Eagle Classics: Harris Tweed – Extra Special Agent

By John Ryan (Hawk Books -1990)
ISBN: 978-0-94824-822-1

The son of a diplomat and irrefutable True Gent, John Ryan was born in 1921, served in Burma and India and – after attending the Regent Street Polytechnic (1946-48) – took up a teaching post as assistant Art Master at Harrow School from 1948 to 1955.

It was during this time that he began contributing strips to comics such as Girl and legendary weekly comic The Eagle.

On April 14th 1950 Britain’s grey, post-war gloom was partially lifted with the first issue of a glossy new comic that literally shone with light and colour. Mesmerised children were soon understandably enraptured with the gloss and dazzle of Dan Dare, Pilot of the Future, a charismatic star-turn venerated to this day as well as a plethora of strips illustrating some of their favourite radio shows.

The Eagle was a tabloid sized paper with full photogravure colour inserts alternating with text and a range of other comic features. Tabloid is a big page and you can get a lot of material onto each one. Deep within, on the bottom third of a monochrome folio was an 8-panel strip entitled Captain Pugwash, the story of a Bad Buccaneer and the many sticky ends which nearly befell him.

Ryan’s quirky, spiky style also lent itself to the numerous spot illustrations required every week.

Pugwash, his harridan of a wife and the useless, lazy crew of the Black Pig ran until issue #19 when the feature disappeared. This was no real hardship as Ryan had been writing and illustrating Harris Tweed – Extra Special Agent which began as a full page (tabloid, remember – an average of twenty panels a page, per week!) in #16.

Tweed ran for three years as a full page until 1953 when it dropped to a half-page strip and deftly repositioned as a purely comedic venture. For our purposes and those of the book under review it’s those first three years we’re thinking of.

Tweed was a bluff and blundering caricature of the “military Big Brass” Ryan had encountered during the war. In gentler times the bumbler with a young, never-to-be-named assistant known only as ‘Boy’, solved mysteries and captured villains to general popular acclaim. Thrilling and often macabre adventure blended seamlessly with sly yet cheerful schoolboy low comedy in these strips, since Tweed was in fact that most British of archetypes, a bit of a twit and a bit of a sham…

His totally undeserved reputation as detective and crime fighter par excellence, and his good-hearted yet smug arrogance – as demonstrated elsewhere by the likes of Bulldog Drummond, Dick Barton – Special Agent, or Sexton Blake somehow endeared the arrogant, posturing buffoon to a young public which would in later years take to its heart Captain Mainwaring in Dad’s Army and, more pointedly perhaps, Peter Sellers’ numerous film outings as Inspector Clouseau.

Ryan’s art in these strips is particularly noteworthy. Deep moody blacks and intense, sharp, edgy inking creates a mood of fever-dream intensity. There are anachronistic echoes and nuances of underground cartoons of more than a decade later, and much of the inevitable ‘brooding, lurking horror’ atmosphere found in the best works of Basil Wolverton. Ryan knew what kids liked and he delivered it by the cartload.

This too-slim, oversized (324 x 234mm x) paperback compilation is all that’s readily available these days, but surely in these days of electronic publishing some enterprising fan with a complete Eagle Collection can link up with a perspicacious publisher someway, somehow and produce a comprehensive compilation of the nation’s most self-lauded sleuth?

I know a lot of aging 10-year olds and their grandchildren who would leap at the chance to see the old team back in action…
Harris Tweed © 1990 Fleetway Publications. Compilation © 1990 Hawk Books.

Captain Pugwash: A Pirate Story

By John Ryan (Frances Lincoln Children’s Books)
ISBN: 978-1-84780-721 (PB)            978-1845078218 (HC)

The Day’s coming, Shipmates! Here’s a taste of things to come for all you hearty fun-starved rogues…

John Ryan was an artist and storyteller who straddled three distinct disciplines of graphic narrative, with equal qualitative if not financial success.

The son of a diplomat, Ryan was born in Edinburgh on March 4th 1921, served in Burma and India and – after attending the Regent Street Polytechnic (1946-48) – took up a post as assistant Art Master at Harrow School from 1948 to 1955.

It was during this time that he began contributing strips to Fulton Press publications, in the company’s glossy distaff alternative Girl, but most especially in the pages of the legendary “boys’ paper” The Eagle.

On April 14th 1950, Britain’s grey, post-war gloom was partially lifted with the first issue of a new comic that literally shone with light and colour. Avid children were soon understandably enraptured with the gloss and dazzle of Dan Dare, Pilot of the Future, a charismatic star-turn venerated to this day.

The Eagle was a tabloid-sized paper with full-colour inserts alternating with text and a range of various other comic features. “Tabloid” is a big page and one can get a lot of material onto each one. Deep within, on the bottom third of a monochrome page was an 8-panel strip entitled Captain PugwashThe story of a Bad Buccaneer and the many Sticky Ends which nearly befell him.

Ryan’s quirky, spiky style also lent itself to the numerous spot illustrations required throughout the comic every week.

Pugwash, his harridan of a wife and the useless, lazy crew of the Black Pig ran (or more accurately capered and fell about) until issue 19 when the feature disappeared. This was no real hardship for Ryan who had been writing and illustrating Harris Tweed – Extra Special Agent as a full-page (tabloid, remember, an average of twenty panels a page, per week!) from Eagle #16. (I really must reinvestigate the solidly stolid sleuth too sometime soon…)

Tweed ran for three years as a page until 1953 when it dropped to a half-page strip and was repositioned as a purely comedic venture.

In 1956 the indefatigable old sea-dog (I mean old Horatio Pugwash but it could so easily be Ryan) made the jump to children’s picture books. He was an unceasing story-peddler with a big family, and somehow also found time to be the head cartoonist for The Catholic Herald for forty years.

A Pirate Story was first published by Bodley Head before switching to the children’s publishing specialist Puffin for further editions and more adventures. It was the first of a vast (sorry, got away with myself there!) run of children’s books on a number of different subjects.

Pugwash himself starred in 21 tomes; there were a dozen books based on the animated TV series Ark Stories, plus Sir Prancelot and a number of other creations. Ryan worked whenever he wanted to in the comics world and eventually the books and the strips began to cross-fertilise.

The primary Pugwash is very traditional in format with blocks of text and single illustrations to illuminate a particular moment. But by the publication of Pugwash the Smuggler (1982) entire sequences were lavishly painted comic strips, with as many as eight panels per page, and including word balloons. A fitting circularity to his careers and a nice treat for us old-fashioned comic drones.

After A Pirate Story was released in 1957 the BBC pounced on the property, commissioning Ryan to produce five-minute episodes (86 in all from 1957 to 1968, which were later reformatted in full colour and rebroadcast in 1976). In the budding 1950s arena of animated television cartoons, Ryan developed a new system for producing cheap, high quality animations to a tight deadline. He began with Pugwash, keeping the adventure milieu, but replaced the shrewish wife with a tried-and-true boy assistant. Tom the Cabin Boy is the only capable member of a crew which included such visual archetypes as Willy, Barnabas and Master Mate (fat, thin and tall – and all dim), instantly affirming to the rapt, young audience that grown-ups are fools and kids do, in fact, rule.

