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Historical Fiction


(Tony Donley/Marcus Perry; 31 pages; ACTION LAB COMICS, 2018)

I’d always heard that famed theoretical physicist Albert Einstein was the kind of guy that you’d like to hang out with. You know, a wicked sense of humor, a definite hit with the ladies and, of course, a time-traveling super spy with a mean right-cross. Wait… what? That’s right, folks, Professor Einstein was/is/will be a member of a secret group – the Time Masons – who have vowed to fight those pesky time anomalies that tend to mess with everybody’s past, present and potential future; simply put, Einstein is one of a team of agents charged with keeping the time-line straight for all humanity. If that means he’s gotta kick a little megalomaniacal butt in the process, so be it. ALBERT EINSTEIN, TIME MASON is a wicked cool take on one of the most famous minds this world has ever known. In Tony Donley’s concept, Einstein is a quick-witted quipster, dealing out scientific barbs that sting nearly as much as his fists. With Marcus Perry fleshing out the script, the action and the acerbic wit comes at the reader in a fast and furious manner, punctuating Donley’s own stellar artwork. And, while we’re talking art… how about that amazing cover by Dave Johnson, huh? Donley also provides an equally cool variant


This first offering, “Brain Game,” finds ol’ Al traveling to the year 2214 to recover his brain, which was stolen shortly after his death in 1955. Did I mention the time anomaly thing? The professor’s grey matter has been heisted by a group of anti-socials calling themselves “Sci-Oscalists,” ostensibly to power a time robot which will enable their leader to enslave all existence. There are stereotypes a-plenty, but with everybody (including the characters) in on the joke, they are not hurtful or objectionable in the least. There’s a miniature mad scientist, suitably disorganized and bumbling henchmen and, of course, a large (as in tall, muscular and buxom) female, possibly of Aryan or Russian descent, acting as the madman’s personal body guard and second in command. Being outgunned, Albert does the only thing he can do: He surrenders… but, only until he can formulate a plan out of this weighty predicament. That plan is action-packed in a far-out Jim Steranko NICK FURY, AGENT OF SHIELD kinda way, but with more jokes. No sexist, Albert is not hesitant to mix it up with the bigger-than-life woman and, if need be, to deliver a few cheap shots. Most ongoing series (as I believe this one to be) will build to such a confrontation over a few issues in a grand story arc, but not here. I’m not sure how Donley and Perry can continue such a furious pace for our erstwhile hero, but I’m certainly up for the ride!


Now, about the art: Tony’s angular style is reminiscent of Steve Ditko at his best, with nods to Mike Zeck and the great Gil Kane along the way. The futuristic machinery borrows from both Ditko and, perhaps to a lesser extent, Jack Kirby. His colors are very old-school, flashy and bright, a style which lends itself well to the feel of the book. The lead character’s look is borrowed from – varyingly – Tom Selleck as MAGNUM, PI, Bruce Campbell, Ditko’s Doctor Stephen Strange and Bob Larson’s Tony Stark. The intricacy of the design and the artwork itself are actually more implied than fully realized; a stylistic choice that, again, works in the favor of the material. I certainly wouldn’t want to get lost in an overly busy panel to the extent that I lose the narrative and, therefore, the pure joy derived from taking this creation as a whole. By the time I arrived at the bottom of the last page and saw the “To be continued” line, I was salivating for the next installment. Very few books have ever made me feel that way. C’mon already, guys, with issue number two!


(Michael Kogge/Dan Parsons/David Rabbitte/Chris Summers/Marshall Dillon/Doug Beekman; 125 pages; ALTERNA COMICS; 2014)


