Review by Ian Keogh
Argentinian artist José Muñoz is a giant of the comics stratosphere, best known for his collaborations with Carlos Sampayo from the mid-1970s onward. However, just before then he was travelling in Europe and in 1973 and 1974 illustrated serialised scripts for the British boys’ comic Lion. This collection presents material many probably never knew existed, and those aware of it probably never expected to see a collection, so this has definite historical significance.
Chris Lowder, Lion’s editor at the time, provides an introduction recalling how amazed he was to receive Muñoz’s samples, showcasing an artist able to work in multiple styles from action to comedy. Sadly, though, one strip Lowder mentions as a favourites isn’t supplied.
Instead we have ‘Stitch in Time’, the short ‘Lost in Limbo Land’ from Lowder and ‘Sark the Slayer’ completes the selection. Such is Muñoz’s versatility that there’s little indication of the artist who’d later draw Joe’s Bar in such a distinctive style. Instead there’s fully detailed and polished action art, with the people sometimes reminiscent of fellow Argentinian artist Francisco Solano López. Muñoz adapts immediately to the needs of three page instalments and to the fantasy themes, for which his creations are impressive. His threats are threatening, be that a deranged Legionnaire commander or the giant Fenris wolf, his technology detailed, and he manages to include the occasional neat effect.
“Stitch” Cotton is so named to provide the title of his strip, and the local teenage tearaway. When the alien Mr. Universe manifests offering the chance to travel through time as his assistant, Stitch would rather team-up with his other assistant Varl, steal his technology and have his own adventures. Mr. Universe isn’t happy, and has the means to track the youngsters. From that the unknown writer creates an ongoing series of comedy mishaps through time, adding restrictions such as Varl being unable to stretch if it’s convenient for that episode. Beyond the opening story the time travel idea is dropped in favour of alien societies. It’s silly, but becomes more creative from start to finish and still provides some laughs.
Barry Smith is obsessed with legends and rather randomly transported by a bolt of lightning to a land where mythical creatures exist. Only allocated two pages per episode, Lowder has Barry barely escaping one threat before being confronted with the next. He’s fortunately the type of lad who stuffs his pockets with useful items like pins and matches, which is just as well when the end of the world is on the agenda unless Barry can prevent it. Even accounting for a total of sixteen pages limiting the possibilities, Barry’s adventures are formulaic, although week by week when originally serialised the thrills and dangers would have been greater.
At 36 pages in total, veteran writer Frank S. Pepper’s ‘Sark the Slayer’ tells the complete story of friends Greg and Val on an alien world awakening Sark who’s spent a thousand years too long in suspended animation. He reveals secrets about their home. It’s a clever plot incorporating logically appearing monsters into a mission with the complication of reality contradicting enforced religious orthodoxy, and is the best of the three stories for having a focus. The difference of Eric Bradbury drawing the final four chapters is apparent, but his professionalism is no great artistic step down.
Fans of Muñoz’s later work will find few common areas with this material, but it’s professional, not personal, and aimed at young boys. Amusingly, attempts to simultaneously educate them via a fact topping each page are preserved.
