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Posts Tagged ‘Aleta’

The Prince Valiant strip’s subtitle is “In the Days of King Arthur,” but I have to admit the scenes that take place at Camelot are often less inspired than those that take place elsewhere in Foster’s strip, and I felt that was the case with this volume, though there are still notable moments.

This volume opens with Val, Aleta, and their family on their way back to Camelot, and other than a little subplot in which Arn gets kidnapped and is rescued, they arrive there safely.

Prince Valiant, Vol. 14 includes King Arthur’s famous Battle of Mount Badon.

In the two years of work presented in this volume, Foster seems to be wanting to push his storyline closer to the catastrophe that brings about the end of Arthur’s reign, but at the same time, he holds back, making it happen very gradually. Once Valiant is back in Camelot, there are two key Arthurian moments in the book. The first concerns Modred (Foster’s spelling). Modred is complaining about how he and the other knights do all the work but Arthur gets all the glory and money. He has enlisted his four brothers of the Orkney clan, along with several younger knights, in his cause. When Gawain brings Valiant to one of Modred’s meetings, Valiant quickly makes the other knights see the treachery and lack of validity in Modred’s words so that soon all of the knights abandon him other than the Orkney clan. Valiant notes also that none of the established Knights of the Round Table are at the meeting other than those of Orkney.

The Orkney clan still wishes to plot with Modred. Modred wants to catch Lancelot and Guinevere in a trap and include Aleta in it. At this point, Gawain is torn between his friendship for Valiant and Aleta and his loyalty to his brothers. He warns Aleta to be careful, but she doesn’t understand the warning. The plot Modred ends up hatching is to distract and lead Valiant’s twin daughters away from the court just long enough so everyone will go looking for them. Both Aleta and Lancelot go looking in Guinevere’s private garden. The Orkneys lock them in the private garden for the night, thinking in the morning they will be found and it will look like they’ve committed adultery. (This plot doesn’t hurt Guinevere directly, but, of course, she’ll be heartbroken if Lancelot has to leave Camelot, and it will hurt Valiant also. If two of Arthur’s chief knights leave Camelot, Modred will have better opportunity for overthrowing the king.)

Of course, Modred’s plans come to naught. Valiant and Arn realize where Aleta is and climb over the garden wall. When the garden is later unlocked, Modred sees Lancelot and Aleta together and starts to accuse them, only to have Valiant and Arn then step out to show there is no dishonor because the four of them have all been together. Valiant then tells Modred he does not appreciate his insinuations. Modred, fearing Valiant will challenge him to a duel, flees Camelot, planning to continue to plot against King Arthur from a distance.

The other major Arthurian moment in this volume is the Battle of Mount Badon. I admit I found the battle a bit dull, but what is wonderful is the lead-up to it, involving Valiant’s son Arn. We have watched Arn grow up throughout the strip, and now he is old enough to go out as a scout, only to be captured by the Saxons. He gives them information about Arthur’s plans, then fakes his death when he escapes from them so they cannot know that he lives and has returned to Camelot to warn Arthur. The result is that Arthur knows exactly what to expect from the Saxons, so he takes them by surprise and soundly defeats them.

I’m not a fan of battle scenes, though Foster draws them well. What I love is the cleverness that Valiant and Aleta always display in getting out of sticky situations, and now it’s clear they’ve passed that cleverness on to their son.

It’s important to note that, according to most versions of the legend, Mount Badon was Arthur’s last great victory against the Saxons, followed by twenty or so years of peace before Camelot’s fall. One wonders whether Foster was starting to consider moving toward the fall of Camelot in the strip. By this point, Foster was in his early seventies, so he must have realized he could not draw the strip many more years, although it wouldn’t be until 1970 that he started looking for a successor and 1975 before he retired completely from the strip. In the end, I assume he couldn’t bear to see the strip end with his retirement, and so the fall of Camelot was put off indefinitely.

Valiant and Aleta’s twin girls are also growing up in this volume—they end up having their first crush on the same boy, and they employ a bit of trickery themselves to try to get him interested in them; however, they’re still too young to succeed, as is their victim, a twelve-year-old king. Nevertheless, I imagine they will be quite able to manipulate men with their feminine wiles just like their mother before too many more volumes have passed.

