Fifteen years later, Bobby follows in his veteran father’s footsteps, and walks into an army recruitment office. It opens in 1949 with brutal violence, as Bobby’s mother, Janet, defends her young son against his raging father, Tom.
He has published virtually no new work for 15 years his website’s news section stops in 2011.įittingly, the ambitious Monsters uses time lapses to great effect. “The business,” he declared in a 2013 interview, “stinks.” In the 70s and beyond, Windsor-Smith spent spells within the industry – writing and drawing the Wolverine origin story Weapon X for Marvel, working on several series for Valiant and creating the Storyteller anthology for Dark Horse – and long stretches out of it. But Windsor-Smith has always had his own vision, and his relationship with an industry that has historically kept creatives on a tight leash has rarely been easy. He drew staples such as the Avengers and Daredevil, and brought romanticism and style to the award-winning Conan series. The Londoner got his break after sending sketches to Marvel in the late 60s.
This is Bobby Bailey, the young man at the centre of this forcefully told and thoroughly affecting drama. Now, 37 years later, it finally emerges, its striking cover bearing the ruined face of a man, a Stars and Stripes thrust in one ear, his torn lip exposing a cavernous jaw, a tear trickling from one half-open eye. This great, grim 366-page slab of postwar angst began its life as a Hulk story that Windsor-Smith planned for Marvel in 1984. T here are epic waits, and there’s the wait for Barry Windsor-Smith’s new epic.
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