What do you think?
Rate this book
Prince Valiant (Hardcover) #3
Prinz Eisenherz. Hal Foster-Gesamtausgabe, Band 3. Jahrgang 1941/1942
Almost the entirety of 1941's strips, collected in Prince Valiant Volume 3: 1941-1942, featuring a single ten-month epic entitled "Fights for the Singing Sword." This globetrotting adventure is fueled by Valiant's obsessive search for his bride-to-be Aleta throughout Northern Africa, with stops in Jerusalem, the Arabic deserts, and, inevitably, a harem which Val must infiltrate. Then finally, in "The Misty Isles" Valiant meets Aleta face-to-face, but upon learning that she has had his crew killed (deservedly so, actually, but still), he flees in anger, vowing never to see her again. "Homeward Bound," Valiant continues his travels, with stops in Athens (where he meets the boisterous Viking Boltar, who will become his friend for life), North Africa, and Gaul (where Valiant liberates Gawain), before finally returning to Camelot. But his joyous return is short-lived as an alliance of Picts and Vikings threatens Britain's security, and thus Valiant must journey forth with, as his ultimate destination, "The Roman Wall."
112 pages, Hardcover
First published September 1, 2006
3 people are currently reading
134 people want to read
About the author
Hal Foster
194 books53 followersHarold Foster, also credited as Hal Foster, was a comic book artist best know for Prince Valiant.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 22 of 22 reviews
March 11, 2022
Bellíssim. L’art de Foster és pictòric, net, vigorós. Fa vuitanta anys d’aquestes vinyetes, i malgrat que hi ha motius un pèl anticuats i historietes força innocents, és un plaer enorme llegir-lo avui.
August 4, 2024
Fantastic!
September 4, 2019
When I reviewed the first volume of Fantagraphics Press' collected Prince Valiant I noted that strip creator Hal Foster created groundbreaking work on the Sunday comics page, creating something that was absolutely groundbreaking for its time (1937) and viewed through the lens of comics history, has become ubiquitous in comics "design" in the modern day (for lack of better terminology.) I argued that if not for Foster, would Will Eisner have been given the opportunity to do The Spirit which set the stage for even more innovations with the comic form? However, in both that review and the review of the subsequent volume I noted that the weakness of Prince Valiant was in the actual storytelling on the page. I argued that this was because Foster likely considered himself an artist first (unlike Eisner, who always put a premium on the storytelling aspect of the comics he produced.) This is borne out by an afterword in this volume where it is pointed out that along with the normal sex and violence type of censorship that Foster could run afoul of in 1941, he also was censored by the syndicate head, who forced Foster to abandon a beautifully rendered panel reportedly just to "knock him down a peg."
Unlike the two previous volumes, however, we begin to see Foster's growth as a story-teller in this one. In my review of volume two, I complained that it appeared that perhaps the title character is too perfect (a phenomenon a member of my monthly sci-fi book reading group refers to as a "Mary Sue" and who I equated to the early Wesley Crusher appearances on Star Trek: The Next Generation where the character could seemingly do no wrong. In this volume, we learn that Valiant is indeed human. He makes mistakes and poor assumptions. He loses a valued sword that he has to work to get back, and not in a progression from point A to point B. The fact that there are times in the narrative where Foster takes his title character in directions where you are wondering how he is ever going to the sword back (or if he will) shows a growth in the story telling. While setting the series in the time of Arthurian legend forces the reader to make certain assumptions about Prince Valiant's world, Foster does not try to idealize that time. The world is violent and civilization hangs by a delicate thread. Unfortunately, this can also lead to frankly racist depictions of the "natives" (especially when a band of greedy Vikings drag Val on an adventure into the African "wilderness" in search of gold.) While we could easily dismiss this as a product of the times, I'm unwilling to give Will Eisner a pass on this, so Foster doesn't get one either. The racism is there and it should be acknowledged.
As always, Foster's Prince Valiant is beautifully rendered and ultimately, it is the art that makes Prince Valiant a memorable comic reading experience (and this coming from someone who always puts a premium on story over art.) But the fact remains that apart from Eisner, who had only been doing The Spirit for six months when the comics in this collection first appeared, no one was doing what Foster was doing at the time. There are many capable contemporary artists out there now who can produce monthly books to the quality of Prince Valiant, but for the most part those artists don't handle the writing duties of their books or the inking or coloring of the pages and they have access to tools that Foster likely couldn't have dreamed of in 1941. This is not to belittle the work of those artists, but we as comic fans must acknowledge the trail that was blazed by Foster to make the work of your favorite artist from today possible.
