduction to the club-going and record buying masses. He remains a fascinating bloke to this day, actually: a staunch vegan, transcendental meditation practitioner, and long-time supporter of gay rights, inter-faith dialogue and social activism. But, back in the day, his interests were somewhat more focused on getting paid by finding new musical talent, and having a good time.

That he kept his younger brother out of the studio for so long, despite his ever more vocal protests, is all the more amusing when you know his brother is Joseph Simmons, or as he soon became far better known, Rev. Run of iconic hip-hop grandmasters Run-D.M.C. When he finally let his brother and his mate into the studio, ostensibly to shut them up, Russell quickly realised he had struck not just gold, but multi-platinum. Their first few gigs as a lyrical duo, though, were something of a trial by fire, getting ridiculed for their check jackets and flares stage outfits. Cue one typical flash of Russell Simmons’ genius later, as he spied a casually dressed, hat wearing, sneaker pimped, ghetto blaster toting Jason “Jazzy Jase” Mizell entering the studios whilst debriefing the boys, and the fresh and fly trio of Run-D.M.C. that we know and love today were born. In an era of ever more surreal and outlandish performers’ costumes, their laidback street attire was exactly what was required to appeal to the masses.

The little nugget I have just described above takes up barely a couple of pages of this magnificent second volume, which explores 1981-1983, detailing the continuing, burgeoning public acclaim of the early pioneers like Grandmaster Flash, Melle Mel and Arika Bambaataa, whilst revealing the childhoods and very early days of future legends like Run-D.M.C., the Beastie Boys, Public Enemy and NWA. This series of books, for I assume Ed is going to continue onwards past 1983 which is where this volume concludes, is vital reading for anyone wanting to know more about this era of music. His knowledge of his subject is truly encyclopaedic, but the piecing together of all the various insane anecdotes to produce a coherent and engaging narrative is magnificent craft, and he captures the raw charisma and sheer chutzpah that many of the performers, who had polished their skills on the mean streets the hard way, possessed in abundance. Confidence, usually, was the one area they were not lacking in. Naivety in dealing with record labels, on the other hand…

Just going back to sartorial elegance, or the lack thereof, it takes some believing these days, the outfits some of the early pioneers used to wear. There is a great little scene where someone gets extremely excited over Ice T’s first proto-single simply because he looks like he is straight out of Mad Max. And I am talking Beyond Thunderdome, not Road Warrior… In fact when you look at how Afrika Bambaataa and his acolytes dressed around this period, you can perhaps understand how it wasn’t that big a stretch to someone coming up with the Village People…

I think the connections and friendships Ed details, between various apparently very disparate elements of the wider music and arts scene, particularly in New York, are absolutely paramount to understanding the fast-moving morphology of music at a time where public exposure was also exploding exponentially through MTV, which launched in August 1981. There are some bizarre friendships, occasionally of complete convenience, which you would never expect, yet in retrospect make perfect sense, both musically and indeed fiscally. So when a certain ginger, wild-haired chancer called Malcolm McLaren starts to take an interest in how he can export Hip-Hop to the UK, he insinuates himself into the scene like the veritable social and musical chameleon we now know he was, glad-handing and appropriating everything he needed for his next sonic experiment. Whether the tracks Buffalo Gals and Double Dutch deserve to be mentioned in the same breath as the canon of truly great hip-hop records isn’t for me to decide, but we can’t dispute they certainly played their dancefloor-filling part in helping to bring hip-hop to the UK.

I really do hope Ed continues with this work, not least because his still has a few years to go before hitting my own personal era of getting into rap and hip hop, circa 1988. That all began with catching the Public Enemy video for Don’t Believe The Hype on Top Of The Pops one Thursday night and simply thinking, “What on earth is this?” I did already like a bit of Chicago House at that point, probably had heard some of the Grandmaster Flash and Melle Mel stuff, but one purchase of “It Takes A Nation Of Millions To Hold Us Back” later the following Saturday and a lifelong love with that genre had well and truly begun.


Buy Hip Hop Family Tree vol 2 and read the Page 45 review here

Fish (£6-50, Nobrow) by Bianca Bagnarelli.


Rarely has lilac been employed so effectively (inside – I know the cover’s black cherry), and young Milo’s skin positively glows under the Mediterranean sun.

It’s quite a short piece so I’ll say very little. It’s also the second story about drowning I’ve read in two days.

Milo’s parents drowned and now he is burdened with a sense of loss he finds difficult to express. When he tries, he fails and so he falls silent. His mouth is tiny.

When a girl is washed up on a beach, his curiosity will only make matters worse. Milo has questions which can never be answered.

There’s a stillness here which will leave you staring at each carefully composed page for quite some time. Who knew a prawn would prove so entrancing?

I liked the way Milo wiggles his toes when his legs are dangling over a bridge.

As to the titular fish… no, I’m not going there.


Buy Fish and read the Page 45 review here

Jim h/c (£22-50, Fantagraphics) by Jim Woodring.

“Sometimes I’ll be walking down the street and I’ll suddenly recall some unspeakable transgression of mine, and the shame and horror I feel will stop me dead in my tracks!”

Oh, that happens to me. All. The. Fucking. Time.

Don’t get me wrong, I’m not neurotic: I’m deliriously happy at work and with most of the work that I’ve done, but we all have our doubts.

Jim Woodring’s not neurotic, either. He’s a thinker and a visionary and a craftsman with the visual skill and verbal dexterity to express his visions and, here, thoughts and dreams. He understands dream logic: its surreal segues, odd settings and reconfigured cast combinations. I have, before now, shared an apartment with our Mark, Jo Brand, Warren Worthington III (X-Men’s Angel), an old flame and a couple of strangers we found in the bath.

Because Jim Woodring is best known for the silent FRANK fables (there are many volumes now, each extensively reviewed, so please pop “Jim Woodring” in our search engine) what you may be unaware of until now is that the man also has a way with words. Also, an obsession with frogs whose explanation is revealed in a rather dramatic anecdote in Jim’s introduction which touches on his early experiences with Oz and the history of these earliest works in the magazine-sized JIM which Fantagraphics’ Gary Groth had so much faith in that he published them for years at a loss. What Woodring doesn’t do is explain the contents. You know, apart from that giant frog with its permanently arched eyebrow. Anyway, words:

“Once I had a little trust…
“Its burnished head nattered at me in a voice as wild and sullen as my own and led me to walls that sulked and raged and trees that blared fantastic music.
“I stole something poor in those days and everyone cared, for every leaf was seen not merely as green, but all-fulfilling, peaceful, the soul that sustains the whole universe.”

The images that accompany those words show Woodring playing with a puzzle in the countryside while being inspected by his ubiquitous (censorious? certainly serious) two-toed frog, one eye wide-open in judgement.

Woodring was Page 45’s co-creator Mark Simpson’s favourite comicbook craftsman. Both his imagination and introspection spoke to Mark, as well as – oh, how shall I put it? – the wonder of a reality as conceived and conveyed by its shaman. Along with the comics here you will find many a Jimland Novelty advertised in the back which Woodring hand-crafted and sold direct to the likes of our own visionary, Mark: recipes, recordings, sets of postcards and an Escaped Convict Weathervane with prices ranging from two bucks to two hundred dollars.

“Page 35
“One of the very worst nightmares on my entire life reproduced just as recorded on p.35 of my dream journal. Not recommended. Quickly but tellingly drawn. Tiny book, 12 pp. $3.00”

Thank god it wasn’t page 45!

“Impromptu bedtime stories unspooled on demand for our two-and-a-half-year-old son, Maxfield. Sprawling sagas intended to bemuse and sedate, delivered in droning, fibreless voice. Some crying. Half-hour tape… $7.00”

There is the odd silent short included like Trosper, which lingered long with me and – I’ve just consulted – Dee. Painted in full colour (most of this book’s black and white), it starred a baby elephant whose trunk was coiled up like a snail shell. He’s happily absorbed in joyful, solitary play with a ball while protected by a three-eyed fellow whose skin is the colour of peach flesh (yellow with flecks of red towards its centre) and who wields a green scimitar bobbled with berry-like beads all shiny red. A hooded, would-be assassin in ornate robes strikes and Trosper flees in terror. The trauma’s short-lived. Another ball presents itself.

You might have gathered by now that I too am declining to explain. I’m not being coy or evading the risk of being declared wrong because I am on most days the most opinionated bastard I know. But as I wrote on reviewing Jim’s WEATHERCRAFT, these things are better left for readers to interpret for themselves (yourselves, I hope). You get out what you put in – what you bring to the table. Anything I say risks polluting your personal experience just like some music videos used to set in stone so much of a song which could have meant much more to you.

I will only add that the first comic offered in JIM, Seafood Platter From Hell, indicates that Woodring had first-hand knowledge of catching a skate or a ray as have I, for oh my god those devilish mouths and their prodigiously well-hung wangers!

Also, that Big Red will show you another side of your household cat you would rather not know.

Beyond that there are whimsical advertisements for the likes of Niffers which I am 100% positive Alan Moore must have encountered before emulating / adapting them – no doubt subconsciously – in his LEAGUE OF EXTRAORDINARY GENTLEMEN comics. Niffers were otherworldly, invisible life forms you could invite into your household confident that they could be seen thanks to “a specially patented fluorescent dye-and-medication treatment” and which you could film in stop-motion to render their barely perceptible movements visible. And thereby lies a satori of sorts. “Proof Without Passion” it proudly declares.

Lastly, “Don’t Hit Your Child!” screams a headline for an institution you instinctively suppose to be both benevolent as well as ahead of its day. But its proposed alternative for spoiled brats acting up and so infuriating their parents to their wits’ ends is draconian, to say the least.

“Don’t delay – send ‘em away!”

Possibly effective if they’re ever returned, or damaged beyond repair.


Buy Jim h/c and read the Page 45 review here

Jellaby vol 2: Monster In The City (£9-99, Capstone) by Kean Soo.

Friendship, loyalty and the need to be loved.

Also a lesson in never abandoning your pet, even if it’s an axolotl. Particularly if it’s an axolotl.

New word: axolotl.

Young Portia and Jason have taken infant dragon Jellaby to a daunting city in search of a door they believe will take him home. Even if they don’t really want to lose him. Unfortunately for all concerned they find that door and what lies behind it finds them… attractive.

More grape colouring and big-eyed cartooning for all ages.

For more, please see my review of JELLABY VOL 1

“Jellaby will win your heart”

– Jeff Smith of BONE, RASL and now TUKI fame.


Buy Jellaby vol 2: Monster In The City and read the Page 45 review here

Loki: Agent Of Asgard vol 1: Trust Me s/c (£14-99, Marvel) by Al Ewing & Lee Garbett.

“Trust me. I know what I’m doing.”

If Loki is the Norse God of Mischief, then Al Ewing is his British counterpart.

Yay for gratuitous shower scenes! Lee Garbett’s teenage Loki is hot! Also wet. And steamy.