Ryan also drew a weekly Captain Pugwash strip in The Radio Times for eight years, before going on to produce a number of other animated series including Mary, Mungo and Midge, The Friendly Giant and the aforementioned Sir Prancelot. There were also adaptations of some of his many other children’s books. In 1997 an all new CGI-based Pugwash animated TV series began.

This first story sets the scene with a delightful clown’s romp as the so-very-motley crew of the Black Pig sail in search of buried treasure, only to fall into a cunning trap set by the truly nasty Cut-Throat Jake. Luckily Tom is as smart as his shipmates and Captain are not…

John Ryan returned to pirate life in the 1980s, drawing three new Pugwash storybooks: The Secret of the San Fiasco, The Battle of Bunkum Bay and The Quest for the Golden Handshake, as well as thematic prequel Admiral Fatso Fitzpugwash, in which it is revealed that the not-so-salty seadog had a medieval ancestor who became First Sea Lord, despite being terrified of water…

A 2008 edition of A Pirate Story (from Frances Lincoln Children’s Books) came with a free audio CD, and just in case I’ve tempted you beyond endurance here’s a full list (I think) of the good(?) Captain’s exploits that you should make it your remaining life’s work to unearth…:

Captain Pugwash: A Pirate Story (1957), Pugwash Aloft (1960), Pugwash and the Ghost Ship (1962), Pugwash in the Pacific (1963), Pugwash and the Sea Monster (1976), Captain Pugwash and the Ruby (1976), Captain Pugwash and the Treasure Chest (1976), Captain Pugwash and the New Ship (1976), Captain Pugwash and the Elephant (1976), The Captain Pugwash Cartoon Book (1977), Pugwash and the Buried Treasure (1980), Pugwash the Smuggler (1982), Captain Pugwash and the Fancy Dress Party (1982), Captain Pugwash and the Mutiny (1982), Pugwash and the Wreckers (1984), Pugwash and the Midnight Feast (1984), The Battle of Bunkum Bay (1985), The Quest of the Golden Handshake (1985), The Secret of the San Fiasco (1985), Captain Pugwash and the Pigwig (1991) and Captain Pugwash and the Huge Reward (1991). They are all pearls beyond price and a true treasure of graphic excellence…

We don’t have that many multi-discipline successes in comics, so why don’t you go and find out why we should celebrate one who did it all, did it first and did it well? Your kids will thank you and if you’ve any life left in your old and weary soul, you will too…
© 1957, 2009 John Ryan and (presumably) the Estate of John Ryan. All rights reserved.

Jeff Hawke: Overlord

By Sydney Jordan & Willie Patterson (Titan Books)
ISBN: 978-1-84576-597-2

Have you ever heard of Jeff Hawke? If you’re a hard-science Sci Fi and comics fan, your horizons may just have expanded exponentially…

Sydney Jordan began his saga of the thinking man’s hero in the Daily Express on February 2nd 1954, devising and scripting the first few adventures himself. In 1956 his old school friend and associate Willie Patterson moved from Scotland to London and helped out with fifth adventure ‘Sanctuary’.

He wrote follow-up ‘Unquiet Island’, whilst sorting out his own career as a freelance scripter for such titles as Amalgamated Press’s Children’s Encyclopaedia, Caroline Baker – Barrister at Law and eventually Fleetway’s War Picture Library series.

Patterson continued to supplement and assist the artist intermittently as Jordan was never comfortable scripting; preferring to plot and draw the strips. Another confederate of the time was Harry Harrison, who wrote the ninth Hawke tale ‘Out of Touch’ – running from October 10th 1957 through April 5th 1958.

With the fourteenth tale, Patterson assumed writing chores on a full-time basis and began the strip’s Golden Age. He would remain until 1969.

Presented in Titan’s spiffy Deluxe hardback format, this superb collection of strips from the only serious rival to Dan Dare in either popularity or quality, not just in Britain but in the entire world, offers a tantalising glimpse at a transitional period in Britain and a fondly missed view of a Tomorrow that never was…

‘Overlord’ began on February 10th 1960. Here British Space Scientist Jeff Hawke meets for the first time a character who would become one of the greatest villains in pictorial fiction: Chalcedon, galactic criminal and would-be Overlord of Space.

When an alien ship crashes into the Egyptian desert, it reveals that two huge fleets of spaceships are engaged in a running battle within the Solar System and the Earth is directly in their path. After interminable babble and shilly-shallying at the UN, Hawke convinces the authorities to let him take a party to the warring factions in the hope of diverting them from our poor, endangered world and its potential future as a collateral casualty.

What Hawke finds is not only terrifying and fantastic but, thanks to Jordan’s magical illustration and Patterson’s thrilling, devastatingly wry writing, incredibly sophisticated and very, very funny.

Running until June 20th the saga was followed by a far more traditional and solemn yarn. ‘Survival’ (21st June to December 12th) follows the events of an interplanetary prang that severely injures Hawke’s assistant Mac Maclean.

Repaired – and “improved” by the penitent extraterrestrials who caused the accident – Mac rejoins the Earth crew, but is no longer one of them. Moreover, they are all still marooned on a desolate asteroid with no hope of rescue, and must use all their meagre resources to save themselves. This gritty tale of endurance and integrity was mostly illustrated by fellow Scot Colin Andrew as Jordan was busily preparing art for a proposed Jeff Hawke Sunday page, which tragically never materialised, although that art was recycled as 18th adventure ‘Pastmaster’.

It was a return to Earth and satirical commentary with the next tale. ‘Wondrous Lamp’ (13th September 1960 to 11th March 1961) opens in second century Arabia when an alien survey scout crashed at the feet of wandering merchant Ala Eddin, briefly granting him great powers before his timely comeuppance.

Nearly two thousand years later the ship – which looks a bit like a lamp – precipitates a crisis when its teleportation circuits lead to an invasion by a couple of million of the universe’s toughest warriors…

This brilliantly quirky tale, like all the best science-fiction, is a commentary on its time of creation, and the satirical view of Whitehall bureaucracy and venality, earthbound and pan-galactic, is a wry, dryly cynical delight, as as telling now as it was in the days before the Profumo Affair.

Chalcedon returns for the final tale in this volume. ‘Counsel for The Defence’ (13th March -August 2nd 1961) sees Hawke and Maclean press-ganged into the depths of Intergalactic Jurisprudence as the Overlord, brought to Justice at last, chooses interfering Earthman Hawke as his advocate in the upcoming trial. Naturally the villain has a sinister motive and naturally nothing turns out as anybody planned or expected it to, but the art is breathtaking, the adventure captivating and the humour timeless…

Jeff Hawke is a rightly revered and respected milestone of graphic achievement almost everywhere except its country of origin. Hopefully there will be more attempts to reprint these graphic gems – at least digitally – that will find a more receptive audience, and maybe we’ll even get to see those elusive earlier stories as well.
© 2007 Express Newspapers Ltd.