Two other passages worth noting in this volume are examples of Foster’s postmodern intrusion into the strip. I believe these are the first times he breaks the spell, reminding readers they are reading a story. The first is when he mentions that two characters ride out of the story. The second is when he claims the manuscripts he is basing the story on were damaged at one point, and so he can’t complete a specific episode and has to guess what happened. He then picks up the story with Valiant and Aleta traveling to Thule. The volume ends here with Valiant’s arrival in Thule where he has to trick some raiders to protect his father’s kingdom.

I wouldn’t say this is one of the stronger volumes in the series, but it still has its moments. Of added interest is the introduction by Roger Stern about other cartoon artists who engaged in “swiping” Foster’s work. “Swiping” is a term meaning copying or even plagiarizing. Numerous frames are presented as examples of Foster’s Tarzan and Prince Valiant strips beside frames of other cartoonists who have figures in similar poses—most notably a comparison between Tarzan and Batman’s poses—and also backgrounds that are so similar the artists obviously copied from Foster—one of an interior banquet hall in the Valiant strip is compared to one by Don Rosa for a Clan McDuck strip. Also interesting is the essay at the end of the book about Foster’s desire to be a fine art painter before he became a famous cartoonist. Several of Foster’s landscape paintings are presented—some are not overly impressive but some are quite exquisite. While he never saw his dream realized of being a famous painter, I’m sure Foster delighted far more people with his Tarzan and Prince Valiant strips than he ever would have with landscape paintings.

Volume 15 of the Prince Valiant reprints by Fantagraphics will be released in June. In it, there will be a return to the New World. Watch for the review later this year.

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Tyler Tichelaar, Ph.D., is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, Lilith’s Love, and the upcoming Arthur’s Bosom. He has also written the nonfiction scholarly works King Arthur’s Children: A Study in Fiction and Tradition and The Gothic Wanderer: From Transgression to Redemption. You can learn more about him at www.ChildrenofArthur.com.

 

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I finally got a chance to read Volume 13 of the Prince Valiant strip put out by Fantagraphics, and I don’t know why I waited so long. This volume is one of the best in the series.

princevaliantvol13It begins with a foreword by Charles Vess, who was offered the opportunity to take over the strip in 2003 but declined because he felt the strip had become crammed in its smaller format in modern newspapers compared to its previous full page, and that it would limit him, although he thinks those who have drawn the strip since then have done excellent jobs. But what I really liked about the foreword most of all was how Vess pointed out the morality of the principal players in the strip. He argues that the world would be a better place if more people read the strip and learned from it. I couldn’t agree with him more. I could definitely see how young readers of the strip would be won over by the sense of fair play and ideas of right and wrong in it.

As I read this volume, that point stuck with me, and it made me look for examples of how Foster presents moral values to his readers. I discovered that those values also made me realize he was ahead of his time. When we look back at many of the books and comic strips of the early and mid-twentieth century, it can sometimes be disarming to discover racism in them. However, at least in the strips from 1961-1962, that is not the case. Yes, there are the occasional evil Arab characters but there are just as many evil European characters. Foster had no problem in handing out the good and bad characters in equal proportion regardless of race or creed.

One place political correctness and acknowledgment of equality amidst diversity is apparent is when Val journeys to the Holy Land in this volume. In the May 14, 1961 strip, Foster writes: “To some of the pilgrims has come humility but to others the hardships of the long journey have changed faith to fanaticism, and to these Val pleaded: ‘Respect the beliefs and customs of others that future pilgrims be not endangered.’ Had this advice been heeded there would have been no Crusades.” Not only is this statement true, but it is criticizing Christianity more than the Islam or Judaism of those living in the Holy Land.

