Dennis the (British) Menace

Beano #3560 (DC Thomson; Nov. 13, 2010; £1.35)
When I was much younger, thanks to two generous pen pals, I became intrigued by British comic books. Other than the British Marvel reprints I could sometimes come across, purely British titles such as Beano and Eagle—and later, 2000 AD—reminded me more of Japanese manga than American comics. Though much thinner each issue than the Japanese news-pulp phone books, the British titles were anthology titles, featuring multiple shorter stories, often in serial form, and featuring different artists and writers. They were weekly. And you could subscribe by giving your newsagent a cut-out coupon that basically said, "Save me a copy every week." (This was before the direct market in the States, and before pull service, so it kind of blew my mind.)



Beano, the presumably most popular title mostly targeting younger boys, was doubly intriguing because it featured a character named Dennis the Menace. But not... our Dennis the Menace. While the American Dennis the Menace created by Hank Ketcham in the early '50s is a portly overalls-wearing all-American boy with a slingshot and nuclear family complete with working father and stay-at-home mother, later appearing on television—the British Dennis the Menace, with rugby shirt and mussed hair, is more along the lines of Donald Rooum's Wildcat comic strips appearing in the anarchist paper Freedom since 1980.

Hit-Monkey

Deadpool #19-21 (Marvel, April-May 2010, $2.99)
"Whatever a Spider Can" Writer: Daniel Way, Penciler: Carlo Barberi, Inkers: Juan Vlasco and Sandu Florea, Colorist: Marte Gracia, Cover artist: Jason Pearson, Letterer: VC's Joe Sabino.

I'm not the biggest fan of Deadpool. I don't find the idea behind the character compelling, I don't often need Impossible Man or Ambush Bug-like comic book slapstick as a reader (although I like both those characters!), and I've avoided much of the character's publication history. Regardless, I sometimes dip into the comic to reaffirm whether my take remains the same. This three-issue Spider-Man crossover is actually worth reading.



It helps that Spider-Man is in the book. It also helps that... Hit-Monkey is in the book. Yes, Hit-Monkey. First appearing in an online comic that was later published in print—and then appearing in these three issues, as well as three-issue miniseries—Hit-Monkey is a little used character that could have longer legs. I hope we see more of him.

The cover to #20 is particularly fun, as is p. 14, and pp. 19-22 of that issue. In #21, p. 13 is wonderful. Way's writing is fun and light throughout, focusing primarily on gastrointestinal humor. "Why are you so sad?"



Read Also: Amazing Spider-Man #611 and Deadpool #10.

Availability: These issues were collected in Deadpool, Vol. 4: Monkey Business. We also recommend Hit-Monkey.

This issue comes from the Henry's Green Cape collection of comics. Thank you for your donation!

Trial By Fire

Daredevil #511 (Marvel, December 2010, $2.99)
Writer: Andy Diggle, Art: Roberto De La Torre, Colors: Matt Hollingsworth, Letters: VC's Joe Caramagna, Cover Art: John Cassaday and Laura Martin.

Published during the fourth month of the Shadowland storyline, the story arc was already well underway, so this issue is kind of a trial by fire. In Hell's Kitchen, the Hand has withdrawn to their castle, and citizens are rioting. Mayor Jonah Jameson sends in the riot police as Dakota North, private investigator ("One side, jackholes!"), looks for Foggy Nelson in the crowd. She meets up with NYPD Detective Alex Kurtz, and they discuss what's been happening in the city—helpful exposition—before North remembers a friend needing help.



Wheelchair-bound Becky tries to get out of a building filling with gas fumes while Nelson bravely scales the walls and roof of the castle to save his friend Matt Murdock. North rescues Becky, but Nelson encounters the White Tiger (p. 19, last panel, meow!), who takes him before what seems to be a possessed Daredevil.

Despite its island in the stream nature as a standalone read, the issue is a fun read. De La Torre's art is grittily realistic and adequately dark for the subject matter, and the action passable without the longer story arc.



According to a U.S. Postal Service Statement of Ownership, Management, and Circulation in this issue, Marvel printed about 46,000 copies of each monthly issue of Daredevil in the 12 months leading up to Sept. 30, 2010.

Availability: This issue has been collected in Daredevil: Shadowland Omnibus and the trade paperback Daredevil: Shadowland. We also recommend the original Dakota North: Design for Dying miniseries.

This issue comes from the Henry's Green Cape collection of comics. Thank you for your donation!