By John M. Burns & Richard O’Neill (First American Edition Series)
ISBN: 0-912277-23-8

If you indulge in the wonders of comics for any appreciable length of time you’ll increasingly find yourself becoming something of an apologist.

“I just like the artwork.”
“They’ll be worth money one day.”
“It’s a metaphor for…”

You get the idea. I often end up having to explain away situations and depictions that might seem (or actually are) racist, sexist or – worst of all – painfully naff, and at first glance, this book and its contents might easily confirm most if not all of those charges.

But I’m not apologising and I urge you not to rush to judgements.

The prime reason for this is the illustrator. John M. Burns is an international star of comics but still remains largely unsung in his own country – which, considering the sheer breadth and quality of his output, is possibly the greatest compliment I can pay him. Britain has always been painfully ignorant of its comics heroes…

Born in Essex in 1938 he apprenticed at Doris White’s Link Studios in 1954 before moving on to Amalgamated Press where he worked on “Young Juvenile” titles such as Junior Express, Girl’s Crystal and School Friend, before graduating to the luxurious photogravure mainstream comic Express Weekly a year later.

After National Service (we used to conscript our young men for two years’ military training in those hazy Cold War days – just in case…) which found him in the RAF and sent to Singapore, he returned to comics in 1961, adapting Wuthering Heights for DC Thomson’s Diana and drew Kelpie in Odhams’ revolutionary weekly Wham!

Spreading himself far and wide, Burns followed Ron Embleton on Wrath of the Gods in Boy’s World and Eagle (scripted by Michael Moorcock – now there’s a strip crying out for collection), as well as The Fists of Danny Pike, Dolebusters and Roving Reporter. He was part of the inimitable and beloved artist stables working on the Gerry Anderson licensed titles TV Century 21 and its sister magazines – and particularly impressive on Space Family Robinson in Lady Penelope.

From 1965 he worked increasingly for newspapers, beginning with The Tuckwells in The Sunday Citizen, The Seekers for The Daily Sketch (1966-1971), Danielle in the Evening News (1973-74), George and Lynne (1977-1984) and The Royals – the official strip biography of Prince Charles and Diana Spencer (1981) in The Sun. He also too-briefly illustrated Modesty Blaise in The Evening Standard. You can see for yourself by picking up Modesty Blaise: Yellowstone Booty

He revived and worked on the legendary Jane for the Daily Mirror (between 1985 and 1989) and has intermittently worked on many others. He was selected to conclude Jim Edgar & Tony Weare’s incredible, immaculate long-running western Matt Marriot in 1977.

Burns’ TV-related work is magnificent. He has worked on licensed series for Look-In, TV Action and Countdown, illuminating the print adventures of UFO, Mission Impossible, The Tomorrow People, Bionic Woman, How the West Was Won and others. For Germany, he drew the strip Julia (also known as Lilli) and worked with Martin Lodewijk on fantasy series Zetari before in 1980 beginning his long association with infamous British science fiction comic 2000AD, where he has worked on Judge Dredd, Trueno, Nikolai Dante and his own Bendatti Vendetta.

He is also a regular adaptor of significant literary masterpieces, having already completed pictorial versions of Lorna Doone, Wuthering Heights and Jane Eyre.

So, what about Danielle?

1973 was the height of the much-maligned and deliberately misunderstood “Sexual Revolution”, with women demanding equal rights, equal pay and fair treatment (and isn’t it marvellous that they’ve got all those things now?). Contraception was becoming readily available, apparently everywhere bras were burning, and men thought that sex wasn’t going to be so expensive anymore.

It was a reactionary Male Chauvinist Pig’s Dream, and unrepentant, old-school stand-up comedians were having a field day.

I’m not sure how many of the various editors of daily and Sunday papers were supporters of the Women’s Liberation movement, or whether they simply found a great excuse to turn the industry’s long tradition of naked birds on the comics pages into something at least nominally hip, political and contemporary. I do know that an awful lot of new features appeared, with strident (if not actually liberated), forceful women who nevertheless still had hunky take-charge boyfriends in tow… but not for very long.

One of them was Danielle: at first glance an all-purpose fantasy saga in the sound tradition of Garth, but as the saga unfolded, one that developed beyond its superficial beginnings. The strip launched on Monday, September 17th 1973, introducing a willowy blonde heroine: a rebel against an oppressive regime, and one whose railing against the system resulted in her banishment.

Her crime? She had loved a man.

Danielle had returned to the planet Janus to overthrow her own mother, whose matriarchal dictatorship had kept men as subservient sex-slaves, and to rescue her truly beloved Zabal from the State Brothel he had been condemned to (stop sniggering).

Reversing many of the cherished trappings of Flash Gordon, Danielle fought monsters and militarists before she and Zabal escaped, using a magical Pendant of Power to leap into the chaos of time and space. From then on, the pair roamed the universe like buff, unclad Doctor Who extras, first landing in futuristic Britain in ‘Master Plan’ where the previous situation is utterly reversed and women have been drugged into subservient submission whilst a highly commercialised male hegemony rules virtually unopposed.

When Zabal’s head is turned by freedom and testosterone-soaked male dominance, he betrays Danielle until she unites with the all-female resistance and helps overthrow the Masters. Reunited – but not quite as trusting anymore – the nomadic lovers are then whisked by the Pendant to ‘The Dump’: an intergalactic penal colony where she is the only woman, before the space eddies tear them apart and Zabal is lost…

In ‘Dark Genesis’ Danielle lands on a desolate world where rejects from a super-alien’s genetics program attempt to save her from becoming their creator’s latest stock-breeder. After defeating the alien with old-fashioned common sense, the hapless voyager then materialises at a ‘Black Sabbath’ in 1660 Edinburgh.

Mistaken for a demon, she finds herself at the mercy of Puritan witch-finders and corrupt, debased officers of Cromwell’s New Model Army…

Appalling as these summations perhaps sound, Richard O’Neill’s scripts are a wry and canny counterpoint to the strident zeitgeist of the times. Brought in to overhaul Burns’ initial proposal, the ex-TV 21 editor imposed a studied balance to what was always intended to be a slight, escapist, lad-ish girly-strip with lots of ogle-worthy nudity and loads of fantasy action.

With deliberate overtones of H.P. Lovecraft and Philip José Farmer, the military historian added a knowing lightness to the proceedings which – married to Burn’s imagination and incredible monochrome line-work – resulted in a delight of self-deprecatory storytelling which is far, far from the exploitative, pandering lip-service it might first seem to be.

Nevertheless, the sterling efforts couldn’t save the feature. ‘Superstar’, the last story in this slim black and white, impossibly scarce volume, deviates from the established format as Danielle lands on a Hollywood film set in 1930.