EMPIRE OF THE WOLF is a four issue limited series – collected here in one place – that explores historical aspects of the Roman empire, melding realities with the mythological story of Romulus and Remus, which, naturally, leads to the introduction of another European legend into the mix – the werewolf. Overall, the story is well constructed, though I did find it a bit confusing differentiating between the characters. I found myself re-reading pages and going back farther into the story to catch up on who was doing what and where they were doing it (and to whom); that problem, I feel, has more to do with the artists’ designs and execution than a jumbled script. If you’ve been around for as long as I have, then you probably remember Barry (Windsor) Smith’s early work on CONAN THE BARBARIAN, THE AVENGERS, IRON MAN and some other Marvel books, as well as Mike Grell’s earliest efforts at DC with THE LEGION OF SUPER-HEROES, GREEN ARROW and, of course, THE WARLORD; while I have come to appreciate the art and storytelling prowess of both of these gentlemen, those early works featured rather stiff figures, with odd angles and extended torsos and faces. Dan Parsons, who pencilled the first two issues, has those same tendencies; David Rabbitte, penciller on the final two issues, suffers the same malady, though to a lesser extent (maybe that similarity is an attempt to retain continuity throughout the series). The colorists (Rabbitte on the first and fourth issues, Chris Summers on the middle two) worked directly over the pencil art, giving the pages a cool painted look, which smooths out some of the problems already alluded to. Don’t get me wrong… while the artwork may be an acquired taste (at least, for me), it is in no way inferior. In fact, both artists prove they are not without talent, as there are several absolutely brilliantly illustrated pages in each of the four issues (plus, Parsons handled the original cover art, which is certainly of a high standard). Also, special mention must be made of the other member of the original artistic team, letterer Marshall Dillon, who was handpicked by Kogge to give the pages the look and feel of those early ’70s Marvel books by such greats as John Costanza and Sam Rosen. His work does, indeed, add a special touch to the book.

EMPIRE OF THE WOLF: Issue 1 cover, page 1 (Cover by DAN PARSONS; Written by MICHAEL KOGGE, art by DAN PARSONS and DAVID RABBITTE)
EMPIRE OF THE WOLF: Issue 1 cover, page 1 (Cover by DAN PARSONS; Written by MICHAEL KOGGE, art by DAN PARSONS and DAVID RABBITTE)

The first issue (or Book I, to be more accurate) is sub-titled “The Savage North” and introduces the two protagonists, centurions of the Second Augustan Legion, Canisius Sarcipio, a former slave, and Lucius Domitius Ahenobarbus, nephew to the emperor, who are leading their forces through Britannia, convinced that the only way to civilize the Celts is to conquer them; failing to civilize the Celts, nothing less than their utter destruction will do. As their general, Titus Flavius Vespasianus, joins them, it would seem that their decision has been made for them: Genral Vespasianus has discovered the eviscerated body of a fellow soldier, the work of a Druid sect under the leadership of a giant named Caradog. As the general and centurions lead their armies, intent on destroying everything in their path, they encounter Caradog, a killing machine who quickly dispatches over a hundred Roman soldiers as well as Vespasianus, all in the name of his ancestor, Remus. As the general lies dying of his wounds, he gives his command to Canisius; Lucius and Canisius pursue Caradog, eventually catching up to… something that definitely isn’t human. At home, in Rome, Canisius’ beloved, Lavinia, a Virgin of Vesta, is troubled by dreams and visions of death and defeat. Her visions prove to be right; as Lucius is bitten by the monstrous Caradog, Canisius forces the fight, allowing his friend to escape back to the Roman encampments. Meanwhile, Lavinia, cursing Vesta, vows that if Canisius does not return, Rome will burn. There’s a lot of groundwork to digest in “The Savage North,” and much that needs to be explained. The story is off to an action-packed start but, for it to be told properly, it cannot maintain this break-neck level.

EMPIRE OF THE WOLF: Issue 2 cover, page 1 (Cover by DAN PARSONS; Written by MICHAEL KOGGE, art by DAN PARSONS and CHRIS SUMMERS)
EMPIRE OF THE WOLF: Issue 2 cover, page 1 (Cover by DAN PARSONS; Written by MICHAEL KOGGE, art by DAN PARSONS and CHRIS SUMMERS)