Yay for a pair of Seven League Boots enabling Loki to dash up waterfalls, over rainbows and scale Avengers Tower! Yay for stolen Shadow Thread and Cheshire Cat grins! And yay for trouble-magnet Clint Barton AKA Hawkeye with his perpetually plastered nose, who can get himself into the unlikeliest of muddles even when playing console games.

“I know – “
“You have the army after you and no health and you’re falling out of a crashing plane.”
I know, Nat – “
“It’s a bass fishing simulator, Clint.”
I know! It just – it just happens!”

Oh, this is a most worthy successor to Gillen and McKelvie’s YOUNG AVENGERS towards the end of which Loki enjoyed a sudden growth spurt and now wears black nail varnish. Teenagers! Also, like Fraction and Aja’s HAWKEYE, it kicks off right in the middle when it’s already gone horribly wrong with Loki stabbing Thor in the back with a very big energy sword. I thought they were getting along so much better these days?

But if Loki is the God of Lies, Mischief and Deceit, it probably stands to reason that all is not as it seems. For a start, there is the little question of this series’ sub-title, but who precisely is he working for? Also, how will he get on with Verity Willis whose preternatural skill is to see through lies and illusion? You’d be surprised.

This is fast, fresh and funny as hell with wit-ridden wordplay and plenty of action to boot. IT is, above, great entertainment and that’s what I want from a comic.

Gone is the old, predictable God of Evil with his crooked nose, his goblin eyes and nasty row of teeth. Gone, I say, gone!

Or is he?

As Loki and Lorelei dive-bomb off a passenger jet to break into the most secure cell in Asgardia while Thor provides a ridiculous distraction to avert Heimdall’s ever-watching eyes, the levels of deceit are revealed. Young Loki has played a long game getting where he wants to be, which is access to another cell entirely. But then so has someone else…


Buy Loki: Agent Of Asgard vol 1: Trust Me s/c and read the Page 45 review here

The Heroic Legend Of Arslan vol 1 (£8-50, Kodansha) by Yoshiki Tanaka & Hiromu Arakawa…

A new series from the creator of FULL METAL ALCHEMIST which so far seems to be a straight high fantasy caper starring the young prince Arslan, son of the undefeated and borderline psychopathic warrior King Andragoras of Pars. Arslan seems a rather more civilised sort than his father, so when he is dragged out onto the battlefield at the tender age of fourteen for his first taste of combat, it would be fair to say it’s an eye-opener.

When disaster inevitably strikes Pars, many wonder whether Arslan will be up to the task of reclaiming and rebuilding the kingdom, but of course pledge their loyalty and support – to his face, at least.

I quite enjoyed this, I must say. Given FULL METAL ALCHEMIST‘s melding of fantasy and sci-fi, I kept waiting for the weirdness to kick in, but it does in fact appear this will be a straight period yarn. It has therefore much in common with THE VINLAND SAGA, and from this first volume, is on a par with that excellent series in terms of story and art.




Buy The Heroic Legend Of Arslan vol 1 and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?

The Monologuist: God And The Devil At War In The Garden (£11-99) by Anders Nilsen

The Fuse vol 1: The Russia Shift s/c (£7-50, Image) by Antony Johnson & Justin Greenwood

Tomboy (£11-99, Zest) by Liz Prince

How To Be Happy h/c (£18-99, Fantagraphics) by Eleanor Davis

Invincible Days h/c (£14-99, NBM) by Patrick Atangan

The New Wipers Times (£5-00, Nottingham City Museums) by various

Sisters (£8-50, Scholastic) by Raina Telgemeier

The Star Wars: Lucas Draft s/c (£14-99, Dark Horse) by J. W. Rinzler & Mike Mayhew

Even More Bad Parenting Advice s/c (£9-99, Drawn & Quarterly) by Guy Delisle

Fables vol 20: Camelot (£14-99, Vertigo) by Bill Willingham & Mark Buckingham, Steve Leialoha, Russ Braun, Barry Kitson, Andrew Pepoy, Gary Erskine

Green Lantern – New Guardians vol 4: Gods And Monsters s/c (£12-99, DC) by Justin Jordan, Robert Venditti & Brad Walker, Geraldo Borges, Andrei Bressan, Sean Chen

Avengers Undercover vol 1: Descent s/c (£11-99, Marvel) by Dennis Hopeless & Kev Walker, Timothy Green, Francesco Mattina

Deadpool Vs. Carnage s/c (£12-99, Marvel) by Cullen Bunn & Salva Espin

Fantastic Four vol 1: The Fall Of The Fantastic Four s/c (£11-99, Marvel) by James Robinson & Leonard Kirk


ITEM! Video of Dan Berry sketching in copies of THE END which you will find reviewed up above. All of our copies are sketched in, yes!

ITEM! Sean Phillips interviewed about THE FADE OUT! Which has SOLD out! Review more likely when a second printing arrives. There is a reason it’s sold out, so grab one wherever you can as soon as you can!

ITEM! Eleanor Davis diary comic days one (see HOW TO BE HAPPY in new arrivals).

ITEM! Marc Laming does not skimp on detail. Look at this HULK page!

ITEM! New Tom Gauld cartoon. Funny! Also: guilty!

ITEM! Farel Dalrymple interviewed about THE WRENCHIES – coming soon – which looks utterly phenomenal!

ITEM! Beautiful and tender new comic by Sally Jane Thompson called SCARS free to read online.

ITEM! Publisher First Second’s article on the importance of creator fanbases.

ITEM! Jamie Smart’s online Whubble comic!

ITEM! David O’Connell’s incisive article on the organisation of comicbook conventions: the bare minimum of what should be happening when quite clearly it’s not.


ITEM! Page 45’s signings past and future revealed in a lavishly illustrated Pulp 365 article by Lynda Clark. Thank you, Lynda, so very kind!

- Stephen

Reviews August 2014 week three

August 20th, 2014

“It’s raining out, Rick.”
“I walk between the raindrops.”

Aloof, insouciant, he’s exactly like you want your wannabe pop idols to be.

 - Jonathan on Metroland #1

The Heart Of The Beast – A Love Story h/c (£18-99, Dynamite) by Judith Dupré, Dean R. Motter & Sean Phillips.

“Don’t be so nervous, Michael. The masks are simply buffers. They protect us from our real selves.”

Spot the predator!

Four panels later Dr. Wright places a hand proprietorially on Michael’s shoulder, and Sean makes Michael look very unsure.

Welcome to opening night at Dr. Wright’s New York gallery where pretension is de rigeur – and I don’t just mean young huckster Jacob’s flimflam. It’s packed full of self-proclaimed and self-regarding cognoscenti. Investors rather than art lovers salivate over the commodified canvasses while they are liberally plied with any opening night’s main attraction: the free booze.

Tonight it’s being served by aspiring actress Sandy who takes a shine to the surgeon’s right-hand man, the well-built if taciturn Victor who seems curiously always on call. Still, he goes to see her perform; she takes him to the zoo; and Victor shows her the painting he loves most, Rembrandt’s Bathsheba.

Art seems to stir something inside him, while the polar bears elicit an altogether different reaction. As to his past friends and relatives, goodness they seem an unfortunate bunch…! A poet who drowned very young, and a nephew called William murdered by his Auntie Justine who was then hanged for her sins. Something’s just not adding up…

The draw for me is studying the increasingly confident watercolours by a relatively young Sean Phillips (CRIMINAL, FATALE, SLEEPER, THE ART OF SEAN PHILLIPS etc) for this was first published by Vertigo twenty years ago!

There’d been a spate of painted comics like Jon J. Muth’s MOONSHADOW, Kent Williams’ BLOOD, Bill Sienkiewicz’s STRAY TOASTERS followed by Duncan Fegredo’s KID ETERNITY and George Pratt’s ENEMY ACE, and this is closest in style to the first with photorealistic pencils softly enhanced by loose, lambast washes which left a lot of white to keep the pages bright and fresh. The odd bit of photography’s slipped in and jars not one jot after the initial three holiday snapshots, which is extraordinary given that these were the days when Photoshop was just a retail outlet where you got your film developed. Additionally there’s some rather clever work when a second Bathsheba’s discovered. His sneering Jacob is a hideous joy while Sandra herself is an angel.

No, she really is, for enduring Victor’s pontifications and oh-my-god issues! Victor has ALL the issues, tossed out ridiculously early into the dating game and I spent most of the graphic novel screaming at Sandra to run!

And this, I confess, is where the graphic novel falls short. The dialogue is very… stilted in places and its ties to its source material are too tight. (Clues: Victor, Shelley, poet drowning young, those scars on his arm and he’s really much older than he looks: Dr Wright had his surgical work cut out for him, certainly.) On the other hand, “Uh – make that more blue!” made me laugh after another of Jacob’s tirades.

Judith Dupré’s introduction provides a fascinating insight into the 1980s’ art scene (she was a “gallerina”!) while Sean Phillips exhumes some fascinating thumbnails, early design work plus the original Dave McKean-esque cover which was perfect for (and very much of) its day, and he happily chats about the lot.


Buy The Heart Of The Beast – A Love Story h/c and read the Page 45 review here

Dark Ages #1 of 4 (£2-99, Dark Horse) by Dan Abnett & I.N.J. Culbard.

“Never have I asked the Lord our God for much, for I never wanted to owe him.”

Very wise, very wise.

“I feel his disapproving eyes on me, most days, and I fear his wrath.
“For it is sudden and it is awful.”

My headmaster had a temper on him too.

Still, there are worse things in the world and indeed off-world as Captain Hawkherst and his not-so-merry men are about to find out.

It is early winter, 1333, in Europe. The Captain’s cadre are tired and hungry. War profiteers, right now times are tough and food is thin on the ground. What they desperately need – and are tempted to pray for – is for hostilities to erupt. Be careful what you wish for.

Up in the sky they spy brand-new heavenly bodies: five oddly shaped stars dancing like diamonds in the night. They appear to be in formation. They are. And they are far from heavenly.


From the creators of NEW DEADWARDIANS which we loved so much we made it a Page 45 Comicbook Of The Month comes another historical mash-up, this time medieval in nature: aliens versus chain-mailed, human predators.

Crucially the aliens are indeed suitably alien in aspect, their otherness truly terrifying to Hawkherst, Galvin, Aelfric and co. The hardened veterans actually turn tail and run. They run and seek sanctuary in a mountain-top monastery, but its resident monks prove equally unnerving. Their faces hidden under cowls with but silver beards shining through, they say nothing. They talk to no one. And up in the evening’s cold, obsidian sky something even darker approaches… Something much, much bigger.

Stupendous final and full-page flourish from Ian “I.N.J.” Culbard after an already-chilling opening chapter while Dan Abnett will put the fear of God into you. On so many levels as well.

Its dialogue is suitably sparse and direct, his superstitious soldiers pragmatic all the same. As to his monks, one at least has a tongue as well as an ear to floor, for he has been waiting.