Quickly co-opted by a zany movie director, she becomes a reluctant rising star before being reunited with Zabal who has been marooned on Earth for decades. Roaring along at a rather brisk pace and played strictly for gentle laughs, this final tale abruptly ended Danielle’s cosmic capers on September 14th 1974. Not included in this book is her 54-day revival from 1978, but I suspect that’s for the best…

Heavy-handed at first glance, but stunningly beautiful to look upon; this is a strip with plenty to say about the times it came from and perhaps one that might finally find a welcoming readership in these oh-so-perfect modern days, if only someone can resurrect and reprint it.
© 1984 Associated Newspapers Group. All rights reserved.

Corpse Talk: Ground-Breaking Scientists

By Adam & Lisa Murphy (David Fickling Books)
ISBN: 978-1-910989-80-7

The educational power of comic strips has been long understood and acknowledged: if you can make the material memorably enjoyable, there is nothing that can’t be better taught with pictures. The obverse is also true: comics can make any topic or subject come alive… or at least – as here – outrageously, informatively undead…

The conceit in Corpse Talk is that famous personages from the past are exhumed for a chatty, cheeky This Was Your Life talk-show interview that – in Reithian terms – simultaneously “elucidates, educates and entertains”. It also often grosses one out, which is no bad thing for either a kids’ comic or a learning experience…

Another splendid album release culled from the annals of The Phoenix (courtesy of those fine saviours of weekly comics at David Fickling Books) this thoughtfully themed collection opens with another scene-setting chat from your scribbling, cartooning host Adam Murphy (ably abetted off-camera by Lisa Murphy) before we get to know a serried selection of “dead brilliant scientists” in what might well be their very own – post-mortem – words…

In order of date of demise our funny, fact-loving host begins these candid cartoon interviews in a tutorial from ‘Aristotle: Philosopher 384-322BCE’, supplemented by an in-depth peek into the world-changer’s educational practices in ‘School of Life’ after which noted streaker ‘Archimedes: Mathematician 287-212BCE’ shares his version of the infamous “eureka moment” and ingenious military inventions. The most lethal of these then get special attention in sidebar feature ‘Calculated Aggression’.

Muslim scholar ‘Al-Haytham: Natural Philosopher 965-1040’ discusses his service with the Caliph of Egypt and discoveries in optical science, and his greatest invention is examined in follow-up feature ‘Camera Obscura’. Tragic Italian genius ‘Galileo Galilei: Astronomer 1564-1642’ recounts his star-gazing triumphs and the response of the Catholic Church – augmented by a rapturous spread depicting ‘Secrets of the Solar System’ – and a grossly misused scientific pioneer who founded the principles of entomology (before being written out of history by male historians and scientists) tells her story in ‘Maria Sibylla Merian: Entomologist 1647-1717’ and describes the linked ‘Circle of Life’ she discovered by observing caterpillars, cocoons and butterflies…

Noted egomaniac ‘Isaac Newton: Natural Philosopher 1642-1727’ has his say next, with ancillary features on ‘Laying Down the Laws’ and ‘Newton’s Three Laws of Motion’, culminating in the instructions on how to make ‘A Home-made Hovercraft’

‘Edward Jenner: Physician 1749-1823’ describes how his observations led to the eradication of smallpox (with the process broken down into grotesquely captivating ‘Vaccination Stations’) after which forgotten woman ‘Mary Anning: Palaeontologist 1799-1847’ reveals the true history of fossil hunting and evolutionary observation – including a quick tour of ‘The Jurassic World’ – before ‘Lovelace & Babbage: Mathematicians 1815-1852 & 1791-1871’ delves deep into the lives of computer visionaries Ada Lovelace and Charles Babbage, who devised calculating machines and systems long before science and engineering had the facilities to construct them. Unable to physically enjoy the fruits of their labour, the dead clever thinkers can at least play here with a modern version of ‘The Difference Engine’ since built to honour them at London’s Science Museum….

‘Von Humboldt: Explorer, Naturalist, Geographer, Etc… 1769-1859’ was a true Renaissance man and master of many disciplines, which he used in his five-year voyage of scientific discovery. As well as the 3500 species of flora and fauna he catalogued in one trip he also formulated the concept of ‘Habitat Zones’ (perfectly explained here in graphic terms following his “piece to camera”).

You may have heard of revolutionary medical reformer ‘James Barry: Doctor 1790s-1865’ but did you know that she was actually Margaret Anne Bulkey, a young woman who refused to let her gender hinder her dreams in an exclusively male-dominated world. Her innovations and changes in military hospitals saved millions of soldiers and civilians, and her influence is celebrated in sidebar feature ‘A History of Infection’. Meanwhile, the world-shattering observations of ‘Charles Darwin: Naturalist 1809-1882’ whilst aboard HMS Beagle are interpreted in the savant’s own individualist manner, with a follow-up detailing his theories through ‘Darwin’s Finches’.

Russian superstar ‘Dmitri Mendeleev: Chemist 1834-1907’ outlines his epic struggle to classify, decipher and order the elements, complete with a fully-updated version of his ‘Periodic Table’ before the profound discoveries – and their personal cost – of ‘Marie Curie: Chemist & Physicist 1867-1934’ bring us into the modern age of intellectual endeavour, via a chilling warning of the repercussions of her ‘Killer Research’.

Born a slave and self-taught, ‘George Washington Carver: Botanist & Inventor 1860s-1943’ transformed America and the world with his discoveries in Agriculture. His astounding life is précised here and validated in supplemental feature ‘Nuts About Nuts!’ sharing the secret of making peanut butter…

Apparently the closest thing to an actual Mad Scientist the world has ever known, ‘Nikola Tesla: Inventor 1856-1943’ tries to clear his name and reputation whilst latterly describing his battle with his greatest rival in ‘Edison vs Tesla in… the War of the Currents’ after which the Digital Age begins thanks to the efforts of ‘Alan Turing: Computer Scientist 1912-1954’. His wartime work with decoding and cipher chasing is then commemorated in ‘An Enigma Wrapped in a Mystery’ giving us all a chance to tinker with our own (simplified) Enigma Machine…

Last Big Brain in the box, ‘Albert Einstein: Physicist 1879-1955’ then gleefully explains one of his most universally misunderstood theories and laments the misuse of his work through his own personal history and ends the scientific history lessons on a high note with another in ‘It’s All Relative…’

Smart, irreverent, funny and splendidly factual throughout, Corpse Talk cleverly but unflinchingly deals with history’s more tendentious moments whilst personalising the great and the good for coming generations.

It is also a fabulously fun read no parent or kid could possibly resist. Don’t take my word for it though, just consult with any of the clever cadavers in question…

Text and illustrations © Adam & Lisa Murphy 2017. All rights reserved.
Corpse Talk: Ground-Breaking Scientists will be released on 7th September 2017 and is available for pre-order now.