Later in the book, a Christian preacher, Wojan, begins drawing crowds of poor people to him, which threatens the stability of England. Wojan is innocent, Christ-like, and a bit of a simpleton, so he doesn’t realize his advisors are collecting money from his followers to make themselves rich. This episode in the strip speaks out against religious fanaticism. At the same time, earlier volumes have depicted Valiant seeking the Holy Grail and actively working for the spread of Christianity in Thule and England. In other words, Foster is preaching Christianity but in moderation rather than fanaticism.

Another notable part of this volume is that Valiant purchases a slave, Ohmed, whom he then frees once he hears how Ohmed was taken captive from his home where his loved ones were slaughtered. Foster not only repeatedly has Valiant travel to places all over the globe, but he also has Valiant befriend people from other cultures and make them part of his circle. Tillicum, a Native American woman who was introduced into the strip in Vol 6 (1947-1948), is one such character who plays a supporting role throughout the storyline. In fact, in 1953, her marriage to a white man will produce the first interracial baby in the strip. Ohmed, however, isn’t so lucky. He ends up murdered in the strip a few months after he makes his appearance. Still, that Valiant frees him and seeks to help him is a sign of Valiant’s generosity and Foster’s appreciation for treating everyone fairly.

Also noteworthy in this volume is that Valiant’s wife, Aleta, gives birth to her fourth child, a young boy named Galan. This event leads to Valiant’s oldest son, Arn, deciding he will abdicate his right to the thrones of the Misty Isles and Thule so his younger brother can have the throne and he can then simply enjoy himself. It should be noted that Arn gives no thought to his twin sisters, who are passed over for the throne—Foster isn’t that politically correct yet to let women be in the line of succession.

One of my favorite things about the Valiant strip is watching Arn grow up. In this volume, he is now old enough to travel with his father, go hunting and camping on his own, and truly become a man. Foster doesn’t give Arn’s age, but the drawings make it look like Arn might be about twelve or thirteen—he hasn’t had a romance yet, but it looks like he will soon from the way things are going for him—his female friend Diane is now afraid to undress in front of him when they go swimming, so Arn and his friends are definitely growing up.

I love Aleta, but she didn’t get a lot of time in this book, and the one week when we do go inside of her head, we find her remembering all the times Valiant has been “a magnificent brute” in the past, tossing her into a pond and even spanking her, and how she likes it. Again, not as politically correct as it should be.

Nevertheless, this volume was full of fabulous journeys to the Holy Land, Baghdad, Rome, and Spain, several stories of cleverness outwitting villainy, and just some all-around fabulous drawings. Valiant’s hair is also starting to look a little shorter and less girlish and subtly Foster is making Valiant look more mature—I suspect he’s well into his thirties by this volume and even Aleta is showing a bit of her age after her pregnancy. In their hearts, though, the lovers seem forever young.

I’ll be reviewing Volume 14 soon, so stay tuned.

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Tyler Tichelaar, Ph.D., is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, Lilith’s Love, and the upcoming Arthur’s Bosom. He has also written the nonfiction scholarly works King Arthur’s Children: A Study in Fiction and Tradition and The Gothic Wanderer: From Transgression to Redemption. You can learn more about him at www.ChildrenofArthur.com.

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Finally, in Volume 12 (1959-1960) we come to the quest for the Holy Grail in the Prince Valiant strip, but not before some rather less-than-exciting adventures in Volume 11 (1957-1958).

PV11

Volume 11 of Prince Valiant.

I’ll admit that Volume 11 was a disappointment overall for me. It begins with a long essay about Pal Palenske, who was likely an interesting man as an advertising executive, but the essay’s point isn’t clear until the very end—that Foster worked with him. I can imagine that it is difficult to keep coming up with new essays for this series, but this one was rather marginal in its connection to Foster. I’ll admit not really being interested in Foster’s advertising work, so many of these essays are rather tedious for me. Of course, Foster’s artwork in his ads was marvelous regardless, but it is all tangential to Prince Valiant, which is the main reason why I read the series, and it’s not even Prince Valiant himself who interests me so much as what Foster did with the Arthurian legends in his strip.

Volume 11 has several adventure stories but some of them feel largely like rehashes of earlier plots. The big treat of the volume is seeing Prince Arn growing up and the adventures he undertakes, but overall, I found nothing worth getting excited over in this volume.