“They’re here.”


Buy Dark Ages #1 and read the Page 45 review here

How The World Was – A California Childhood (£14-99, FirstSecond) by Emmanual Guibert…

“I have wondrous memories of my country before the war.
“It was during the war everything changed.
“A tremendous number of people, soldiers, factory and shipyard workers, spent time on the Pacific Coast. A whole lot of people who knew nothing about California passed through it.
“After the war, which for us lasted four years, the population had doubled.
“That’s a lot, doubled.”

It is indeed. Fascinating biographic prequel from Emmanuel Guibert, the author of ALAN’S WAR: THE MEMORIES OF G.I. COPE, as he delves into the early years of his late friend Alan Cope’s childhood in California. Much as with his wartime memoirs, nothing particularly exciting or untoward happening to Alan during his formative years, spent in the relatively tranquil and idyllic settings of undeveloped 1920s and ‘30s California. The title says it all, really: this is a glimpse into a bygone era, one of neighbourly community and necessary thrift, which would seem like a different planet to the modern-day residents of a State which today compared to nations, ranks all by itself as the world’s eighth largest economy, with all the development for good and ill that entails.



The concept of a silicon valley, to those living amongst the vast lemon groves of yesteryear would, I am sure, seem a concept so fantastical as to be the subject of a Orson Welles-esque, science-fiction, radiophonic drama. That’s if you even had a radio or electricity. Alan’s family did have a radio, but it ran from a car battery that lasted an hour. They didn’t have a car, so it required charging up in the town nearby… Works like this one are important, as they do form part of our shared cultural history. Wars we will never forget, though even those will fade in intensity in the wider public consciousness with time, but sometimes the little things, such as how families and communities in a given locale, in a certain era, interacted and just got by are also extremely important.


Buy How The World Was – A California Childhood and read the Page 45 review here

Metroland #1 (£4-99, Avery Hill Publishing) by Ricky Miller & Julia Scheele, Rebecca Strickson, Jazz Greenhill…

“It’s raining out, Rick.”
“I walk between the raindrops.”

Ha, some people just do pretentious spectacularly well. Rick, or Ricky Stardust to give him his full stage name, is one of those people. Obviously his louche life is something of a car crash, as he glams and jams along with his band Electric Dreams, seemingly without a care in the world. I chuckled throughout at his near-continuous snappy comebacks and one-liners. His riposte to an elderly couple sat opposite him stretched out on train is typical of the man…

“These young people have taken this country to the dogs.”
“Your generation took it to the dogs, we’re just living in the kennel.”

Aloof, insouciant, he’s exactly like you want your wannabe pop idols to be. He does have a soft spot for his fellow band member Jess, but you get the impression she’s grown tired of his emotional front and game-playing.



Not sure how much I should read into writer Ricky Miller giving the main character the same first name as his own…! Anyway, just when you think you know precisely what this comic is – a cheeky romcom with a musical backdrop – there’s an existential shift, two in fact, which seemingly bookend the main story. Both are illustrated by different artists in completely contrasting styles, portraying the apparent first meeting, as children, between Ricky and Jess at the seaside, and then an old man, sat alone with his memories in a bed. He’s recounting stories to someone who only he can see. Who the man and his illusory companion, a young girl, are, isn’t revealed to us, but we can perhaps speculate from the context of their conversation. Lovely example of how you can do something bubble-gum fun yet also thought provoking, and indeed stylish if you put your mind to it.


Buy Metroland #1 and read the Page 45 review here

The Beginner’s Guide To Being Outside (£5-99, Avery Hill Publishing) by Gill Hatcher…

“I never wanted to sit in the car for five hours just to stay in some freezing shed in Scotland! Why couldn’t we go to Tenerife like last year? That was amazing.”
“Megan, we’ve already been through this…”

There is a wonderfully telling moment early on in this story where Megan’s mother passes her a book, a present from her Gran that is a guide to Scottish wildlife. Obviously her Gran thought it would make perfect educational holiday reading. Utterly unimpressed, Megan notes, however, she can download a free wildlife app, to her ever-present smart phone. Her phone, ipod and handheld games console are her ritual escapes from the mundane world of her mother’s failing relationship with her boyfriend. It’s history repeating itself all over again as far as she is concerned, and she’s not afraid to let her mum know it. Her dig that her dad would probably take her to Tenerife is a bit below the belt, though. Yes, Megan fears she is going to have to endure a very boring and excruciating holiday, but in fact what unfolds is a charming story of connection, perhaps more accurately reconnection, with both her mum and nature itself.


It did also make me smile that said wildlife app proves of far better use and provides considerably more enjoyment to Megan than the book possibly could. It’s a neat little comment on today’s technology, that it needn’t only be used for sequestering ourselves away, but also engaging with, indeed embracing, and learning all about the wider world we live in. I enjoyed Gill’s art too, she manages to express vast landscapes incredibly beautifully with what is a relatively simple style, very different to Oliver East’s, but to the same effect as in his THE HOMESICK TRUANT’S CUMBRIAN YARN. The highlight artistically for me, being an extended daydream sequence where Megan finds herself at play with various animals on land, at sea and in the air. Heart-warming stuff that will have you wanting to grab your walking boots and head out into the countryside for a stroll. Or perhaps your phone and checking out your friends’ holidays on Facebook…


Buy The Beginner’s Guide To Being Outside and read the Page 45 review here

Days (£11-99, Avery Hill Publishing) by Simon Moreton…

“…Our street was roof and rhythms, washed out colours and scents of lavender, hot tarmac, watered gardens, big skies.
“But things change.
“By the time I became a teenager this place with its alleyways and hedges, houses and houses, cars and lawns, became a tapestry of banality, an oroborous of suburbia, endlessly eating its own tail.
“’In such streets you could outdream everybody,’ wrote Alan Sillitoe, though I don’t know where he wrote it.
“We tried, with truancies and petty thefts, smoking in woods, with parties at strangers’ houses, and strangers at parties.
“We became cartographers and architects of tiny revolutions.”

Sometimes you need a weight of material for it to make its real impact upon you. Especially auto-biographical work. Take Eddie Campbell’s ALEC, for example. Its individual component books are all wonderful, but taken together, the whole really becomes something more than the sum of the parts, a true chronicle of a life. I had read one or two of Simon’s SMOO comics before, and enjoyed them, but the material compiled here provides an intriguing snapshot into Simon’s formative years, which I suspect were not that atypical to many of us in our various urban boroughs and suburbs.

The closest comparison I could make would be John Porcelino and his KING-CAT comics, though. Both have an elegance and economy of form artistically which suggests the simple yet often emotionally sophisticated messages they wish to convey. I can well imagine Simon could write some pretty good haiku if he was so minded, actually, as I have no doubt could John. Here is a little excerpt that sums up Simon’s time shortly after starting at University…

“Life was strange…
“…and I was lonely.
“But it was an okay sort of lonely.”

If you like autobiographical minis with heart like KING-CAT or perhaps Carrie McNinch’s YOU DON’T GET THERE FROM HERE, I think you will enjoy.


Buy Days and read the Page 45 review here

I Was The Cat h/c (£18-99, Oni Press) by Paul Tobin & Ben Dewey…

A slight confession at this point… I don’t particularly like cats. There is just something devious about them to my mind that makes them inherently untrustworthy and unlikeable. I am therefore delighted to say… I knew I was right! For Burma the talking cat, currently living the last of his nine lives, is intent on world domination. Again… He always has been for as long as he can remember, which is a very long time indeed, but despite his best attempts, total global domination has always just eluded his grasp. Possibly due to the lack of opposable thumbs making grasping difficult, but still.

So why, now, has Burma hired a journalist, Allison Breaking, to write his memoirs and reveal his existence to the world?! Because he thinks he’s finally going to succeed this time, that’s why! He doesn’t tell Amy his current megalomaniacal plans of course, professing himself to be a reformed feline felon, but we the readers are privy to all the details his dastardly insane plot.


You can tell Paul really enjoyed putting this story together, it is a fabulously funny read, as was a personal previous favourite of mine penned by him, GINGERBREAD GIRL. He really knows how to build a complex story whilst simultaneously keeping the comedy sideshow in full flow. As Burma recounts the sordid tales of his previous eight lives, all the while attempting to influence powerful figures like Queen Elizabeth I, Napoleon and various US presidents for his own illicit ends, our journalist and her sidekick chum listen ever more enraptured. There is a very good reason for that rapt attention, all to do with Burma’s latest fiendish scheme…

Exquisitely lovely, indeed felicitous, art from Benjamin Dewey, whom I must profess I am only aware of doing some bits and pieces in HUSBANDS prior to now. But based on this he needs to be doing a lot more because he is extremely talented. I hope Paul and Benjamin have a huge hit with this work, it would be enormously well deserved, and I think they may well might, for whilst I am not a cat lover, I know pretty much everyone else is. Indeed, you might well feel there are worse things than the ruler of the entire world being a talking cat. So, the only question that remains I suppose is will I be more satisfied by the ending or will you…?


Buy I Was The Cat h/c and read the Page 45 review here

Street Angel h/c (£14-99, Adhouse Books) by Brian Maruca & Jim Rugg ~

“STREET ANGEL might not be the kind of comic (excuse me, “graphic novel”) that the New York Times is writing up these days. But it’s a hell of a lot more fun than those books are. I like fun comics that knock me on my ass. That’s why I like STREET ANGEL. Rugg and Maruca handle comic book and action genre tropes, pop culture kitsch, superhero parody and other beaten horses with aplomb. Yes, that’s right, I said aplomb. I’ve been saving that word for twenty years now just to use it here.”

- Evan Dorkin, from his introduction.

Jesse Sanchez is Street Angel. Homeless, skateboarding defender of the ghetto. Whooping the butts of Ninjas, Pirates, Robots, Rednecks, Were-Sharks and Evil Scientists everywhere, while managing to stay in school just long enough for morning registration. It’s like I’m 10 again and someone’s emptied out my toy box and started making all the assorted figures have a huge brawl. STREET ANGEL has all the traits of a boy’s favourite toy too. Consider the facts:

a) She got wheels. Everyone knows skateboards make toys 100% cooler.
b) She’s a she. Boy’s don’t tend to have lots of female action figures, the ones they have they cherish. Or maybe that was just me…

Enough of the dodgy analogy. Maruca’s art is kinetic when action is called for with compositions that the likes of Frank Miller should be doing. Titles spelt out in the glass from the window Jesse’s has just been thrown through – class! It pops out at you from the page. From the moment you see its striking pink cover to the dark Nickelodeon-esque adventures inside, this book demands your attention. I suggest you take notice.


Buy Street Angel h/c and read the Page 45 review here

Doctor Grordbort Presents Onslaught h/c (£15-99, Titan) by Greg Broadmore.

I say, young man, do get a grip!

Fillies, avert your fluttering eyes for fear of faint-heartitude!