Eagle Classics: Riders of the Range

By Charles Chilton, Jack Daniel & Frank Humphris (Hawk Books)
ISBN: 978-0-94824-827-6

In the 1950s Cowboys and Indians ruled the hearts and minds of the First World public. Westerns were the most popular subject of books, films and comics in Britain, America and most of Europe. The new medium of television screened both recycled cowboy B-movies and eventually serials and series especially created for the stay-at-home aficionado.

Some examples were pretty good and became acknowledged as art – as is always the way with popular culture once it gains a few decades and the polished veneer of fond nostalgia – whilst most others faded from memory, cherished only by the hopelessly past-imprisoned and fannishly-driven.

One entertainment arena I didn’t list was radio: a medium ideal for creating spectacular scenarios and dreamscapes on a low budget. However, the BBC (the sole British radio broadcaster of the post-war period) even managed a halfway decent Western/musical show called Riders of the Range. It was written by producer/director Charles Chilton and ran from 1949 until 1953, six series in total.

At the height of its popularity Riders was adapted as a comic strip in Eagle, which already featured the strip exploits of the immensely successful radio star P.C. 49. The hugely successful weekly anthology magazine had already trialled one cowboy strip – Seth and Shorty – but promptly dropped it. With a popular show to bolster it the pictorial Riders of the Range began as a full-colour page in the first Eagle Christmas edition (December 22nd 1950; volume 1, No. 37) and ran continuously until 1962, surviving the demise of its radio parent and becoming the longest-running western strip in British comics history. In all that time it only ever had three artists.

The first was Jack Daniel, an almost abstract stylist in his designs who worked in bold (almost primitive) lines, but whose colour-palette was years ahead of his time. Crude and scratchy-seeming, his western scenarios were subversive and subliminal in impact. He had previously worked on the newspaper strip Kit Conquest. His “European” style of illustration was notoriously unpopular with Editor Marcus Morris and apparently led to the illustrator’s replacement…

Author Chilton had a deep and abiding fascination with the West and often wrote adventures that interwove with actual historical events, such as ‘The Cochise Affair’ included in this splendid oversized paperback collection. It was the second adventure and had heroic Jeff Arnold and sidekick Luke branding cattle for their “6T6” ranch near the Arizona border when they find a raided homestead.

A distraught, wounded mother begs for help and reveals that Indians have stolen her little boy. Taking her to Fort Buchanan, Arnold becomes embroiled in a bitter battle of wills between Chief Cochise and Acting Cavalry Commander Lieutenant George N. Bascom. The lean sparse scripts are subtly engaging and Daniel’s unique design and colour sense – although perhaps at odds with the more naturalistic realism of the rest of Eagle’s drama strips – make this a hugely enjoyable lost gem.

Angus Scott took over from Daniel with ‘Border Bandits’ (September 7th 1951), but was not a popular or comfortable fit and departed after less than a year. With only a single page of his art reprinted here, it’s perhaps fairest to move on to the artist most closely associated with the strip.

Frank Humphris was a godsend. His artwork was lush, vibrant and full-bodied. He was also as fascinated with the West as Chilton himself and brought every inch of that passion to the tales. From July 1952 and for the next decade Chilton and Humphris (with a few one-off and Christmas Annual contributions from Jesús Blasco, Giorgio Bellavitis and Roland Davies) crafted a thrilling and even educational western saga that is fondly remembered to this day. His tenure is represented here by ‘The War with the Sioux’

In 1875 gold was discovered in the Black Hills of Dakota and the resultant rush of prospectors resulted in the Cavalry being dispatched to protect them from the incensed Indians. Hired as intermediaries and scouts, Jeff and Luke are increasingly helpless as the situation worsens, resulting in the massacre at Little Big Horn. There have many tales woven into this epochal event, but the patriotically dispassionate creativity of two Britons have united here to craft one of the most beautiful and memorable…

The day of the cowboys’ dominance has faded now but the power of great stories well told has not. Although still relatively easy to find in second hand shops or online, this is a series and a book worthy of a more extensive revival, and well worthy of being resurrected at least as a digital edition. Let’s hope someone with the power to do something about it agrees with me. We’d all be winners then…
Riders of the Range © 1990 Fleetway Publications. Compilation © 1990 Hawk Books.

Garth: The Cloud of Balthus

By Jim Edgar & Frank Bellamy, with John Allard (Titan Books)
ISBN 10: 0-90761-034-X                   ISBN: 978-0-90761-034-2

British Superman Garth first appeared in the Daily Mirror on Saturday, July 24th 1943, the creation of professional cartoonist Steve Dowling and BBC radio producer Gordon Boshell, at the behest of the editor who wanted an adventure strip to complement their other comic strip features, Buck Ryan, Belinda Blue Eyes, Just Jake and immortal, morale-boosting Jane.

A blond giant and physical marvel, Garth washed up on an island shore and into the arms of a pretty girl, Gala, with no memory of who he was. Nonetheless he saved the entire populace from a brutal tyrant and a legend began. Boshell never had time to write the series, so Dowling, already producing the successful family strip The Ruggles, scripted Garth until a new writer could be found.

Don Freeman dumped the amnesia plot in ‘The Seven Ages of Garth’ (which ran from September 18th 1944 until January 20th 1946) by introducing imposing jack-of-all-sciences Professor Lumiere whose psychological experiments regressed the burly hero back through some past lives.

In the next tale ‘The Saga of Garth’ (January 22nd 1946 to July 20th 1946) his origin was revealed. As a child, he’d been found floating in a coracle off the Shetlands and adopted by a kindly old couple. When grown he became a Navy Captain until he was torpedoed off Tibet in 1943…

Freeman continued as writer until 1952 (‘Flight into the Future’ was his last tale), and was briefly replaced by script editor Hugh McClelland (who only wrote ‘Invasion From Space’) until Peter O’Donnell took over in February 1953 with ‘Warriors of Krull’.

He wrote 28 adventures until resigning in 1966 to devote more time to his own strip; something he called Modesty Blaise.

His place was taken by Jim Edgar; a short-story writer who also scripted such prestigious newspaper strips as Matt Marriott, Wes Slade and Gun Law.

Dowling retired in 1968 and his long-time assistant John Allard took over the strip until a suitable permanent artist could be found. Allard completed ten complete tales until Frank Bellamy began a legendary run with the 13th daily instalment of ‘Sundance’ (which ran from 28th June to 1 October 11th 1971).

Allard remained as background artist and assistant until Bellamy took full control during ‘The Orb of Trimandias’.

One thing Professor Lumiere had discovered and which gave this strip its distinctive appeal – even before the fantastic artwork of Bellamy elevated it to dizzying heights of graphic brilliance – was Garth’s involuntary ability to travel through time and re-experience past and future lives. This simple concept lent the strip an unfailing potential for exotic storylines and fantastic exploits, pushing it beyond its humble beginning as a British response to Siegel and Shuster’s American phenomenon Superman.