Volume 12 is a different story. First off, I appreciated Neal Adams foreword, which told it like it is. Adams describes his own indifference to the Prince Valiant strip growing up, and he hits the nail on the head in pointing out the strip’s faults. He says that the strip is not a comic book so the story didn’t flow as well. Valiant’s page-boy haircut was also a turn off for him. I have to admit both Valiant’s haircut and also his name are turnoffs. He sounds like some sort of romantic and unrealistic Romeo and he is decidedly lacking a masculine look most of the time. One exception being the opening of Volume 12 when he is enslaved, has his hair cut short, and is shirtless. Then he seems manly enough to be a hero. This raises questions of why the strip still appeals to so many people when the modern reader must see Valiant as sort of girlish and old-fashioned in look; even the 1990s television cartoon series cut Valiant’s hair to make him look more manly. But Adams goes on to discuss how as he got older he saw that Foster’s drawings were far superior to those of other comics—they are more like artful movie stills. He also credits Foster with trying to be historically accurate in his drawings, and I admit that I sit in wonderment at the details of the drawings and even how there will be layers of figures on top of each other which must have been incredibly difficult to draw. My problem is I read more for the story, which just doesn’t always come up to the standards of the artwork.

As for the stories in this volume, it is better than the last volume, although some of the plots are becoming the same old, same old, and tiresome. The major plot of interest is the quest for the Holy Grail. King Arthur asks Valiant to look into the truth of the Holy Grail because many knights have gone off to seek it and not returned, which is hurting the Round Table as Merlin had predicted.

Volume 12 of Prince Valiant, in which Valiant goes searching for the Holy Grail.

Volume 12 of Prince Valiant, in which Valiant goes searching for the Holy Grail.

When Valiant agrees to go, he and Aleta have a fight about it, resulting in his getting mad and spanking her. This act of brutality would not be acceptable in a strip today, and even worse, when Valiant leaves on the quest, ashamed of his behavior and thinking Aleta will never love him again, Aleta confesses to herself that she enjoyed being spanked and thinks of Valiant as “a magnificent beast.” I’m gagging. It’s disgusting to think women find being mistreated by men to be appealing—a sexist view of the time akin to the scene in Gone with the Wind when Scarlett is happy and smiling in the morning after Rhett rapes her. While Valiant and Aleta usually make an attractive couple and Aleta knows how to keep her husband in line, this was not one of her finer moments.

Of course, Valiant and Aleta will patch things up when he returns, but not until after he travels the land to find out information about the Holy Grail. I was both happy with the results of his Grail Quest and also disappointed that there were not more adventures along the way—there is no one achieving the grail—no Galahad or Percival having mystical experiences—but I can only hope this is not the last we have heard of the Holy Grail in the strip and Foster plans to do more with it gradually. The main highlights of Valiant’s quest is his meeting St. Patrick and later the Beaker folk, an ancient people who have been at Stonehenge one thousand years before the Druids. Ultimately, St. Patrick tells Valiant that no one knows whether it’s true that St. Joseph of Arimathea brought the Holy Grail to Britain, so the Grail is probably not a chalice but “ a symbol of faith, courage and hope.” The knights, by questing for it, are spreading the message of Christianity throughout Britain, and that is what is most important. When Valiant returns to Camelot, King Arthur accepts this and decides the quest is a good thing despite how it hurts the Round Table.

This volume ends with Valiant and Aleta returning to her kingdom of the Misty Isles so her people can see Prince Arn, whom she wants to succeed her. Some tension returns between Val and Aleta at this point because Valiant wants Arn to rule Thule after him. The summary for Volume 13 at the end of the book tells us the couple will soon have another son, so I imagine this issue will be resolved.

I admit some of the strip has become boring to me, but yet, I read on, wanting to discover what happens next. As long as Fantagraphics keeps producing these books, I’ll likely keep reading and blogging about them.