This is the roast beef of cartoonographs: old school, cocksure Colonialism gone steampunk in space. A balanced education is vastly overrated, but patriotic propaganda can never come too early into a child’s life! This edition collects all three of the previous books.

“Unnecessarily violent tales of science adventure for the simple and unfortunate,” it stars Lord Cockswain – “the man, the myth and the muttonchops” – in explosive, expletive-ridden episodes of comicbook triumphalism immolating google-eyed aliens, be they semi-sentient like Johnny Foreigner or fit for the trophy room. Join him as he blasts his way through alien civilisations until they’re no longer alien. Or civilised. Until, in fact, they are simply no longer.

Lord Cockswain will not be tricked into getting “in touch” with his feelings either by lackey or the rudest aliens ever encountered throughout the whole of Christendom. Do you think that their goading jibes are the result of nature or nurture? The answer is sure to astound!

Betwixt these incendiary outings designed to offend vegetarians, people of peace and other defects of nature there will be found film and beverage posters sure to strengthen your bow, put the kiss in your curl or just make their corporate originators a piss-load of lolly.

Additionally we present honest advertisements for ray guns of a ‘retro’ persuasion like The Deal Breaker and The Saboteur during which the copywriter “paid a pittance to write this tosh” may stray into sassing the prospective purchaser with an elaborate string of Yo Mama jokes. Unorthodox!

Take a closer look at the Ray-Blunderbuss affectionately known as ‘The Unnatural Selector’ with an Interesting Scientific Fact: “The Unnatural Selector will render a yard-wide aperture in a giraffe at 60 feet, and give a blue whale a nasty rash through 200 yards of saltwater.”

Perhaps you are a maiden in want of munitions? Try the Silver Mantiss 99se Thin Cone Death Beam: “This cultured ray-pistol is the weapon of choice for young ladies around town these days. Its sublimely polished exterior and refined aesthetics mean you can turn a common brigand into common chemical constituents, and not for a moment seem uncouth or affected. Once fired, the now-heated barrel could be used to roller your hair and the mirror finish could be used in a pinch to check your blusher and rouge. It probably does other girly things too, like flower arrangement, but that’s just a guess.”

There’s a special feature on the Venusian savages, none of whom can be relied on to accomplish decent trigonometry, one strain of which, moreover, has “quite disgusting tentacles – like he started eating an octopus then got bored and gave up”.

I was so stiffened by this stirring tome that I myself have already registered with the Earth Elite Forces, and hope to rise through their ranks at a swift yet gentlemanly pace, thence to the far reaches of space in the name of Queen and Country.

Also, I may not know my pile-plagued arse from my lawn-tennis elbow, but I can assure you of this: Baron von Broadmore can paint! What he paints is not pretty but it is lovely to look at. Does that make any sense to you? Nor does this. Utter balderdash!


Buy Doctor Grordbort Presents Onslaught h/c and read the Page 45 review here

Preacher Book vol 5 (£14-99, Vertigo) by Garth Ennis & Steve Dillon.

Attitude on a stick, reading this series is like listening to Nick Cave’s Murder Ballads. It’s brutal and bloody and fucking hilarious. It stars a wayward preacher whose parish has been nuked by a force from Heaven and Hell which gives him the power of God’s Word. When he uses The Word his eyes glow red, and you will do what he tells you to no matter how anatomically improbable. Now he’s off in search of God to make Him apologise for abandoning His creation, and along for the ride are his ex-alcoholic ex-hitwoman ex-girlfriend and a vampire with an uncanny resemblance to Shane MacGowan. I’m not saying Shane MacGowan necessarily drinks blood, but look at the bloody state of him!

Along the way they’ll bump into Jesse’s own family, the vituperative Herr Starr who loses at least one limb per volume, impressionable Kurt Cobain fan Arseface who tried to emulate his idol and is now left with a gaping hole in his mouth and a subsequent speech impediment, plus the last remaining bloodline of Christ who is a delinquent and drooling moron.

Deliriously funny, spectacularly violent and highly blasphemous to boot, this nonetheless boasts at its heart a strong moral core: it’s about friendship, loyalty and doing the right thing.

Exceptional character acting by artist Steve Dillon.

(Have some fun: print this out, bring it in without telling me and ask me to describe this series on the shop floor. I’ve used exactly same words ever since it first came out!)

These are new, chunkier editions without individual titles, this one contains #41-54


Buy Preacher Book vol 5 and read the Page 45 review here

Kings Watch vol 1 s/c (£14-99, Dynamite) by Jeff Parker & Marc Laming.

Oh, this is terrific!

And I’m specific about “terrific”, an adjective that conjures up Boys’ Own action, adventure and full-out fun!

Brace yourselves!

“It’s happening all over the world, you know. The people you used to protect, they’re all having nightmares of what’s coming. You wouldn’t know that, magician. You keep your dreams sealed, don’t you –“
“Silence, demon. You have no knowledge that I want.”
“Then why did you enter this room, where you keep me imprisoned? It’s okay, Mandrake. I’ll tell you what it is. It’s the end of the world.”


The action kicks off with the same Bam! Bam! Bam! as the penultimate episode of Doctor Who – Catherine Tate’s season. Each protagonist gazes up at a sky that should not be: Mandrake the magician turns away from his East Californian window and the demon who goads him; the Phantom in his East African jungle shields his eyes; Dale Arden’s sentence trails off in sheer disbelief. Something is coming…

I’ll be perfectly frank: I read this because I saw the artist of THE RINSE on the credits, and I will read anything drawn by Marc Laming. It’s not that his chisel-jawed men wink like nobody’s business – though they do – or that his women are some of the most curvaceous in comics – though they are, and with the best hair ever! It’s the sheer thrill of seeing immaculate, beautifully finished layouts whether quiet and measured as in Dale Arden’s office or filling the entire page when an African Elephant is startled and savaged by some red, reptilian, bipedal beast so massive it virtually smothers the bull. Cue tree-top choreography and yowsa! He doesn’t skimp on details, either, like a driveway’s locked gates.

I really have no idea who The Phantom or Mandrake are, though I am peripherally aware of their existence, nor do I have any lingering love for Flash Gordon let alone read of his exploits in comics. But this snaps together seamlessly, and – you know what? – we are allowed to have fun!

Great big tip of the hat to colour artist Jordan Boyd whose palette glows with red, purples and green while keeping the whole soft with careful lighting and by refraining from throwing everything at us at once.

So yes, there is a spatial anomaly slithering and crackling in the sky; visions abound of whip-wielding, spear-throwing nightmares on rough-horned steeds; the media is full-throttle in scare-mongering mode and, oh… look who’s just made the perfect landing in a spaceplane on his dad’s carefully manicure croquet lawn. It’s the permanently thirsty Professor Zarkov and his irrepressively chirpy blonde pilot. I imagine there’s a universe to become saviour of.

The plane is powered by a Quantum Crystal whose ion pulses shortcut space and gravity. Unfortunately it’s not the only one on the planet. Mandrake’s missus and The Cobra have the other and they too will be using it to shortcut space and open a channel to a world of warriors where a maniac called Ming has been waiting. Waiting for the people of Earth to become so reliant on technology that whipping it away will prove crippling.

Under Jeff Parker Flash Gordon has becoming a polo-playing dab hand at almost everything that seems unimportant but may just prove vital, while Professor Zarkov is an iconoclast who doesn’t take himself too seriously. And I like that.

“The ionic drive is reacting oddly – it’s not done that before!”
“I trust it. You’re the most brilliant physicist alive.”
“That’s just what I tell you, you loon!”

There’s lots and lots of back-matter including the first chapter’s script and that monkey Marc’s always-impressive design work including multiple covers that never quite made it whose compositions fill without overcrowding the page, each of which would have been terrific anyway. There’s that word again: terrific.


Buy Kings Watch vol 1 s/c and read the Page 45 review here

Thanos: The Infinity Revelation h/c (£18-99, Marvel) by Jim Starlin…

“But the more complex my existence becomes, the more often I stumble upon questions without answers. What drives me on is the unravelling of these riddles.”

The latest release in Marvel’s ‘OGN’ (original graphic novel) range sees the mad Titan and his long-term nemesis and sometime ally, Adam Warlock, partnered up to investigate a cosmic disturbance. Something unsettling is occurring and it would seem our grandiose, granite-chinned philosopher, quite unbeknownst to him, is firmly intended to be at the very epicentre of events by the likes of Infinity, Eternity and the Living Tribunal.

I do understand the concept behind Marvel’s OGN series, that there should be interesting and enticing material which people who perhaps are not currently surfing the continuity conveyor belt of monthly titles ought to be able to just pick up and read. To lure them onto said conveyor belt, obviously. Much like classic one-offs such as X-MEN: GOD LOVES, MAN KILLS used to do. These current OGN’s don’t necessarily have the same appeal to the these-days saturated masses of Marvel fandom, possibly also conversely in part because they aren’t considered sufficiently canon, but still, it is a worthwhile premise if executed well.

Which this most assuredly is. To me, characters who don’t have monthly series are ideal for this type of work. And, if they have a certain cachet with readers, then obviously so much the better. This type of story is also perfect for Starlin, the writer, to work his magic on. Esoteric, existential, encompassing the more mysterious elements (the few there are left in the Marvel Universe), it in places did remind me of his early WARLOCK material. It isn’t quite so out there, but still, it’s nice to see a Marvel comic that actually makes the reader think and reflect a bit.

Note: Art-wise, he’s clearly still got it as well. Also, he has the most surreal bio picture I think I have ever seen. It’s certainly a statement… Fans of INFINITY GAUNTLET-related malarkey should lap this up as a nice little coda. Or, perhaps in fact it’s an interlude… I am sure we will find out.


Buy Thanos: The Infinity Revelation h/c and read the Page 45 review here

Uncanny X-Force: Rick Remender Complete Collection vol 1 s/c (£29-99, Marvel) by Rick Remender & Jerome Opena, Leonardo Manco, Rafael Albuquerque, Esad Ribic, Billy Tan, Mark Brooks, Robbi Rodriguez…

Here was my review of the original volume one. Note: I actually do think it can now be considered a classic run*. For my mind, Remender is up there with Jonathan Hickman for his ability to blend and blur the lines between sci-fi and superheroes, as with his UNCANNY AVENGERS run which is in effective a quasi-sequel to this material.

“The game is on… probably has been for some time. Which means we’re already out of time. God as my witness, Logan, one way or another, no matter what the cost… I’m going to kill Apocalypse.”

Perhaps like me, at the conclusion of the excellent X-over SECOND COMING, you inwardly groaned at the prospect of yet another X-Force reboot (it’s never been the strongest X-title, let’s be honest, firstly because of the writing and secondly because of the art!) containing not only those hardy perennial fanboy favourites Wolverine, Deadpool, Archangel and Psylocke but also the – no doubt next to take the title of the most overexposed and overused X-character – Fantomex.