However, with Book II, “The Mark of the Beast,” even though the action doesn’t slow appreciably, the story does advance nicely… so, what do I know, huh? Canisius’ battle with the beastial Caradog leaves them dead or dying – the former from a vicious bite from the latter; Caradog from his own weapon, a mystical sword called “Moonblade.” By now, we all know what’s happening here, right? Caradog and his followers are werewolves, a fact that can only mean… Canisius isn’t dead, just weak from loss of blood, with the added bonus of the lupine infection passed on from his foe’s bite. In the meantime, Lucius (who is also infected) claims sole command of all Roman forces in Brittania, seeking the glory that will make it possible for him to ask for the hand of the lovely Lavinia; he didn’t necessarily seek the death of his friend but, he certainly intends to take advantage of it. Canisius awakens, naked and freezing, as a Druid sorceress named Ambrosia appears. Ambrosia, knowing the warrior’s fate, has purposed to bring out the beast in Canisius, thinking that he may be the chosen one, who will lead the Celts to ultimate victory. Upon Lucius’ homecoming, he is – naturally – rebuffed by Lavinia. There’s a nice bit of Royal Court intrigue, as the “conquering hero” is feted by his uncle, the emperor, and his ambitious mother. I guess if you wanna call the last few pages of this chapter a “surprise ending,” that works as well as any. Differentiating between the two primary characters is a lot easier in this issue, mainly because they’re never together. Again, the writing is crisp; the artwork features flashes of brilliance but, still, the characters occasionally suffer from a… uh… stiffness, I suppose, is the best word. Parsons’ action scenes seem to be more fluid here than in Book I, so that’s a definite plus.

EMPIRE OF THE WOLF: Issue 3 cover, page 1 (Cover by DAN PARSONS; Written by MICHAEL KOGGE, art by DAVID RABBITTE and CHRIS SUMMERS)
EMPIRE OF THE WOLF: Issue 3 cover, page 1 (Cover by DAN PARSONS; Written by MICHAEL KOGGE, art by DAVID RABBITTE and CHRIS SUMMERS)

An origin story of sorts opens Book III, subtitled “The Blood of Remus.” The legend of Romulus and Remus, sons of the Roman god of war, Mars, born of a virgin, unfolds in the first six pages of the chapter, offering insight into the main tale of EMPIRE OF THE WOLF. Mythology buffs will remember that the twins were raised by wolves and, eventually, Romulus’ lust for power led to the death of Remus at his brother’s hand. David Rabbitte’s art and Chris Summer’s use of subdued earth-tones to color these pages are the best of the series so far; the opening splash page alone is a thing of compositional beauty, boding well for the rest of this book, as well as the final chapter of the series. As the Druid Ambrosia relates to Canisius the legendary tale, he begins to understand and accept what has happened; his memory also returns and he is determined to return to Rome and Lavinia. Upon entering a Roman outpost, he is met by an old friend who is surprised to see him; it seems that Lucius has declared him dead and has become the cruel emperor Nero. Now, Canisius has another reason to return home: To liberate Rome and his beloved and to seek revenge on his traitorous friend. As his plans now seems to dovetail with that of the Druids, a plan is formulated and the group boards a Roman galleon returning to Rome. While on board, a Roman officer attacks Ambrosia, triggering the lupine change in Canisius. Meanwhile, back in Rome, the desire of two great leaders, Lavinia, witnesses a brutal attack by the beastial Lucius, sending her fleeing from the city. From that point, things get a bit muddled, with shipwrecks, vengeance-seeking corpses and some very confusing scenes taking place in a cave; originally, Canisius appears to be under the thrall of a sibyl who has taken the form of Lavinia but, suddenly, the scene shifts to another cave where Lavinia is hiding from the wrathful Lucius, who has managed to hunt her down. As long as you pay close attention to the captions, you’re gonna know what’s going on but, now that both Lucius and Canisius are basically in the same situation, the identity problem has, again, reared its utterly confused head. Our heroes simply look too much alike for a casual reader to browse over this part and not come away scratching their head. The pencil art throughout the cave scenes would have benefited from some inks, as the shading leaves the faces looking a bit muddy; other than that minor complaint, the artwork is, overall, a vast improvement over the first two installments. With a little more exposition mixed in with the action, Book III has set up what should be an exciting and eventful finale.