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Tyler Tichelaar, Ph.D., is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy, Melusine’s Gift, Ogier’s Prayer, and the upcoming Lilith’s Love and Arthur’s Bosom. He has also written the nonfiction scholarly work King Arthur’s Children: A Study in Fiction and Tradition. You can learn more about Tyler at www.ChildrenofArthur.com.

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This tenth volume of Prince Valiant is full of the usual adventures, fabulous artwork, humor, and variety we’ve come to expect from Hal Foster’s greatest comic strip. While I would not say it is one of the best or worst in the series to date, it has several notable moments and some awe-striking images.

Prince Valiant, Vol 10 - witches and war just barely start to describe the adventures in this volume.

Prince Valiant, Vol 10 – witches and war just barely start to describe the adventures in this volume.

The story begins with Prince Valiant, Aleta, and companions leaving the Misty Isles. Because they wish to return to Thule, they decide that rather than sail through the Mediterranean and then up through the English Channel to the Baltic, they will journey to Constantinople, through the Black Sea, up the Dnieper River, portage overland, and then sail into the Baltic Sea.

It is a long journey full of danger, excitement, and dress buying—after all, Aleta insists they stop off in places like Constantinople and Kiev so she can buy new clothes and get a good bath. In the process, she often puts Valiant and his companions in some sticky situations, but her sense of humor and ability to flirt quickly get her out of them. At one point, she even finds herself married to the local khan, whom she then convinces to dance to his death for her, making her queen of the land—that is, until Valiant shows up to rescue her. No one seems to care that Aleta committed bigamy—after all, she was forced into it and played along with the monarch to buy time while never really stepping over her boundaries. If any woman in literature ever knew how to get herself out of a sticky situation with aplomb, it is Aleta.

The portage scenes were truly striking. Not only is the image of a giant Viking ship being rolled over land and slid through mud beautifully drawn, but the thought of such an undertaking is completely mindboggling, yet I am sure Foster is not exaggerating in depicting such an event.

Once the Valiant family is safely back in Thule, we get a good sense of how much Prince Arn has grown. Foster doesn’t give his age, but in the illustrations, he looks to be between about eight and twelve. And he is ready for his own adventures. Thule has issues with having enough food to feed all its people, but over its mountains lie pleasant valleys, perfect for farmland. Arn decides that finding a mountain pass to those valleys will be his first big adventure, and he wants to have it by himself, though eventually, he agrees to take Garm, a grown squire, with him. The two go into the mountains, but winter is coming on, so before they know it, they get trapped in a storm and have to build a shelter. They have quite the time trying to survive before they safely return home.

These winter scenes in the mountains are some of Foster’s most dramatic in this volume, and they reflect his knowledge of winter climes, given his Canadian background. There is also one striking image of sailing into Thule, which Foster notes is based on drawings done during a visit to Norway in 1955. Foster truly did visit the places he drew—he cared that much about accuracy, and it is reflected throughout this volume.

Of course, Valiant can’t sit around in Thule forever, so as spring approaches, he decides he’ll return to Camelot for the tournament at Pentecost. This adventure results in his discovering a new champion at Camelot whom he will aid in winning a fair maiden for a wife, and by a strange twist of events, he’ll also pick up a new squire, Alfred, whom I suspect will figure in future volumes.

Volume 10 concludes with some additional advertisements and commentary on Foster’s work for the Northwest Paper Company and his drawings of Canadian Mounties that there wasn’t room to include in Volume 8. In addition, it is clear from these images that Foster was inspired by many of his winter scenes for this work in later depicting winter scenes in Prince Valiant, including in Volume 6 when Valiant is shown snowshoeing in North America.

For me, seeing Prince Arn growing up is perhaps the most fascinating part of this volume. As the strip progresses, the characters do grow up and age, and while that aging is a bit delayed compared to real time, that’s all the better because then Prince Valiant and his companions stay young longer, and as a result, we have a strip now approaching its eightieth anniversary.

Fantagraphics has already produced Volume 11 of the series with plans to release Volume 12 in December so stay tuned for more reviews.

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Tyler Tichelaar, Ph.D., is the author of The Children of Arthur series, which includes the novels Arthur’s Legacy and Melusine’s Gift, and he has written the nonfiction book King Arthur’s Children. You can learn more about him at www.ChildrenofArthur.com.