Unlike the two previous volumes, however, we begin to see Foster's growth as a story-teller in this one. In my review of volume two, I complained that it appeared that perhaps the title character is too perfect (a phenomenon a member of my monthly sci-fi book reading group refers to as a "Mary Sue" and who I equated to the early Wesley Crusher appearances on Star Trek: The Next Generation where the character could seemingly do no wrong. In this volume, we learn that Valiant is indeed human. He makes mistakes and poor assumptions. He loses a valued sword that he has to work to get back, and not in a progression from point A to point B. The fact that there are times in the narrative where Foster takes his title character in directions where you are wondering how he is ever going to the sword back (or if he will) shows a growth in the story telling. While setting the series in the time of Arthurian legend forces the reader to make certain assumptions about Prince Valiant's world, Foster does not try to idealize that time. The world is violent and civilization hangs by a delicate thread. Unfortunately, this can also lead to frankly racist depictions of the "natives" (especially when a band of greedy Vikings drag Val on an adventure into the African "wilderness" in search of gold.) While we could easily dismiss this as a product of the times, I'm unwilling to give Will Eisner a pass on this, so Foster doesn't get one either. The racism is there and it should be acknowledged.
As always, Foster's Prince Valiant is beautifully rendered and ultimately, it is the art that makes Prince Valiant a memorable comic reading experience (and this coming from someone who always puts a premium on story over art.) But the fact remains that apart from Eisner, who had only been doing The Spirit for six months when the comics in this collection first appeared, no one was doing what Foster was doing at the time. There are many capable contemporary artists out there now who can produce monthly books to the quality of Prince Valiant, but for the most part those artists don't handle the writing duties of their books or the inking or coloring of the pages and they have access to tools that Foster likely couldn't have dreamed of in 1941. This is not to belittle the work of those artists, but we as comic fans must acknowledge the trail that was blazed by Foster to make the work of your favorite artist from today possible.
September 24, 2025
This collection sees Val venturing southward over the sea, only for his vessel to be overtaken by the formidable marauder Angor Wrack. He flees but washes ashore on the misty isles where a young Queen Aleta finds him and fills his boat with provisions before sending him on his way. The prince continues to sail before eventually landing upon the city of Tambelaine where he recovers and, assisting a princess in the pursuit of love, angers the king who promised her to Wrack. After fleeing yet again, Val journeys to Jarusalem with Wrack in toe when both become captives of slavers. Out of honor he helps his rival escape then himself finds his way out of bondage by tricking a young princess. He continues to adventure across the fertile crescent before joining a jovial Viking raiding party as they venture to Africa in search of a famed hoard of gold. They brave the exotic jungle and barely escape alive before making their way to their respective northward homes. Val yet again ventures to Camelot where he learns of a Viking invasion from the north and is enlisted by King Arthur to scout the condition of Hadrian's wall which lies in between. Captured yet again by the Vikings, Val is tortured before being rescued and after recovering ventures back to the battlefield to enact his vengeance.
Yet another volume full to bursting with various gorgeously rendered locales and engaging adventure. While this collection doesn't quite have the epic battle set pieces from the previous volume, it makes up for it with the sheer diversity of exotic locations, distinct scenarios, and impeccably drawn sequences. Wildlife depictions are of particular strength in this collection featuring giraffes, octopus, hippos, crocodiles, elephants, apes, wild dogs, and more providing some exotic texture to the adventures and conflicts. The series continues to maintain it's compellingly sparse inclusion of mysticism, with just enough magic to highten the fantasy but not cheapen the more visceral grounded elements. I particularly enjoyed a comic subplot in which Val ventures into the domain of a wizard who tricks the prince into taking his quarrelsome wife away from him, only to miss her and summon her back and suffer her scorn. I'm really having a great time with this and can't wait for the next volume.