Happily, though, UNCANNY X-FORCE has completely confounded all my doubts and appears, at this very early stage, to have the potential to be a classic run* in the making. The writing from Rick Remender is thankfully of the more speculative fiction approach successfully adopted by Ellis on his X-runs, with some delightfully choice splashes of dark Deadpool humour injected in suitably small doses here and there.

If future plot arcs compare to this first outing where the team decide that killing the recently reincarnated Apocalypse whilst he’s still an innocent, angelic schoolboy would be a rather sensible idea (albeit whilst he’s protected by his most extreme bunch of equine enforcers yet), then we could be in for a real treat. And gone too thankfully is the whirling dirge-ish art from the previous run. As I noted in X-NECROSHA, there were portions in the X-Force sequences where you really couldn’t tell who was who, it literally was so dark. Instead both Leonardo Manco and Jerome Opeña impress, and I should actually also compliment the two colourists whose choice of palette, in combination with the fine illustration, very much helps give this the feel of a different, more worthy X-title. Less superhero, more sci-fi. So far, so good.

Collects UNCANNY X-FORCE #1-19 and #5.1, and material from WOLVERINE: ROAD TO HELL #1.


Buy Uncanny X-Force: Rick Remender Complete Collection vol 1 s/c and read the Page 45 review here

Terra Formars vol 1 (£8-99, Viz) by Yu Sasuga & Ken-Ichi Tachibana…

I finished the first volume of this and I couldn’t actually decide if I had enjoyed it or not. Given it is on Viz’s Signature Ikki imprint that usually denotes a strong storyline, this just felt like far too much of a battle manga, as did MARCH STORY which we barely sold any of, as opposed to the rest of the Signature Ikki titles which have been brilliant. It might develop, I guess. I liked the initial premise that a group of astronauts were being sent to Mars to reconnoitre whether the terraforming had been successful. The three-century process had involved vast quantities of cockroaches, which actually does make perfect sense scientifically when it is explained, thus part of this mission was to subsequently eradicate them. Under the harsh Martian conditions and the extreme process, however, the cockroaches have evolved at a rapidly accelerated rate, becoming humanoid in size whilst retaining the proportional strength and speed à la Spider-Man.

So far, so plausible, just about, but where it started to get a bit ridiculous for me was when it is revealed that each of the astronauts, who we find out are not willing explorers at all, have had different insects’ DNA combined with their own to give them powers which are temporarily activated by the injection of a serum. There’s also a slightly pantomime side-plot between rival national elements within the global space agency responsible for the mission. Like I say, it might develop, I do love GANTZ after all, which is as absolutely preposterous as it gets plot-wise, and still unfathomably increasingly so as it careens to a conclusion whilst retaining its addictive rush. But this didn’t have the immediate grab for me that GANTZ, or indeed say the Signature Ikki title BIOMEGA did. I will probably give the second volume a go and see, I guess.


Buy Terraformars vol 1 and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?


Fish (£6-50, Nobrow) by Bianca Bagnarelli

The Killer Omnibus vol 2 s/c (£18-99, Archaia) by Matz & Luc Jacamon

Hip Hop Family Tree vol 2 (£20-99, Fantagraphics) by Ed Piskor

Jellaby vol 2: Monster In The City (£9-99, Capstone) by Kean Soo

Jim h/c (£22-50, Fantagraphics) by Jim Woodring

Bravest Warriors vol 3 s/c (£10-99, Kaboom) by Joey Comeau & Mike Holmes

The Death Of Archie: A Life Celebrated (£10-99, Archie Comics) by Paul Kupperberg & Fernando Ruiz, Pat Kennedy, Tim Kennedy

Judge Dredd Casefiles 23 (£19-99, Rebellion) by John Wagner, Pat Mills, Garth Ennis, Robbie Morrison, Gordon Rennis & Carlos Ezquerra, John Higgins, John Burns, others

Lucifer Book 4 (£22-50, Vertigo) by Mike Carey & Peter Gross, Ryan Kelly, Marc Hempel, P. Craig Russell, Ronald Wimberly

Zaya h/c (£22-50, Magnetic) by Jean-David Morvan & Huang-Jia Wei

Batman Incorporated vol 2: Gotham’s Most Wanted s/c (£12-99, DC) by Grant Morrison & Chris Burnham

Batman: Arkham Unhinged vol 3 s/c (£12-99, DC) by Derek Fridolfs & various

Batman: Arkham Unhinged vol 4 h/c (£18-99, DC) by Karen Traviss & various

Justice League Dark vol 4: The Rebirth Of Evil s/c (£12-99, DC) by J.M. DeMatteis, Jeff Lemire & Mikel Janin

Daredevil vol 6 s/c (£11-99, Marvel) by Mark Waid & Javier Rodriguez, Chris Samnee, Matteo Scalera

Journey Into Mystery: Kieron Gillen Complete Collection vol 2 s/c (£25-99, Marvel) by Kieron Gillen, Dan Abnett, Andy Lanning, Matt Fraction, J.M. DeMatteis & Carmine Di Giandomenico, Richard Elson, Alan Davis, Stephanie Hans, Barry Kitson

Loki: Agent Of Asgard vol 1: Trust Me s/c (£14-99, Marvel) by Al Ewing & Lee Garbett

The Punisher vol 1: Black And White s/c (£13-50, Marvel) by Nathan Edmondson & Mitch Gerads

Attack On Titan vol 13 (£8-50, Kodansha) by Hajime Isayama

Attack On Titan: Before The Fall vol 2 (£8-50, Kodansha) by Hajime Isayama

Dorohedoro vol 13 (£9-99, Viz) by Q. Hayashida

The Heroic Legend Of Arslan vol 1 (£8-50, Kodansha) by Yoshiki Tanaka & Hiromu Arakawa


ITEM! Things That Make Angry one-page comic by Lizz Lunney! I cannot play lute.

ITEM! Magical stop-animation: Soft Spot by Philippa Rice and Luke Pearson

ITEM! Delightful comics by Tara Abbamondi. Hoping to stock her stuff soon!

ITEM! Autobiographical online cookery comic by Becky Cloonan – as you’ve never seen her before!

ITEM! Preview of Liz Prince’s TOMBOY!

ITEM! Eloquent and perceptive, in-depth article on the very nature of comics and our inadequate vocabulary when discussing their creation and absorption by Paul Duffield. Much food for thought!

ITEM! Bill Sienkiewicz and David Mack both deliver passionate, eloquent and inspirational interviews on what being an artist means to them, and being involved in Allan Amato’s The Temple Of Art project.

ITEM! Acclaimed games writer Leigh Alexander interviews Bryan Lee O’Malley about SECONDS!

Thanks to everyone who flocked to Bryan Lee O’Malley’s SECONDS signing this Monday and filled the shop with such fun. Even by my standards I was a disgrace (drunk, disorderly and utterly rapacious), but everyone left grinning their socks off.

SECONDS is out of print now until September but At The Time Of Typing we have 28 copies signed by Bryan to see us through! We do mail order worldwide or you can select “collect in store” and one will be waiting for you.

So grateful to Bryan Lee O’Malley and to Sam at SelfMadeHero for making this happen, and to Dominique and Jonathan for running the signing so smoothly.

Photos by Sam Humphrey at SelfMadeHero. Possibly one by me. I lost track. Of everything.

- Stephen

Reviews August 2014 week two

August 13th, 2014

Cracks quickly appear in some relationships as things start to go wrong, sometimes in quite shocking ways. And when those cracks cause a split, they do so in the panels themselves which divide into two as the lovers go their separate ways. Then some very interesting things start to happen…

 -Stephen on Ray Fawkes’ The People Inside.

The Ring Of The Nibelung h/c (£22-50, Dark Horse) by P. Craig Russell after a bloke called Wagner.

I had four full pages of notes on this, three more than I managed for Chemistry ‘O’ Level which kind of explains my results back then.

This big, thick hardcover contains all four operas in Wagner’s Ring sequence: The Rhinegold, The Valkyrie, Siegfried, The Gotterdammerung.

To deliver a truly faithful adaptation – one with even a hope of stirring a reading audience as the original moves a crowd – Craig cannot and does not rely solely on plot and dialogue; a visual interpretation of mere lyrics would omit most of the power and the subtle weave of any opera delivered by the music. ‘O Mio Bambino Caro’ is, on paper, y’know, a fine set of poetry, but when sung so tenderly, so majestically in harmonious concert with music so heart-rendingly poignant (plaintive, aspirational, delicate?), it becomes something extraordinary. And that’s just a single aria.

An opera uses many devices to convey ideas and development to cue the audience subconsciously throughout its duration and Russell has thought long and hard about translating these into sequential art. He’s taken musical leitmotifs – signatures denoting individual characters, objects and even concepts such as love, regret, power and choice (sometimes combined in a single sequence, hinting at thoughts, informing the action and even able, I’d imagine, to add therefore a level of dramatic irony) – and turned them into visual cues.

One glimpse at the prelude is enough to prove just how accomplished, how ingenious an adaptation this is. The opening sequence is ‘silent’; it begins quietly with a single finger in blue line and pencil, on which a drop of water swells. It falls into its own ocean to form ripples then waves in an expanding aqueous body, from which a fresh green seedling – the first hint of colour – emerges. By the bottom panel on that first page the tree has grown older than the oak, joined to three shrouded women by twine; and from its roots flows a river, reflecting the aurora above.

That’s the creation of the universe on page one. It also sets up three of the four central elements which bind the four operas: water & light, the tree and the sword. Three further pages, reduced to a sandy tone, provide the rest of the background whilst implying consequences for the events to follow. The great god Voton, introduced by his shadow, wanders into picture, stoops to drink then spies, beyond the thread of fate, a woman who will be his wife and goddess of wedlock, Fricka (three small panels inlayed repeat the earlier sequence, as a drop of water falls from his chin). One of the three hooded women (or Norn) then plucks out Voton’s left eye, leaving behind the gift of inner vision, but suddenly her knowing confidence is shattered as Voton reaches up into the tree and breaks off a branch. He fashions it into a spear, takes Frika by the hand and departs, leaving behind him the tree fast falling into autumn then winter. The final four panels close in ominously on the wound inflicted on the tree, until all we can see is the hollow darkness.



Several of these images and refrains will be reprised within the major body as the story unfolds. It’s a classic, dynastic tale of love, lust, envy, power, greed, wealth, rejection, duty, treachery, sacrifice and progeny. The dynasty involved is that of the gods of German mythology, and what a familiar pantheon they are! Voton, one-eyed and lustful, as impetuous in love as he is in wrath and for all his supposed wisdom, the perpetual victim of his own stupendously rash promises. He bears the weight of his responsibilities on his own faltering shoulders, and since his wife is goddess of marriage, you just know he’s going to be unfaithful. One of his stormy sons wields a hammer, one of his daughters has been sworn as payment to a couple of giants (none of Voton’s children receive much in the way of paternal care), and although he doesn’t appear to be related as he is in Norse mythology, there’s Logé, the flattering trickster.