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This latest Fantagraphics reprint of Hal Foster’s wonderful strip begins with an insightful article by Mark Schultz, which says about everything I’ve thought that makes this strip so worthwhile. I have to admit the plots tend to become repetitive, and as wonderful as the illustrations are, the soap opera feel of the storyline becomes a bit tedious, but Foster shined for two things in particular—the breathtaking landscape scenes he did and the way he could draw a face and convey expression in it.

PrinceValiant9I’ve always liked to draw since I was a kid, but I have never been able to pull off realistic-looking faces. Foster was a master at this and someone we could all learn from. In this opening essay, Schultz talks about how Foster depicts Valiant and Aleta’s relationship through his ability to show their feelings for each other, as well as how they mask those feelings. Schultz says Foster was unique in this ability to reveal the characters’ internal lives through their expressions and body language, and I very much agree.

This particular volume picks up with the end of Valiant’s efforts to bring Christianity to Thule—and with rather alarming results. Valiant is shown destroying Pagan idols, something that in the twenty-first century I found upsetting and disgusting because we tend to be more open to diversity in these days, and while I was raised a Christian, I couldn’t help but feel the unfairness of this behavior, and when the destruction of these idols infers that they are false because they do nothing to avenge themselves, I can’t help noticing that Foster has the Pagans burn the Christian church down next, and the Christian God doesn’t intercede either, which leaves the reader wondering whether either God is real or exists, at least from Foster’s viewpoint. Of course, the Christian church is rebuilt, and then Valiant and Aleta go off on adventures, leaving the religious theme behind for now until later in the volume when Valiant ends up in Ireland and meets St. Patrick.

Valiant and Aleta part ways early in the volume because Aleta wants to go visit the Misty Isles, but Val ends up being called to help King Arthur in fighting against the Saxons who have allied with the five kings of Cornwall. By the time these battles are done, Val has introduced the idea of using stirrups for the knights, which is often introduced as a reason why King Arthur was successful and able to hold back the Saxons in several Arthurian novels that have been published since then, though I’m unsure who first introduced this idea into Arthurian literature—perhaps it was Foster.

But the real highlight of the volume, as Schultz remarks, is how Aleta manages as a woman to gain control in the Misty Isles, putting down a possible rebellion in her kingdom through her female presence and her cleverness. One of the things I really love about Foster’s storytelling is that while there are battles and swordplay and violence, many of the conflicts are resolved through Aleta or Val’s trickery and cleverness. It’s always more fun to trick or outsmart an enemy than to have to kill him. Bullies and cowards then end up showing their true colors and getting what they deserve.

A trip to the Holy Land, although not overly dramatic, but again with a little trickery to save the day, rounds out the volume along with the introduction of a girl character, Diane, who becomes friends with Valiant and Aleta’s son, Arn. Arn seems to have really grown up in this volume and transition from being a toddler to now a young boy; the strips from his viewpoint are refreshing, plus Diane appears to be a clever young version of Aleta.

The volume concludes with an essay about the 1954 film version of Prince Valiant starring Robert Wagner. The essay puts the film in context with what was happening in Hollywood at the time and changes in the movie industry, as well as discussing the film’s reception. It was rather a flop of the film, but it’s still a film I find entertaining (see my previous review of it at https://childrenofarthur.wordpress.com/2012/02/22/prince-valiant-in-glorious-technicolor-a-review-of-the-1954-film/), though it takes a lot of liberties with the strip. Apparently, Foster wasn’t too crazy about the film either, according to the article.

Volume 10 has just been released this month, so watch for my next review soon. In the meantime, Volume 9 has plenty to entertain.

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Tyler R. Tichelaar, Ph.D. is the author of King Arthur’s Children: A Study in Fiction and Tradition and the new Children of Arthur series, available at www.ChildrenofArthur.com

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In the past, I’ve written an individual blog for each volume of the Prince Valiant series, but I decided to group these two together because I couldn’t get myself too excited about Volume 7; furthermore, the adventure in it continues into Volume 8 because the books are printed by the years the strip was published and not by breaks in the storyline. Volume 7 contains the strips from 1949-1950 and Volume 8 covers 1951-1952.