The tales in this criminally out of print monochrome tome begin with the aforementioned ‘Sundance’ as mighty Garth is sucked back to 1876 to relive his life as an officer of George Custer’s 7th Cavalry on the Eve of the Battle of the Little Big Horn.

The time-tossed titan has a brief but passionate love affair with Indian maiden Falling Leaf before dying valiantly for his beliefs and their love. It is an evocative, powerful tale that totally captures the bigotry, arrogance and futility of the White Man and the tragic demise of the Indian way of life…

Then eponymous epic ‘The Cloud of Balthus’ shows the open, simple elegance of the narrative concept in Garth. Whilst vacationing in the Caribbean our hero becomes embroiled in an espionage plot involving freelance super-spies and a US space station, but even that is mere prelude to fantastic adventure and deadly terrors when he and his delectable, double-dealing companion Lee Wan are abruptly abducted by nebulous energy beings in a taut, tension-fraught thriller.

‘The Orb of Trimandias’ plunges Garth back in time to the Venice of the Borgias, when he becomes again English Soldier-of-Fortune Lord Carthewan: a decent man battling an insane and all-powerful madman for the secret of a supernaturally potent holy relic. This gripping, exotic yarn is replete with flamboyant action, historical celebrities, sexy women and magnificently stirring locales. It’s a timeless treasure of adventure that has the added fillip of briefly reuniting Garth with his star-crossed true love, the ethereal Space Goddess Astra.

This lovely volume (long overdue for re-issue – at least in digital form if no other way is possible) concludes with a high-octane gothic horror story. ‘The Wolfman of Ausensee’ sees Garth as a rather reluctant companion of movie starlet Gloria Delmar on a shoot at the forbidding Austrian schloss (that’s a big ugly castle to you) of a playboy whose family was once cursed by witches.

Despite the title giving some of the game away, this is still a sharp and savvy spook-fest that ranks easily amongst the best Hammer Horror films, and just gets better with each rereading.

Garth is the quintessential British Action Hero – strong, smart, good-looking with a big heart and nose for trouble. His back-story gives him all of eternity and every genre to play in and the magnificent art of Frank Bellamy also made his too-brief tenure a stellar one.

Comic-strips seldom get this good, and even though this book and its sequel are still relatively easy to come by, it is still a crime and a mystery that all these wonderful tales have been out of print for so long.
© 1984 Mirror Group Newspapers. All rights reserved.

Bunny vs Monkey Book 4

By Jamie Smart (David Fickling Books)
ISBN: 978-1-910989-79-1

Since its premiere in 2012, The Phoenix has offered humour, adventure, quizzes, puzzles and educational material in a traditional-seeming weekly comics anthology for girls and boys. The vibrant parade of cartoon fun and fantasy has won praise from the Great and the Good, child literacy experts and the only people who really count – a dedicated and growing legion of totally engaged kids and parents who read it avidly…

The publishers would be crazy not to gather their greatest serial hits into a line of fabulously engaging album compilations, but they’re not so they do. The latest of these is a fourth fabulous paperback-bound bout of ongoing conflict gripping a once-chummy woodland waif and interloping, grandeur-hungry hairy-brained simian…

Concocted with feverishly gleeful inspiration by Jamie Smart (Fish Head Steve!), Bunny vs. Monkey has been a Phoenix fixture from the first issue: recounting a madcap vendetta between animal arch-enemies set amidst an idyllic arcadia which masquerades as a more-or-less mundane English Wood.

Book Four boldly delves deep into the pasts of the uncanny assortment of odd critters littering and loitering around the bucolic paradise – and not before time – as the rapidly encroaching Hyoomanz are now well underway in building something called a motorway through the sylvan glades and apparently unprotected parks…

Sadly all the tail-biting tension does nothing to derail the ongoing but so-far localised war of wits and wonder-weapons which began when an obnoxious simian intruder popped up after a disastrous space shot went awry.

Having crash-landed in Crinkle Woods – a scant few miles from his blast-off site – Monkey believes himself the rightful owner of a strange new world, despite the continual efforts of reasonable, sensible, genteel, contemplative Bunny. For all his patience, propriety and good breeding, the laid-back lepine just cannot contain the incorrigible idiot ape, who is a rude, noise-loving, chaos-creating troublemaker…

These collected volumes dispense disaster-drenched doses of daftness in six-month courses of ill-treatment and this book describes Year Two: July-December after another vivid Contents page and character catch-ups and score-cards, plus a double-page spread pinup…

The already fraught atmosphere of the forest gets another unnecessary shot of adrenaline as ‘A New Challenger Appears’ in the fuzzy form of The Maniacal Badger, resolutely challenging resident reprobate Skunky (a brilliant inventor with a bombastic line in animal-themed atrocity-weapons and a secret agenda of his own) for the title of top mad scientist, after which Monkey wrecks a playground but loses face once Bunny gets him to share a ‘See-Saw!’

Skunky horrifies blithering innocents Weenie Squirrel and Pig when his ‘Grav-O-Box’ sets the river running backwards but when co-conspirator Monkey ruins the test flight of his Hot Air Balloon Jet Engines and propels them ‘Around the Woods in 80 Seconds’ the malcontents themselves are the only ones to suffer…

Sinking into over-indulgence the simian stinker has to take drastic action after becoming a ‘Fat Monkey’ before stealing some building machinery from the Hyoomanz in ‘Monkey at Work’

Skunky upsets the balance of nature – and value of custard – after creating aberrant lifeform ‘The Wobbles!’ before every animal pulls together when a Hyooman wanders in and Bunny orders ‘Battle Stations’. Skunky then stupidly makes things so much worse by splicing Science to Nature and releasing ‘The Vines’

An annoying game of ‘Poink!’ drives everybody bonkers but welcome terror returns after the colossal ‘Monkeytron!’ rampages through the trees, just in time to greet rocket scientists searching for a test monkey they lost in the very first episode…

Pig’s origin is revealed in the cleverly obfuscatory (not!) ‘A Pig on the Range’ after which Park Ranger Derek P. Brigstocke has a close encounter with a net and ‘A Bear Bum!’ and irrepressible yet lonely cyber-crocodile ‘The Incredible Metal Steve’ undergoes a ferocious metal-morphosis even as ‘Bunny Vs. Monkey!’ finds our notional stars getting back to bruising basics in their never-ending struggle…

After a troop of Hyooman cub scouts fail to ‘Catch That Bunny’ Pig and Squirrel dig up ‘Worms’ and take the slimy earth-movers fishing, but not in any way you’ve seen before, whilst ‘Goodbye, Bunny’ finds our pacifist protagonist plunging deep into the distant city in search of his origins even as Pig becomes a dragon-slaying knight in ‘Arise, Lord Wuffywuff!’