Yet another volume full to bursting with various gorgeously rendered locales and engaging adventure. While this collection doesn't quite have the epic battle set pieces from the previous volume, it makes up for it with the sheer diversity of exotic locations, distinct scenarios, and impeccably drawn sequences. Wildlife depictions are of particular strength in this collection featuring giraffes, octopus, hippos, crocodiles, elephants, apes, wild dogs, and more providing some exotic texture to the adventures and conflicts. The series continues to maintain it's compellingly sparse inclusion of mysticism, with just enough magic to highten the fantasy but not cheapen the more visceral grounded elements. I particularly enjoyed a comic subplot in which Val ventures into the domain of a wizard who tricks the prince into taking his quarrelsome wife away from him, only to miss her and summon her back and suffer her scorn. I'm really having a great time with this and can't wait for the next volume.
April 5, 2018
It hasn't surpassed Caniff's Terry and the Pirates (not yet anyway), but it's proven better than nearly every other adventure strip I've read. Including the superhero stuff. Foster's artwork is, firstly, just amazing, with incredible details - every scene has so much texture and depth, you can feel the cold and wind and sun in a way no other comic artist I've seen has ever matched. The stories are engrossing and fun, classical romantic adventure fiction, full of chivalrous he-men with impatient tempers, but tender hearts. Foster provides plenty of good twists and finds good excuses to move to new locations to show off more illustrative chops. I particularly liked a few bits: the text describes Val and his companions beset by unicorns, ogres and dragons in Africa. The art shows a rhino, a gorilla and crocodiles. Nicely done.
Also, in one sequence Val is treated by a doctor, described as the best in the land. A caption adds that only half of his treatments are based in superstition! Ha!
Nice work on the hardcover and reproduction by Fanta also.
Also, in one sequence Val is treated by a doctor, described as the best in the land. A caption adds that only half of his treatments are based in superstition! Ha!
Nice work on the hardcover and reproduction by Fanta also.
June 10, 2025
I feel like the book matured a bit in this volume. Val is growing as a character and as current parent of teen boys I am glad to be past reading another teens angst. The stories have also matured. I’m curious is the lady love Val mistakenly dismisses is going to come back around. Lots of potential there. Sir Gwain acts in a way that shows even King Arthurs knights are not noble all the time. I am aware of Lancelot and Guinevere but this is a comic in a family friendly format in 1942 America so I was impressed by any chink in the oral armour. Plus Val gets tortured! Grown up stuff indeed. As an artist Foster continues to grow. The scenes of the wild animals in Africa are stunning, particularly the near full page spread of the charging elephant, absolutely incredible work. The broke down castle in the “vampire” tale is a more familiar vista that is so gorgeous I would love to hang it on my wall. Lastly a shout out to how Foster demonstrates the way ignorance informs mythology.
November 24, 2021
Better than volumes 1 and 2, I think. Val's growing on me (if only he'd grow out his hair). He seemed a trifle less enthusiastic about killing and just a bit more thoughtful. Only a tad, mind you. The Africa sequence was surprising and fun, and it still boggles the mind that he could turn out illustrations on this scale weekly.
(5* = amazing, terrific book, one of my all-time favourites, 4* = very good book, 3* = good book, but nothing to particularly rave about, 2* = disappointing book, and 1* = awful, just awful. As a statistician I feel like I should mostly read 3s, but of course I am biased in my selection and pick books I think I'll like, so mostly read 4s!)
(5* = amazing, terrific book, one of my all-time favourites, 4* = very good book, 3* = good book, but nothing to particularly rave about, 2* = disappointing book, and 1* = awful, just awful. As a statistician I feel like I should mostly read 3s, but of course I am biased in my selection and pick books I think I'll like, so mostly read 4s!)
July 21, 2019
Wow! After the first two volumes, the third seems nearly an impossible accomplishment. The efforts of Hal Foster to produce the dazzling artwork, storytelling and stories are phenomenal. By the third year presented here, Foster was in full stride. The subtleties of the artwork and storytelling elements are at an incredible level throughout the volume and a study in as close to perfection as can be imagined.
Anyone who wants to understand illustration and sequential storytelling should have these volumes.
Bottom line: i recommend this book. 10 out of ten points.
Anyone who wants to understand illustration and sequential storytelling should have these volumes.
Bottom line: i recommend this book. 10 out of ten points.
August 15, 2018
Pure nostalgia. What more can I say? I loved reading Prince Valiant in the Sunday funnies as a kid. I love these books just as much. Great stories told with jaw-dropping art. Today's graphic novels can't hold a candle to Hal Foster.
July 24, 2018
What more can you say about this series. Maybe the best panel art ever and an epic storyline. The high point of newspaper strips to be sure.
May 21, 2020
This hasn't aged badly.