Prince Valiant, Vol. 7: 1949-1950, published by Fantagraphics Books

Prince Valiant, Vol. 7: 1949-1950, published by Fantagraphics Books

Volume 7 begins by concluding Valiant’s trip to North America that was covered in Volume 6. Valiant, Aleta, newborn Prince Arn, and his other companions return to England and Camelot. They don’t have much time to rest, however, before new adventures begin for them. First there is an adventure with a haunted castle, and then a journey to Hadrian’s wall where the Picts are invading. Aleta is the great negotiator and trickster here as she wins over the Picts and stops the war. However, Valiant is wounded during the skirmishes, so he cannot travel by land back to Camelot because it would be too painful for him. Consequently, they take a sea voyage to visit his family in Thule. During the time in Thule, an enemy tries to overthrow Valiant’s father, King Aguar, and once again, Aleta steps in and saves the day through trickery; Foster, I believe, uses this method frequently to resolve conflict to provide a humorous tone to many of the adventures, while avoiding a lot of bloodshed in a Sunday comic strip—a couple of times when he did create frames that were too violent, they were censored and he had to change them.

To me, the most interesting part of this volume was that King Aguar listens to Christian evangelists who try to explain Christianity to him, but he finds they are poorly informed and they argue among themselves about the key points of their religion. Consequently, Valiant, who has been exposed to Christianity in Camelot (although he’s never been depicted as being baptized as a Christian) decides to travel to Rome to find teachers who can return with him to Thule to convert his father’s people.

The adventures in Volume 7 end there, but there is also an interesting article included about Hal Foster’s work painting illustrations for the Union Pacific Railroad. Many of these paintings show mountain scenes with railroad trestles, and this work may have informed his creation of scenes of the Alps and others in the Prince Valiant strip. While Foster’s storylines read like a soap opera and tend to wander about, no one can fault his ability to create great landscape drawings, so it’s interesting to see how his early career influenced the Prince Valiant strip in this way.

Volume 8 was much more to my taste. Valiant has several adventures on his journey to Rome to find Christian missionaries to return to Thule. He has even more adventures on the way back to Thule. However, we are informed briefly that the people of Thule do not warm to the missionaries easily, and it will still be centuries before the country converts to Christianity. The illustrations of Valiant crossing the Alps in this volume are incredible and reflect the influence of Foster’s Union Pacific Railroad artwork.

Prince Valiant, Vol. 8: 1951-1952

Prince Valiant, Vol. 8: 1951-1952

Other highlights of this volume include Valiant’s squire, Arf, who ends up losing a leg to frostbite during the journey and getting what must be one of the first prosthetic legs in history. On the way home, Valiant travels back to Camelot and then to the Orkneys to take a ship over to Thule. Gawain is his companion on this trip, and they stop to visit Gawain’s family, his mother Morgause, as well as brothers Gaheris, Agrivaine, and Mordred. We are only given the first hints here of the sinister role of Mordred in the strips that are yet to come.

Foster isn’t above some cutesy moments. Besides Val returning to Thule to discover Aleta has given him twin daughters, Valeta and Karen, we have Prince Arn, now a toddler, being jealous of his sisters, including several frames from his viewpoint. Arn even gets his own adventure when he is kidnapped and rescued by Tillicum, the Indian woman who returned with Val and Aleta from North America. Tillicum has her own subplot romance in this volume as well with a surprising twist.

At the end of this volume, another great adventure is in the works. Val travels around Thule to discover how receptive the people are to Christianity. He meets a druid (I didn’t know the Norse had druids) who gives him nectar to drink, resulting in Val having a vision of the Rainbow Bridge, the Norse Gods, and Valhalla. This vision is supposed to be proof, according to the druid, that Christianity is not the only true religion. Val will apparently explore this idea in more detail in Volume 9.