…And none too soon as it happens, since with snow falling the Maniacal Badger returns to worry the woodland folk with ‘The Thing!’ he’d stolen from the Hyoomanz Building Site, prompting a desperate search for natural leader Bunny: a trail that takes them to a comfortable suburban hutch and ‘A Place Where You Belong’

Reunited with the Crinkle Woods critters, Bunny finds a time machine and – by accidentally visiting ‘Once Upon a Time’ – discovers the true secret of Skunky’s vast and evil intellect in an extra-long extravaganza which segues straight into the formation of sadly deficient superhero team the Rather Good Squad in ‘Choose Your Side!’

With Christmas fast approaching, festivities are briefly disrupted by marauding ‘Snow Meanies’ before the Builders try secretly bulldozing the Woods only to be stopped by Monkey, gleefully brain-battered, bewildered former stuntman Action Beaver and ‘The Real Santa!’

The madcap mayhem concludes with a portentous epilogue as ‘Door B’ opens to reveal the ultimate triumph of the ultimate villainous mastermind, but that’s…

To Be Continued

The absolute acme of absurdist adventure, Bunny Vs Monkey is well on the way to becoming a British Institution of weird wit, brilliant invention and superb cartooning: an utterly irresistible joy for grown-ups of every vintage, even those who claim they only get it for their kids…
Text and illustrations © Jamie Smart 2017. All rights reserved.

Bunny Vs Monkey Book Three will be released on 6th July 2017 and is available for pre-order now.

Sleaze Castle: Directors Cut (Part #0)

By Dave McKinnon & Terry Wiley with various (Cosmic Ray Gun Incorporated/Markosia)
ISBN: 978-1-905692-93-4                  978-1-62098-068-2

I’m old, me. I’ve been around for a bit and met a few folks. So, as occurs when I’m reviewing something by people I’ve gone drinking with, I feel compelled to admit to potential conflicts of interest such as here.

The Society of Strip Illustrators/Comics Creators Guild used to meet on the last Thursday of every month in London. In highly refined and dignified surroundings old lags and aspiring talents rubbed scruffy, grimy, dandruffed – occasionally scrofulous – shoulders, talking comics old and new whilst showing off what we were up to.

Always a fun, laid-back evening, those occasions when the laconic Terry Wiley would turn up from Points North with copies of the latest self-published issue of Tales From Sleaze Castle were especially un-memorable: a combination of subsidised booze and the fact that most folks immediately buried their heads in the mesmerising, transcendentally British, trans-dimensional, time-busting kitchen sink comedy/drama/nostalgic fantasy buddy-movie of a comic and lost all power of speech until they’d finished…

It’s just that good – probably the very best home-grown comic saga you’ve never read – and it also holds strong claim to probably exploiting the very best and most appalling literary puns in all sequential narrative.

Scripted by the equally demi-mythical Dave McKinnon, the epic adventure is rendered pretty straightforward but also nearly indescribable. The story unfolds in a progression of mini-chapters and vignettes which act as diary and six-month countdown to an inescapable, predestined event…

After a rather bemused Introduction from author McKinnon, this edition of the monochrome masterpiece of wacky understatement starts with ‘Another Earth, Another Dimension, Another Reason to Go Shopping’ and a brace of ‘Prologues’ in which we meet incomprehensibly ancient Pandadomino Quartile, puissant albino Empress of another Realm of Reality and undisputed dominant resident of the incredible, infinite domicile dubbed Sleaze Castle.

Also brought to our attention are the thoroughly grounded though no less implausible Dribble family of Earth; mother Poppy, younger daughter Petra and her older sister Jocasta, befuddled student and co-star of our show…

As post-grad Jo returns to college in the astonishingly attractive if uncivilised Northern wilds of England and her ongoing M.A. in Televisual Studies, far away in soft, cosmopolitan London, the Queen (not ours, the other, alien one) goes shopping. It is ‘Sep. ’86: Castaway’ and there’s about to be a small hitch…

When the time/space door malfunctions Pandadomino is annoyingly stranded here. Establishing shaky communications with home she is assured that things will be fixed but it will take six months to retrieve her. Moreover, the portal will only appear in another location…

An incoming call then gives further details and instructions. It’s from herself who has literally just returned to Sleaze Castle and she has some advice for her younger, stranded self. It’s quite bizarre, paradoxical and tediously specific instructions on what to do for the next 178 days so she’d better get a pencil…

Jocasta Dribble is on ‘Autopilot 11:23’ as she makes her way from the railway station to her room in the Ethel Merman Hall of Residence at the University of Novocastria.

As usual the trip is fraught with wool-gathering and petty weirdnesses but eventually she slumps onto her term-time bed and makes the acquaintance of her new neighbour.

The oddly naive girl with the shock of black hair, exotic face and too much eye makeup is from Thailand.

Sandracall me PandaCastle has absolutely no idea about living in England so Jo takes her under her maternal wing, blithely oblivious that her new friend is an unwilling extraterrestrial immigrant, used to commanding vast armies and geniuses of various species, cunningly disguised with dyes and contact lenses. Moreover, the strange stranger has used all her wiles to cheat her way into the room next door which will, some months’ distant, very briefly become an inter-dimensional gateway before snapping shut forever…

And thus begins the gentle and seductively enchanting story of the growing relationship between two of the most well-realised women in comics. As geeky outsider Jo at last blossoms into a proper grown-up – she even finds a boyfriend, more than a decade after her precocious schoolgirl sister Petra – her instruction of the oddly sophisticated “Thai” into British civilisation and college life is simultaneously heart-warming, painful, hilarious, poignant and irresistibly addictive to watch.

It’s also deliciously inclusive and expansive: packed with what 21st century consumers apparently call “Easter Eggs”. These hidden nuggets of in-jokes, wry observations and oblique cultural and comics references are witty and funny enough in their own right, but if you were in any way part of the comics scene in the late 1980s they are also an instant key into golden times past, packed with outrageous guest-appearances by many of the upcoming stars and characters of the British cartooning and small press movement.

(Whilst the absolutely riveting scenes of Jo and Panda trying out both Novocastria’s Women Cartoonist Society and all-male Komik Klub are timeless slices of shtick to you lot, they were a solid reminder of times past and people I still owe Christmas cards to…)

Panda spends her first Christmas ever with the Dribbles and their ferociously Italian extended family but, as the days are counting down, the displaced millennia-old queen is beginning to wonder what will happen once she leaves…

Astoundingly there are people and places and things and people and one person in particularly who is apparently unique and irreplaceable even in the unending pan-cosmic Reality she owns. There’s this friend she’s really can’t bear to lose…

Beautifully scripted, alluringly paced and exquisitely rendered, this book would be paralysingly evocative for any Brit who went to college between 1975 and 1990, but what makes it all so astonishingly good is the fact that this delightful melange of all the things that contributed to our unique culture are effortlessly smooshed together as mere background for a captivating tale of two outsiders finding friendship through adversity and by perpetually lying to each other…

There have been comparisons to Los Bros Hernandez’ Love and Rockets but they’re superficial and unfair to both. I will say though that both are uniquely the product of their own time and regional geography…

This collection also includes a cover gallery and pin-ups as well as the additional plus of ‘And Finally… Three Lost Tales’ which features an aspect of the business I really miss.