The Rhinegold is essentially a fable of power versus love, of the choice between them, catalysed by the theft of said gold from the waters of the Rhine. Alberich the troll, cruelly taunted and scorned by three prick-tease mermaids has nothing to lose in love, so rejects it to steal the metal then fashion it into a ring which gives him absolute power over his race. And love must be rejected to wield that power, that’s the bargain. But news spreads fast of this new poisoned chalice, and when it reaches the heavens, via Logé of course, the consequences may prove devastating.


The Valkyrie moves some of the action back down to Earth where Voton’s been a busy boy. Once more the set up is a combination of familiar themes and plot points: lost siblings, unholy love, the treachery of children, the will of the gods, and the duty of husbands and kings. In the previous opera Voton has been warned about the Twilight of The Gods, the doom that awaits them, and in the sequence which links the two (once more combining water, light, the tree and now the sword, in panels that echo the prelude), Russell shows us Voton’s solution, the creation of a sword. This he hopes will be unsheathed from the tree into which he thrust it, by someone worthy, someone over whom he has no direct influence. But he only goes and shags a mortal to sire this someone! And if that weren’t enough to raise Frika’s ire, that very son soon falls in love with his own twin sister, already married to the man whose house is built round this tree. None of which is going to go down well with protectress of wedlock. Add in another tragic offspring, Brunhildé, one of the Valkyrie, Voton’s daughter once again and the literal embodiment of his will (his actual will, not his stated position), and you’ve one family circle that’ll never be squared. I can’t tell you how cleverly it all comes together – the whole sword, fate and progeny thing – because there’s a final twist, a ramification of the incest which has yet to be played out, with Craig once more excelling himself in the final panel foreshadowing the next round.

If all of this wasn’t enough, it’s just occurred to me that there may be many as yet unfamiliar with P. Craig Russell as an artist. On the basis of his work on SANDMAN #50 alone he is justly celebrated.


His command of symbolism through design is beautiful to behold, and above all he’s just one of the most flat-out attractive visual craftsmen. And if you’ve never seen his pencils you’re in for an additional treat, for some of the preliminary sketchwork is reproduced in the back, bursting with a Renaissance eroticism reminiscent of Donatello, Caravaggio and the less burly examples of Michelangelo.

In some ways it’s not an easy book – it’s only fair to warn you that the language throughout retains the original formality which some may find initially stilted or foreboding – but its appeal is broader than I initially suspected. I’ll probably receive some flack for this comparison, but the combined scenario and linguistic approach is really not far from a cross between Shakespeare and SANDMAN.

Which should shift a few units.


Buy The Ring Of The Nibelung h/c and read the Page 45 review here

Lazarus vol 2: Lift s/c (£10-99, Image) by Greg Rucka & Michael Lark.

I swear this will speak to you: a series centred on family, loyalty and power.

In the very near future America’s economy has imploded, its political system has collapsed and its State structure has melted away, replaced by territories ruled by families with the most money. Money buys food, money buys guns and money buys people.

It is a feudal system, an archetypal pyramid structure with each Family at the top, a selected few Serfs with key skills in the middle, and the Waste toiling the land or eking out whatever living they can with little or no protection while paying a punitive tax.

The Family Carlyle have invested heavily in augmentation technology, bestowing it on daughter Forever who now acts as their ultimate protection. She’s been trained to the peak of human physical fitness in both armed and unarmed combat. She has enhanced regenerative capabilities closely monitored and backed up at base. But in LAZARUS VOL 1 someone sent Forever a message:


This is where it gets really juicy.

Out in rural Montana, farmers Joe and Bobbie find no help forthcoming as their land is deluged with rain, the river bursts its banks and their home along with everything they own is swept away by the flood. Leaving their land means losing it, but they see no other option than to journey 500 miles to Denver in the hope that their daughter Leigh, their son Michael and his girlfriend Casey be elevated to Carlyle Serfs in the next Lift Selection in a fortnight’s time. They will have to compete with 100,000 others for very few places, but first they will have to survive bandits roaming the open country.

Meanwhile, Forever discovers corruption in the Guard Corps and an active terrorist cell whose attentions seem focussed on Denver where the eldest Carlyle son Stephen is overseeing The Lift. And then there’s that message:


I think I know who sent it.

Flashback to the Southern Sierra Navada Facility where a young Forever is in training:

“I’m trying to remember… when was the last time I saw her, James?”
“On her birthday, Mister Carlyle… so just over five months ago.”
“Then this should be a pleasant surprise.”
“I’m sure it will. Forever! There’s someone here to see you.”

A thrilled Forever throws herself across the lawn, hugging her father at the waist, her beaming face pressed against his stomach.

“I’m so happy to see you! No one told me you were coming!”
“And is this the proper way to greet your father?”

She steps back, head bowed, ashamed.

“No, sir. Sorry, sir. It’s a pleasure to see you again, father.”

I said this was a series about family and power. That and subsequent scenes are very telling: Carlyle doesn’t want Forever’s love; he demands her loyalty instead, using her status as a family member – and a subservient one at that – to consolidate it. He sets her in combat against her skilled trainer, Marisol, and though she acquits herself well, Forever fails.

“I think we both know your apology is meaningless. Our enemies would not hear it, because you would be dead. Your mother and I and your siblings would not hear it, because we would likely be dead too.
“You’re not ready to wear the sword. I wonder, in fact if you should be allowed to wear the name Carlyle at all. The next time I visit, you will defeat Marisol… or you will no longer be permitted to call yourself my daughter.”

In a later visit he even addresses her as “my daughter”. Who does that except royalty, and in the expectation of obeisance?


Forever’s relationship with Marisol is very touching, their mutual affection strained not for one second by what they are commanded to do or ordered to endure. They endure quite a lot.

As for Bobbie, Joe, Leigh, Michael, and Casey, one of them too will discover harsh truths about the Carlyle family, the Lift Selection (Rucka’s really thought that through, including scanning for physical impairments not for automatic exclusion but so that they can be compensated for during the tests if easily corrected at a later date), but above all they will witness first-hand how much loyalty is prized above all else.

LAZARUS would be immeasurably poorer without artist Michael Lark, here with Brian Level and colours by Santi Arcas. Quite why he’s not on the cover is beyond me (Note: the above isn’t the actual cover). He does youth – as well as age, wear and tear of which there is much – phenomenally well. There’s both a natural softness (vulnerable is not a word I’d employ) and a resilient determination in the younger Forever’s face and posture. Her body may be slight, but it is already precociously capable, Lark giving you no doubts whatsoever about that.

I’ve always loved Lark’s urban landscapes, but here he proves master of hard-earth textures and sweeping, country panoramas even within a third-of-a-page panel overlooking the rain-drenched procession towards Denver. Arcas’ subtly clouded skies are worth poring over too.

As for the crowded camp scenes at a distance, those are so, so tricky, but Lark pulls them off with the exact amount of detail a human eye would be able to take in and no more.

I will shut up now before I’m accused of gushing.


Buy Lazarus vol 2: Lift s/c and read the Page 45 review here

The People Inside h/c (£18-99, Oni Press) by Ray Fawkes.

“Look what you did to me.”

This a book about love in its myriad guises and even disguises so whatever you think that means, you’ll be thinking again when you get to it.

From the creator of ONE SOUL which stunned us so much we made it a Page 45 Comicbook Of The Month – and indeed MERCY which I don’t believe anyone else has for sale in the UK – this sets out to achieve something similarly inclusive but not the same, in a format that’s similarly ingenious… but not the same.

For most unsettling results, read when my age or older.

For most effective results I suggest reading it as soon as possible after your teens.

Of course we don’t necessarily know whether we’re in love or in lust, merely infatuated or completely insane. I’ve been in relationships under all four of those spells and sometimes it’s only in retrospect that you can tell one from the other. What this will make starkly clear, however, is that there is no time to lose by settling for lies or second best when aware that you are doing so.

It begins with six square panels on one page and six square panels on the other, each containing couples in a “Here we are” on-the-threshold moment: the current status, ostensibly, of their relationships. These and subsequent snapshots are either married to or contradicted by the private thoughts – brief mental impressions – of the panels’ occupants and, obviously, the couples aren’t always in synch with each other.

Cracks quickly appear in some relationships as things start to go wrong, sometimes in quite shocking ways. And when those cracks cause a split, they do so in the panels themselves which divide into two as the former lovers go their separate ways. Then some very interesting things start to happen…

Like ONE SOUL, the individuals’ stories continue until they don’t and the panels black out one by one as they die either alone or leaving their partners bereft. Or not. As you can probably tell I’m trying to avoid any form of spoiler whatsoever, but I can assure you that Fawkes has thought of almost every possible permutation, confrontation and complication in a relationship.

Some of this is unbelievably harsh, some of it very affecting.

Some pages move on by mere moments, between others there is an autumnal interlude which may last more than a single season or year. Trajectories aren’t always linear. Relationships need to be worked at, constantly and some can be repaired just as others can be sabotaged. Beware the distraction.

To say “the art does its job” would be to understate the accomplishment, for whilst Fawkes isn’t a very accomplished draughtsman he is a superb visual storyteller, as clear as clear can be, and there are new innovations here on top of the massive leap that ONE SOUL represented which kick off so cleverly after the first twenty-five pages.

Fawkes is also a fine designer and I love the matching covers between the two books which are very much companion pieces.

Just… don’t leave this until your dotage.


Buy The People Inside h/c and read the Page 45 review here

Gary‘s Garden Book 1 (£6-99, David Fickling Books) by Gary Northfield.

“I fear the jungle is all too quiet, Chompy. Danger hides behind the silence, ready to pounce.”
“What are you talking about? What jungle?”

Have you even seen my garden?!

It’s like something out of Sleeping Beauty. Apparently there’s a canal at the bottom of it, but unless you have a machete then you will probably never know.

Welcome to the garden, dear readers, home to world-renowned, instantly recognised household name… Gary Whatsisface.

So much happens there both behind Gary’s back and right under his nose. By day there is danger! By night there is bin-raiding derring-do! His kitchen and store-cupboards are subject to daylight robbery. Even Gary’s boxer shorts are on the line! The washing line, that is. Or they were.

From the creator of THE TERRIBLE TALES OF THE TEENYTINYSAURS, I gleefully present barrels more buffoonery in which the Cartoon King of bugged-out eyes and shriek-squealing shenanigans sets his sights on suburban denizens of the dank, its tree-top scurriers and worriers, its frond-fond failures and other long-grassed losers: spiders, caterpillars, butterflies; worms, moles and tadpoles; rats, bats and bluebottle flies… all going about their day-to-day, survival of the twittest, ultra-competitive business.

In ‘First Legs’ you will weep when witnessing the loneliness of being a late developer.

In ‘Terrence The Snail’ you will slime as fast as you can slither straight back to Mum.

And on page 45 (of all places) you will wonder whether you can love a girl with a poo hanging out of her bum. Can you?