EMPIRE OF THE WOLF: Issue 4 cover, page 1 (Cover by DAN PARSONS; Written by MICHAEL KOGGE, art by DAVID RABBITTE)
EMPIRE OF THE WOLF: Issue 4 cover, page 1 (Cover by DAN PARSONS; Written by MICHAEL KOGGE, art by DAVID RABBITTE)

Book IV is “Empire of the Wolf,” an epic culmination of Michael Kogge’s two decade journey to tell this story. It begins with Canisius’ journey through Hades, searching for the soul of Ambrosia; the Druid, however, did not perish in the shipwreck and she – and several surviving members of the sect – are saved and brought to Rome… entertainment for the emperor. Lucius, allying himself with Lavinia’s father, has taken her as his reluctant empress and, as the brutal Nero, sends Ambrosia and her companions to certain doom, facing a menagerie of wild beasts in the gladiatorial ring. When Canisius appears from the depths of Hades, the two old friends battle for supremacy, with a fight that rages throughout the city. With Rabbitte now coloring his own pencil work, the art takes on a more atmospheric tone, especially the scenes at the River Styx and in Hades and the fight scenes. I’m really not the type of person who enjoys delivering spoilers, so… I’ll just tell you that, in this version, the historical burning of Rome definitely does not happen while Nero fiddles. The finale of EMPIRE OF THE WOLF also features reversals of fortunes, acts of revenge, scenes of comeuppance, historical references that give the story a vibrant ring of truth and a very satisfying ending. I don’t know if Kogge has any plans for a sequel, but if he does… sign me up. By the way, how about that brand new, awe-inducing Doug Beekman painting that appears on the cover of this collection? I would stack that up against any (non-Frazetta) cover to ever grace an issue of CREEPY or EERIE.


(Graham Moore; 350 pages; TWELVE/HATCHETTE BOOK GROUP; 2010)

the sherlockian

I picked this one up for next to nothing from the close-out/overstock section (kind of like a cut-out bin, but for books) of a large national book repository. Let me say here and now that next to free, this is my favorite way to acquire stuff. It allows me to take chances on things (usually records, but also books, DVDs, comics and certain food stuffs) that I otherwise wouldn’t touch with a medium-sized poking instrument. Sometimes you win, sometimes you lose but, at the end of the day, those losses are minimal with a huge potential for the win keeping me coming back (kinda like a junkie or an habitual gambler). The first line of Graham Moore’s debut novel, THE SHERLOCKIAN – “Arthur Conan Doyle curled his brow tightly and thought only of murder.” – had me convinced that I’d totally blown nearly three bucks here. 350 pages later, I closed what turned out to be a thoroughly enjoyable – if somewhat predictable – murder mystery, encompassing three centuries and two continents.

To be more precise, THE SHERLOCKIAN is actually two separate mysteries, one based marginally on fact (a lost diary of Sir Arthur Conan Doyle, the creator of Sherlock Holmes, and a murder believed to be prompted by the discovery of that same diary) and set in the present; the second is a fictionalized account of Sir Arthur’s early 20th century consultations with Scotland Yard (in the form of a serial murderer sought by Conan Doyle and his friend, Bram Stoker after the Yard drops the investigations, believing they have solved the initial crime). The lost diary plays an integral part in both plots, obviously, or this book would have been presented as two shorter stories, unconnected by anything but vague subject matter.

Graham Moore (Sterling Andrews)
Graham Moore (Sterling Andrews)

The stories that Mister Moore weaves are certainly intriguing. Without giving away too much, I’ll tell you that the fictionalized history (and contents) of the very real lost diary involves Conan Doyle and Stoker’s ultimate solution to the 1900-era murders and a threat to Sir Arthur’s life. The modern part of the story involves members of the Baker Street Irregulars, a worldwide organization of Sherlock Holmes enthusiasts (called “Sherlockians,” thus the title). As they are holding their annual meeting, everyone is excited about an upcoming presentation by one of their better known members, who claims to have the lost diary – the Holy Grail of Sherlockian lore – in his possession. This inevitably leads to his demise and sends the Irregulars’ newest member, Harold White, off to solve the mystery, side-by-side with a beautiful journalist. Along the way, they are followed by shady characters and confronted by Conan Doyle’s grandson (in reality, Sir Arthur’s children had no offspring, so the character of Sebastian Conan Doyle is completely fictitious). Both stories take twists and turns that would make Conan Doyle proud (and maybe a little dizzy) and are, ultimately, more fulfilling than my initial perception would have allowed me to think possible. The historical data and the use of the Baker Street Irregulars backdrop make the intertwining stories much more enjoyable, as they lend a feeling of realism and truth to what is essentially a work of fiction.

To date, I believe that this is Moore’s only novel, though he does seem to be highly sought-after in the movie industry. For more on Graham Moore’s THE SHERLOCKIAN, check out