I wouldn't read 200 strips in a row, but a few pages in the sun in the evening is very enjoyable.
And the quality of the Fantagraphics books is amazing
I wouldn't read 200 strips in a row, but a few pages in the sun in the evening is very enjoyable.
And the quality of the Fantagraphics books is amazing
October 22, 2020
Love Prince Valiant.
November 7, 2021
Great stuff!
June 4, 2023
Another stellar volume in the Prince Valiant series, the best comics ever produced.
October 25, 2023
I have fallen down the rabbit hole of comic strips. Gone is my interest in most modern comic books, replaced by the high art of Hal Foster and the rest of the geniuses who blazed the trail that folks take for granted nowadays. I fear that I have become something of a snob in my quest for the best of the best that this medium has to offer.
Hal Foster's wit is as sharp as his pen, with tongue planted firmly in cheek in regard to the institution of marriage. While the humor is so subtle that it might not seem particularly witty by today's hyper-saracastic standards it is well beyond what was going on in strips at the time. Foster is one of my top five artists of all time. He spent as much as 60 hours a week working on each strip, and it shows. This strip is way more detailed than it had to be. It blows my mind that Foster put so much effort into each panel for something that was essentially a throw away item. Think about it, folks- there were no collected edition like this in the early '40s, really, and not many people collected these strips. They were read and then thrown away.
Comic strips were where the money was, which is why the best artists worked on them. Compare this to any comic book of 1941-1942 and this blows it away. Syndicated strips were where the cash was. Comic books were the ghetto. The more I dig into the world of strips the less interested I am in modern comics.
Hal Foster's wit is as sharp as his pen, with tongue planted firmly in cheek in regard to the institution of marriage. While the humor is so subtle that it might not seem particularly witty by today's hyper-saracastic standards it is well beyond what was going on in strips at the time. Foster is one of my top five artists of all time. He spent as much as 60 hours a week working on each strip, and it shows. This strip is way more detailed than it had to be. It blows my mind that Foster put so much effort into each panel for something that was essentially a throw away item. Think about it, folks- there were no collected edition like this in the early '40s, really, and not many people collected these strips. They were read and then thrown away.
Comic strips were where the money was, which is why the best artists worked on them. Compare this to any comic book of 1941-1942 and this blows it away. Syndicated strips were where the cash was. Comic books were the ghetto. The more I dig into the world of strips the less interested I am in modern comics.
January 2, 2012
Hal Foster drew his adventure strip while seated at a desk looking out into the fields of Redding, CT. A reminder that sometimes it takes a dream to enable creation.
When I think of great American artists Hal Foster is certainly on the list.
This volume is huge highlighting the artwork here. Not sure Hal has hit his greatest story telling strides yet but he's getting there at Val travels from England, to the deserts of Northern Africa, to Jerusalem, and also home to the North.
When I think of great American artists Hal Foster is certainly on the list.
This volume is huge highlighting the artwork here. Not sure Hal has hit his greatest story telling strides yet but he's getting there at Val travels from England, to the deserts of Northern Africa, to Jerusalem, and also home to the North.
December 8, 2018
Langsam fährt Hal Foster in seiner Abenteuer/ Wikinger/Ritter-Romanze zu Höchstformen auf, die Serie erst visl später wieder verlieren sollte. Dieser dritte Band sieht übrigens mit der Einführung von Boltar, ehrbarem Kaufmann und ehrlichem Seeräuber in Personalunion, die Einführung einer der liebenswertesten Gestalten des an Unikaten reichen Eisenherz-Universums.
March 20, 2015
Prince Valiant is very much a product of it's time - Hal Foster never met a "boy, women... so confusing" joke he didn't like - but the artwork is splendid and the storytelling is top-notch.
I'm sad that the Nashville Public Library only has the first four volumes of these collections.
I'm sad that the Nashville Public Library only has the first four volumes of these collections.
January 28, 2012
See earlier volume reviews - more amazing illustrations by Hal Foster in the continuing adventures of Prince Val!
June 3, 2012
Beautiful drawings, indulgent, enjoyable action.
May 12, 2015
Fantastic artwork! Great adventure story. Everything I love about the old comic strips.
February 26, 2016
Val battles wizards in the Middle East and searches for gold in Africa on his way back to Camelot. Foster's storytelling continues to improve and he uses comedy and horror to pretty good effect.
Displaying 1 - 22 of 22 reviews