(Clue: guppies in a fish tank: they have strings of poo hanging out of their bums. They really do!)

Once more, it is the innate understanding of what will make a kid cry with laughter and squeal uncontrollably “Ewwww!” that so successfully informs a comic like this: the one-two punchline of ‘Noisy Neighbours’ is designed specifically to send its readers screaming back to their parents and thrust it in front of their faces. Warning: may prove counter-productive to your parental 5-a-day drive!

There are recurrent jokes you may only spot in the background, I love the slightly outmoded names (Penny the pigeon, Cyril the bumblebee, Rupert the squirrel, Ronald the spider) and the colours… oh, the colours are sublime! I take you back to those tadpoles.

Perspective also plays a vital role: what to this diminutive, ugly-bug ball of buffoons is a Transdimensional Televisor is to us but a toilet roll they’re treadmilling through the open French Windows. What to Gary is a delightful bird-twitter of song is a mockery through mimicry of what our bearded baboon really seems and sounds like. Self-deprecation is a superb source of comedy and Gary Whatsisface – here like the Johnny Morris of mismanaged comics – has mastered it.

In the back as a bonus feature is a game of Gary’s Garden Top Chumps as in Trumps. I loved Top Trumps! It acts both as a character guide and as a fully playable game. You don’t have to cut out your comic but can download and print out then cut out the lot from THE PHOENIX comic website. Brilliant!

Skill sets are: Intelligence, Heroism, Grumpiness, Ickiness, Legs.

Each is scientifically calculated out of ten unless you’re a caterpillar. That means molluscs score low on legs (one), but don’t bet on them being lowest (no clues).

Outrageously, however, there is a Top Chump for Gary Northfield who scores himself 10, 10, 10, 10 and 10. Now, I will give Gary 10 out of 10 both for Grumpiness and Ickiness, but Intelligence and Heroism is pushing it.

As for the legs…



Buy Gary’s Garden Book 1 and read the Page 45 review here

How To Make Awesome Comics (£6-99, David Fickling Books) by Neill Cameron.



Neill Cameron has art down to a science.

All education should be entertainment and creativity is coolest when fun.

This is bundles of fun. It’s instructive, interactive and each step is a full step, but not too steep a step so that budding comicbook creators won’t run out of puff. Nor will they know that they’re climbing a mountain until they reach its summit then feel like they’re on top of the world!

By the time you and / or your young ones have finished this essential guide to comicbook storytelling with practical notes on how to pop your own comic together you will feel empowered enough to tell any story in many ways.

Just watch out for the bananas.

“Something’s wrong with Mecha Monkey! He’s gone into overdrive! … And he seems to be completely obsessed with bananas!”

No, Neill, that’s you.

So meet Professor Panels and his Art Monkey. They’re given up their free time at a mental health institution to teach you how to make comics, and not just any old comics: how to make awesome comics! All you‘ll need is paper, a pencil or pen and your brain.

“Note: do not remove from head.”

Starting with stick figures, filling in blanks at the end of short stories Art Monkey has already drawn, you’ll soon progress onto a variety of simple body shapes broken down into basics in the useful and reassuring knowledge that cartooning is all about is about simplifying: Keep It Simple, Stupid! Faces and emotional ranges swiftly follow on precisely the same principles, focussing on three key elements: the eyes, eyebrows and mouth.

However, cartooning is also about the stories themselves, so you won’t just learn how to draw, but how to set up short sequences yourself with an introduction, confrontation and resolution, how to make that physical, mental or emotional, and how to turn the whole shebang into slapstick comedy, including how to draw a doofus. (I will sit and model for your children, yes.)

Before all that you need ideas and Professor Panels has some simple exercises to help you generate the awesomest ideas of all. Try the equation above! I did, below:

Page 45 + Winning The Lottery = THING THAT IS TOTALLY SUPER AWESOME (for both of us)!

Okay, what he really meant is something like this:

Bananas + Ballet = Bananarina! (See is believing.)

There are also lessons on lettering, and how cool it is to make your sound effects the visual equivalent of onomatopoeia, appendices on things like robot accessories (wheels, jets, missiles, claws, more missiles, chainsaw and a nice pretty bow!), dinosaur shapes, penguins, ninja penguins, and more stories to complete in your own insane manner.

Best of all, however, is that all these examples can be downloaded from the Phoenix Comic website then printed off so you can create as many versions as you fancy without drawing on the book itself!

I wholeheartedly recommend this as a starter guide to anyone of any age, so whip out some paper and sharpen your pencil right now!

Bring your own bananas.


Buy How To Make Awesome Comics and read the Page 45 review here

Trillium s/c (£12-99, DC) by Jeff Lemire.

From the creator of ESSEX COUNTY, THE UNDERWATER WELDER and SWEET TOOTH comes a deliriously coloured piece of science fiction whose twin narratives dovetail beautifully when they meet at the middle during the first episode’s conclusion.

Now, that may sound like a gimmick – albeit a clever one – but it is integral to this transtemporal and reality-reconfiguring piece where perception and perspective are all.

1921, and William is determined to find the fabled Lost Temple Of The Incas deep in the Peruvian jungle even though Sir Terrance Morgan’s old escapades ended very badly indeed. His older brother is sceptical, but find it they do, along with the bodies tied to stakes which they assume are from the previous, doomed expedition. Perhaps they should have inspected the clothing more carefully.

In 3797 on a remote human settlement in space, Nika has found the Lost Temple Of The Incas and its blue-skinned, Atabithian inhabitants. What she desperately needs is some of the Trillium flowers within to cure a sentient and singularly virulent virus which could wipe out all mankind. Beyond her own only one other colony remains. Unfortunately Nika is running out of time and her commanding officer may have to resort to less verbal methods of negotiation. Her space suit’s artificial intelligence is scrambling desperately to translate the Atabithians’ language but manages mere snippets. But then Nika ingests one of the flowers and the result is a perfect comicbook moment!


After the first chapter a more regular approach to the two time frames sets in until a dramatic shift in the protagonists’ circumstances creates a wobble in reality and each two-tiered page is played like a face card (Jack, Queen, King), one reflecting the other. Oh yeah!  You wait until you get to the real confluences!

Best of all is the colouring: old school washes bleeding beautifully and – as required – eerily. The corpses as recalled by William on the battlefield, drowning in muddy water, are horrific. Lemire’s spindly art really takes off in the space-set sequences, with a gloriously detailed, flower-strewn inner temple which, in chapter seven, grows even more epic once Nika discovers its real secret and so finds herself dwarfed under The Mouth Of God.

I should probably spare you my one consternation because it’s difficult to unlearn things without the aid of copious amounts of alcohol and you might not have spotted it yourself. But in the interests of honesty the Peruvian jungle looked far from jungular, and when one of the expedition members declared, “Dear Lord, I didn’t think the underbrush could get any thicker!” I looked around and all I could see was a perfectly accessible, knee-level grassland, three or four trees per hectare and a couple of random vines.

Bonus in the back: Jeff Lemire and letter artist Chris Ross divulge the secret of the fictional Atabithian language which is nothing of the sort (it’s not Klingon) but a code substituting our own letters of the alphabet with symbols cleverly constructed around the concept of a three-fingered race. However, because it isn’t a fully formed language it does mean that you can go back and decipher the extensive exchanges which Nika couldn’t comprehend without the aid of a GCSE in Atabithian.

Someone send this lazybones a transcript, please. Thank yooooooo!


Buy Trillium s/c and read the Page 45 review here

Monster Perfect Edition vol 1 (£12-99, Viz) by Naoki Urasawa.

From the creator of PLUTO and 20TH CENTURY BOYS, at a guess this contains the first three volumes of the previous series.

Welcome to Altruistic Avenue off Right-Thing Road, paved by Good Intentions Inc.

Hell lies straight ahead.

It’s 1986 before the Berlin Wall came down: Dr. Kenzo Tenma is a young Japanese immigrant working as a neurosurgeon in Germany, and very grateful to be doing so. He’s a prodigy sponsored by Dr. Heinemann, the Head Director of Eisler Memorial Hospital in Düsseldorf, and dating his daughter who’s all easy smiles and eyebrow pencil.

Oh yes, Kenzo has it made but he’s not that kind of guy. He’s eager to please – to the extent that he’ll write papers outside of his own gruelling operating hours and allow Heinemann to claim them as his own – but he knows right from wrong, and his first lesson in wrong comes in the form of a Turkish woman and child whose husband/father is brought in for surgery before a premier opera singer collapses and Dr. Tenma is directed to divert his attention from the first patient to the more prestigious one. He complies, of course, but the Turk dies without Kenzo’s personal touch, leaving his grieving widow to berate him in the corridors and a sympathetic fellow surgeon to warn him about game-plans. At least his fiancée is there to soothe him jauntily with the indisputable truth that “People’s lives aren’t created equal”.

At this point I thought the monsters of the series were actually going to be Dr. Heinemann and his superficial, over-privileged daughter, but no. For Dr. Tenma is offered a chance to redeem himself when a defector from East Germany and his young family are targeted by parties unknown and slaughtered in their residence. Their daughter goes catatonic, while their little boy requires immediate and intricate brain surgery to save him from the bullet in his skull.  Kenzo preps himself but at the last minute the local Mayor, a financial supporter of the hospital, collapses and once again our beloved doctor is reassigned to the more politically advantageous operation. With the heart-felt reprimands of the Turkish woman still in his head, does Dr. Kenzo bite the hands that feed him and stab the eyes that seduce him or does he comply once more and live to be promoted yet another day? He does not.

And you cheer, yes you cheer, but everything that follows from demotion to promotion, from police investigation to the most awful revelation, will make you wish that he had.

I’ll be back with more, as will Inspector Lunge of the German Federal Crime Unit – he of the clickerty fingers – and none of it will look good for our dear cousin Kenzo.

With a fine line that speaks as much French as it does Japanese with its exaggerated features and arch expressions, Urasawa is very much worth investigating. Same goes for Dr. Tenma, unfortunately.

What I particularly loved about this was the skills of deflection, evidently hereditary, which both the domineering doctor and his debutante of a daughter apply to so successfully scupper any chance young Kenzo seizes to vocalise his misgivings, leaving him… well, not exactly exasperated because he’s too much of a puppy… but desperate and deflated with the whole world against him. It’s another one of those horror stories that strikes home because the horror is as much about no one taking you seriously, no one believing what you alone have witnessed, because it’s so much more credible that you’re the guilty party yourself.

If only Inspector Lunge read more manga!


Buy Monster Perfect Edition vol 1 and read the Page 45 review here

Scott Pilgrim vol 5 h/c Colour Edition (£18-99, Oni Press) by Bryan Lee O’Malley.

“Hey Ramona… have you ever dated anyone that wasn’t evil?”
“Once, this guy Doug. He was kind of a dick, though.”

Yes, he’s back! World class slacker and most oblivious hero of all time, Scott Pilgrim is in for some double trouble!