While I find moments of the story lag in places, the illustrations throughout these volumes are beautiful and breathtaking, whether it’s of Val and his men fighting the rapids in North America or Val seeing a rainbow bridge, or just splendid landscapes showing mountains and castles. I am looking forward to seeing what Val learns about the Norse Gods, as well as seeing his children grow up, and how Mordred plays a larger part in successive volumes. Stay tuned for more.

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The jury is still out on theories that King Arthur visited North America (more on that topic to come in future blogs), but I wonder whether Hal Foster knew of such stories; regardless, in this volume he brought Prince Valiant to North America, and he definitely knew of theories that the Vikings had made it to North America.

Valiant doesn’t set out to discover America in this book, but rather it is an unexpected journey that begins with Aleta being kidnapped by Val’s fellow countrymen from Thule, which sends him and his men on a journey over the sea to an unknown land that turns out to be North America. The journey takes Valiant down the St. Lawrence Seaway and over Lake Ontario all the way to Niagara Falls.

Of course, Val succeeds in rescuing his wife, but by that point, it is autumn so Val and his men decide to spend the winter in North America among the friendly Native Americans who have aided Val after he convinced them to help him because Aleta’s kidnappers were wreaking havoc on the land.

Prince Valiant, Vol 6 - yes, that's Niagara Falls in the bottom frame

Prince Valiant, Vol 6 – yes, that’s Niagara Falls in the bottom frame

This special Fantagraphics edition comes with an introduction that discusses Foster’s own journeys through the area depicted during a canoe trip in his youth with his pregnant wife, which inspired the story and Aleta’s pregnancy and the birth of Val’s son. This introduction is interesting for two reasons. First, it discusses how Foster sought to be respectful in depicting the Native Americans, not turning them into the typical enemies or sidekicks they were in other media at the time. While for the most part, this is true, he does make a reference to the Indians taking pleasure in cheating their customers when bartering. Worse, he builds on the myth of the Fair God, allowing the Natives to think Aleta is a goddess, and Val does prophesy his son will someday return to the land to lead the people to greatness, which supposedly became a legend that made it to the Aztec empire, causing them to think Cortez the fair god—a bit of a stretch in my opinion. (Later in the 1960 installments of the strip, Prince Arn does return to North America to teach the Natives white people’s ways, only to realize they already are doing fine on their own, which shows some progressive thinking on Foster’s part, though perhaps it was in line with Civil Rights thinking of the 1960s and not something he would have considered in the 1940s). The strip is more groundbreaking in the sense that a few years later, one of the native women marries one of Val’s men, and in 1953, the first interracial baby will be born in the strips.

The other key event mentioned in the introduction, and perhaps the most significant part of this volume, is the birth of Valiant and Aleta’s son, Prince Arn. The introduction even includes photos of birth announcements sent out in Foster’s circle of friends regarding this event. Arn was actually the name Foster first proposed for the strip, but it was decided Valiant would be a better name. Still, he introduced a character named Arn into the strip, who possessed the Singing Sword and loved the same woman as Val. When that woman died, Arn and Val both agreed never to marry another. In friendship, Arn then gave Val the Singing Sword.

After returning back to England and some other adventures, Val reunites with his old friend, Arn, wanting Arn to be the newborn Arn’s godfather. In a comical moment, Arn berates Val for not being faithful to their oath never to marry, only for Val then to see a baby who turns out to be Arn’s son, and named Val for him—truly the most delightful moment in the book.

All in all, I have seen many reviewers rave that this is the best volume of Prince Valiant to date. Honestly, I thought the story could have used more plot. Once the characters arrived in North America, it was a bit slow for me. I am turning out to be less of a fan than just curious and interested in the Prince Valiant strip. I will continue to read each volume as it comes out—though Fantagraphics appears to be taking longer and longer between each volume—Volume 7 won’t be published until September. I am perhaps most looking forward to seeing how Valiant’s children turn out, so I will be patient and continue to read on.

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Tyler Tichelaar, Ph.D. is the author of King Arthur’s Children: A Study in Fiction and Tradition. He is currently working on a series of novels about Arthur’s descendants. You can visit Tyler at www.ChildrenofArthur.com

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