This volume kicks off with Scott’s birthday and him solemnly vowing to be the best 24-year-old ever, before going straight into evil overdrive with the entrance of Ramona’s — [redacted - ed.]

But will his martial skills be enough to save his relationship with Ramona? Are they even destined to be together after she confesses to an aghast Scott she doesn’t even like his band Sex Bob-omb? Is she really the clean-cut heroine she seems to be? Why does her head sometimes start glowing?!! Will Scott ever realise Kim Pine his oldest and dearest friend is still in love with him!?!?! Dare they tell Ramona about Scott’s innocent sleep-over as he forgets his key for Ramona’s apartment yet again?!!! Will Steven ‘The Talent’ Stills finally finish mixing the Sex Bob-omb album? Just who is Wallace’s mysterious new boyfriend? Can Knives Chau ever get over Scott and stop being so goddamn annoying and clingy? And will Young Neil ever find someone who’ll actually just go out with him?

Ahhhh, so many different plot strands tangling, weaving and inter-twining this time around as Bryan Lee O’Malley skilfully mixes things up yet again to mangle Scott’s heart-strings as well as our own and leave us wondering exactly what happy ending it is we all want to see.

Colour Edition extras include a behind-the-scenes process piece on how O’Malley approached each book from script through thumb-nails for full pencils, lettering and inks, as well as initial designs and ideas jotted down on paper, some of which never made the final cut.  Also: loads of poster and t-shirt designs, plus a couple of watercolour paintings.


Buy Scott Pilgrim vol 5 h/c Colour Edition and read the Page 45 review here

Reads vol 2 #1 (£4-00, Avery Hill Publishing) by Tim Bird, Luke Halsall, Ricky Miller, Edie O.P., Owen D. Pomery…

“Othniel Charles Marsh was the pre-eminent palaeontologist of the day, his wealth of dinosaur discoveries and prowess were renowned…
“Edward Drinker Cope described him as a ‘prize bellend’.”

Ha. I ordered this mini-anthology purely on the strength of it containing new MEGATHERIUM CLUB material, but actually each of the four strips is a winner in their own right. The opener, The Bullpen by Luke James Halsall and Tim Bird, despite the characters names being changed to presumably avoid any possible legal issues, is prefaced with the comment that if you would like to know more about the early days of Marvel Comics to read MARVEL COMICS: THE UNTOLD STORY by Sean Howe, which I would heartily endorse. In this strip, we see a bespectacled huckster-type blatantly fuck over the diligent, hard-working artist by taking the entire credit for creating their new characters. Now, I wonder who that particular potshot is aimed at…?

Then, after the delightful nonsense of the Club’s latest ill advised booze-addled exploits, there follows Hitchcock & Film in which the esteemed director charts the very beginnings of cinema and also his own intertwined childhood years. It’s by Ricky Miller and Tim Bird, and I believe this is the first chapter of what will be a longer work. You can tell it’s extremely well researched, and I’m really looking forward to seeing considerably more of this material. I found it fascinating, both from the historical as well as the biographical perspective. I should add at this point I loved Tim’s previous homage to the Great British institution of the motorway GRAY AREA: THE OLD STRAIGHT TRACK. I really enjoy his art style, I think it’s immensely well polished for such a relaxed approach.



Finally, we have something completely different art-wise from EdieOP. I’ve seen some bits and pieces from her forthcoming MALEFICIUM and I think she’s a real talent. Much like Brecht THE WRONG PLACE / THE MAKING OF Evens, I like the fact she’s not afraid to plough a unique artistic furrow. Her tale here, The Story Of Lucius Jellybean, is a random bit of craziness about a whole new lifeform created from a dissolved slug. He’s a well meaning freak of nature, despite being prone to causing the odd pandemic by accident! Very amusing.

This collection is a primer / advert for the fledgling (set up in 2012) Avery Hill Publishing, whose publications so far, I have found to be of impeccable merit! Keep up the good work!


Buy Reads vol 2 #1 and read the Page 45 review here

The Collected Works Of Filler Bunny (£7-50, SLG Publishing) by Jhonen Vasquez.

(Call the police.)”

In which a pink bunny is jabbed repeatedly in the head by a hypodermic needle and injected with whatever it takes to keep the comic going.

Yes, it’s mother of invention time.

When creators attend conventions they find it useful to have something to sign and to sell – a print or a comic – to help pay for their way and give their readers an incentive to visit their tables. Jhonen Vasquez, creator of JOHNNY THE HOMICIDAL MANIAC and SQUEE, found himself in need ahead of a San Diego Comic Convention so turned the first of these four fillers around in 24 hours.

That’s what these are: fillers. Far from deceitful, Vasquez set out his stall immediately: he had to fill fifteen pages without a clue how to do so except subject poor Fillerbunny to as much pain as possible. He ran out of ideas of page six. Didn’t matter: that was the joke.


“This book is a bestseller at Page 45. Hordes of dark munchkins sweep through the shop on a Saturday, examine the same shelf as always, point at a few things and then leave. It’s a thing.”

He wasn’t joking.

Includes Fillerbunny in a bee costume. If you like bee costumes, try Jamie Smart’s  KOCHI WANABA


Buy The Collected Works Of Filler Bunny and read the Page 45 review here

Henry And Glenn: Forever And Ever (£13-50, Microcosm Publishing) by Tom Neely, more.

Henry & Glenn are housemates. Glenn’s on the road and sends Henry a postcard:

“Dear Henry,
“How are you? The tour is going ok. I miss you and the dog so much. Give her a kiss for me. Yesterday this lead singer slapped me. It hurt so much I wish you were there to have held me. Well I have to go there is a great documentary on about werewolves.
“Miss you,

So much funnier when you realise that it’s Henry Rollins and Glenn Danzig.

Fear not, this is completely smut-free. It is instead a light-hearted romcom featuring the unlikeliest of lovers trying to sort out their issues. The main issue is that Glenn is a self-centred, melodramatic cry-baby whose career has dead-ended, leaving our stoical Henry to deal with the domestic practicalities and bring home the bacon by appearing as a judge on RuPaul’s Drag Race (true fact – I’ve seen an episode, and good for him!) and indeed The Henry Rollins Show where he interviews Kevin Smith:

“So, Kevin… how big is Ben Affleck’s dick? Sorry, I meant: how big of a dick is Ben Afleck?”
“This interview is over.”

Tom Neely’s cartooning is a fun-filled joy with elements both of Peter Bagge in Glenn Danzig and square-jawed Chester Gould in Henry Rollins. Benjamin Marra, meanwhile, delivers a back-stabbing satani-cult romp in the style of Golden Age superheroes inked in Rotring. Erick Yahnker’s photo-realistic portrait in grey washes was actually quite touching. Coop’s homage to Frank Frazetta wasn’t!

Daryl Hall and John Oates, meanwhile, are the long-suffering neighbours, while Morrissey finally brings accord to their discord, albeit in opposition.

The bumper edition collects all five mini-comics of full sequential art, single cartoons, cry-fest diary entries, and the sort of notes you’d leave your housemate on the refrigerator. I’ve read the hatemail some humourless loons sent the creative crew, while Henry Rollins said:

“Has Glenn seen this? Trust me, he would NOT be amused.”

He wasn’t.

You’ll find Glenn Danzig’s real-life, recorded reaction to the first mini on the very last page. Hahahahaha!

Aww, there, there. I’m not going to kiss you better.


Buy Henry And Glenn: Forever And Ever and read the Page 45 review here

Charley’s War Omnibus vol 1 s/c (£18-99, Random House / Vertical) by Pat Mills & Joe Colquhoun.

First four volumes of the iconoclastic World War I series that fills some browsers with so much nostalgia their eyes begin to well up.

Includes August 1st 1916 – Charley’s seventeenth birthday – when the British forces begin bombing their own side. Which is nice.

I saw a BBC programme on the Battle of the Somme, and whereas the British forces were totally screwed by their own superiors, our French allies manage to achieve their objectives. So that’s one in the eye for the boringly, belligerently anti-French. Anyway, the programme I saw didn’t paint a particularly pretty picture nor does this, deliberately, which wouldn’t be so surprising if it was Garth Ennis’ recent BATTLEFIELDS or earlier WAR STORIES at Vertigo.

But it’s not, it’s from the very early ‘80s and was aimed squarely at kids.


Buy Charley’s War Omnibus vol 1 s/c and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?


Final Incal h/c – Numbered Oversized Slipcase Edition (£59-99, Humanoids) by Alejandro Jodorowsky & Ladronn, Moebius

The Guns Of Shadow Valley h/c (£18-99, Dark Horse) by Dave Wachter, James Andrew Clark & Dave Wachter

The Heart Of The Beast – A Love Story h/c (£18-99, Dynamite) by Judith Dupre, Dean R. Motter & Sean Phillips

Kings Watch vol 1 s/c (£14-99, Dynamite) by Jeff Parker & Marc Laming

My Little Pony vol 3: The Return Of Harmony s/c (£5-99, IDW) by various

Preacher Book 5 (£14-99, Vertigo) by Garth Ennis & Steve Dillon

Flash vol 3: Gorilla Warfare s/c (£12-99, DC) by Francis Manapul, Brian Buccellato & Francis Manapul

Flash vol 4: Reverse h/c (£18-99, DC) by Francis Manapul, Brian Buccellato & Francis Manapul

Deadpool: Complete Collection vol 4 s/c (£25-99, Marvel) by Daniel Way & various

Guardians Of The Galaxy vol 1: Cosmic Avengers (US Edition) s/c  (£14-99, Marvel) by Brian Michael Bendis & Steve McNiven

Dragonar Academy vol 2 (£9-99, Seven Seas) by Shiki Mizuchi & Ran

Fairy Tail vol 41 (£8-50, Kodansha) by Hiro Mashima

Monster Soul vol 2 (£8-50, Kodansha) by Hiro Mashima

Ranma 1/2 2-in-1 vols 5 & 6 (£9-99, Viz) by Rumiko Takahashi

Samurai Executioner Omnibus vol 2 (£14-99, Dark Horse) by Kazuo Koike & Goseki Kojima

Terra Formars vol 1 (£8-99, Viz) by Yu Sasuga & Ken-Ichi Tachibana



ITEM! Hugely entertaining LeftLion interview with Matt Brooker AKA D’Israeli conducted by Robin Lewis about Matt’s early days, current comic ORDINARY (in stock now!) and the immediate future.

ITEM! Swoonaway komodo dragon by Marc Laming.

ITEM! Jamie Smart on creating the fabulous MOOSEKID COMICS including costs in terms of both time and money. Some of you may find that useful as well as fascinating

ITEM! Lucy Knisley on creating autobiographical comics including RELISH and (soon) SOMETHING NEW, and indeed on promoting them

Err, that’s all I got. Been on holiday, that sort of thing.

See you on Monday for the Page 45 Bryan Lee O’Malley signing of SECONDS.