A few of the self-publishing community cameoed in the Women Cartoonist Society and elsewhere – in a spirit of communal tit-for-tat – collaborated on side-bar stories featuring Panda, Jo and the rest during the comic’s initial run. With commentary from McKinnon they are happily re-presented here, so even after the cliffhanger story-pause you can still have a laugh with ‘The Rules of the Game part I’ by Lee Kennedy, ‘The Rules of the Game part II’ by Lee Brimmicombe-Wood and what I’ll call ‘An Idea in a Book is Worth Two in the Head’ by Jeremy Dennis.

You’ll need to buy this book to realise why…

Made even better by a gallery of gripping covers, calendar art and more, this a superb collation by lovers of comics for lovers of comics, and now that I’ve read this brand-new e-Edition with its remastered pages and fresh snippets of original material I’m going to forgo re-reading the next three volumes in those well-worn Gratuitous Bunny Editions I bought years ago in favour of these safely unwrinkled-able, spunkily perky digital tomes too.

And if you have your own temporal retrieval system or a computer and a credit card – you can do likewise…
Sleaze Castle is ™ & © 1992, 2012 Dave McKinnon & Terry Wiley. This edition ™ & © Dave McKinnon, Terry Wiley and Markosia Enterprises, Ltd. All rights reserved. Three Lost Tales © 1996, 2012 Lee Brimmicombe-Wood, Lee Kennedy and Jeremy Day.

Doctor Who Graphic Novel #24: Emperor of the Daleks

By Dan Abnett, Paul Cornell, Warwick Gray, Richard Alan, John Ridgway, Lee Sullivan, Colin Andrew & various (Panini Books)
ISBN: 978-1-84653-807-0

The British love comic strips and they love celebrity and they love “Characters.”

The history of our graphic narrative has a peculiarly disproportionate amount of radio comedians, Variety stars and film and television actors such as Charlie Chaplin, Flanagan & Allen, Shirley Eaton (“The Modern Miss”), Arthur Askey, Winifred Atwell, Max Bygraves, Jimmy Edwards, Charlie Drake and their ilk as well as actual shows and properties such as Whacko!, ITMA, Our Gang (a British version of the Hal Roach film sensation by Dudley Watkins ran in The Dandy as well as the American comicbook series by Walt Kelly), Old Mother Riley, Supercar, Pinky and Perky and literally hundreds more.

Anthology comics such as Radio Fun, Film Fun, TV Fun, Look-In, TV Tornado, TV Comic and Countdown among others all translated our viewing and listening favourites into pictorial joy every week, and it was a pretty poor star or show that couldn’t parley their day job into a licensed comic property.

Doctor Who premiered on black and white televisions across Britain with the first episode of ‘An Unearthly Child’ on November 23rd 1963, and in 1964 his decades-long association with TV Comic began in #674 and the premier instalment of ‘The Klepton Parasites’.

On 11th October 1979 (although adhering to the US off-sale cover-dating system so it says 17th) Marvel’s UK subsidiary launched Doctor Who Weekly, which became a monthly magazine in September 1980 (#44) and has been with us – under various names – ever since. All of which only goes to prove that the Time Lord is a comic hero with an impressive pedigree.

Panini’s UK division is in the ongoing process of collecting every strip from its archive in a uniform series of over-sized graphic albums, each concentrating on a particular incarnation (those in the know refer to them as “regenerations”) of the deathless wanderer. This particular tome reprints tales plucked from the annals of history and the Terran recording dates November 1992 and July 1995.

These yarns all feature the Seventh Doctor (Sylvester McCoy – my second favourite after Patrick Troughton – but I’m sure I’ll be advised why that’s so very wrong by somebody in due course…)

This collection features both monochrome and full-colour episodes and kicks off with sinister espionage thriller ‘Pureblood’ (originally seen in Doctor Who Magazine #193-196: November 1992 to January 1993) by writer Dan Abnett and artist Colin Andrew. Here the devious Time Lord and his formidable companion Benny save the last survivors of the Sontarran race from extinction at the hands of their immortal enemies the Rutan – despite hostage humans and a spy in the embattled clone-warriors’ midst. Why save a deadly enemy? Ah well, The Doctor has a rather convoluted plan…

The epic yarn leads directly into the moody ‘Flashback’ (Doctor Who Winter Special 1992, by Warwick Gray and the superb John Ridgway) as we get a glimpse of the First Doctor (William Hartnell, keep up, keep up!) having a potentially universe- shattering falling out with his best friend: a proudly arrogant young Gallifreyan called Magnus (any guesses who he eventually regenerated as?)

The main meat of this massive collection is the eponymous ‘Emperor of the Daleks’ (Doctor Who Magazine #197-202) which reunites the dashing time meddler with his deadliest foe and their deadliest foe: Abslom Daak, a deranged maniac in love with a dead woman and determined to die gloriously exterminating Daleks…

Written by Paul Cornell and John Freeman with art from Lee Sullivan (and one chapter in full-colour thanks to the talents of Marina Graham), the sprawling epic reveals a civil war between the murderous pepperpots’ creator Davros and their current supreme commander, with the Doctor (two of them, in fact) and a motley crew of allies stirring the bubbling mix and nudging the feuding megalomaniacs in a certain direction…

And when the dust settles Richard Alan and Sullivan provide a salutary epilogue in ‘Up Above the Gods’ (Doctor Who Magazine #227, July 1995) as The Doctor explains his actions to Davros… or so, at least, the deluded devil believes…

Warwick Gray & Colin Andrew then introduce a universe where The Doctor perished in his Third Regeneration leading to a cross dimensional incursion by ours, as well as Benny and Ace, to foil the ‘Final Genesis’ of Silurian/Sea Devil renegade Mortakk (from Doctor Who Magazine #203-206) after which the full-colour fun returns in ‘Time & Time Again’ (Doctor Who Magazine #207, by Cornell, Ridgway and hues-smith Paul Vyse) with all seven incarnations of the Gallivanting Gallifreyan in action to retrieve the Key to Time in hope of stopping the Black Guardian recreating the universe in his own vile image…

Abnett and Ridgeway return to the black & white days of Kent in the 1840s for ‘Cuckoo’ (Doctor Who Magazine #208-210) as Ace and Benny understandably revolt when The Doctor seeks to steal the limelight from the first woman palaeontologist Mary Anne Wesley. His motives are quite pure: what the young scientist has found is not a missing link in human evolution but something alien that its descendants are prepared to kill for…

The dramas conclude in fine styles as Gray & Ridgway expose the ferocious spleen of the Doctor in full indignant mode as he becomes an ‘Uninvited Guest’ (Doctor Who Magazine #211) delivering judgement and punishment to a soiree of indolent and callous timeless beings who enjoyed making sport and playing games with “lesser” beings. They soon learned to their dismay that such valuations are all a matter of perspective…

Supplemented with commentaries by the original creators, this is a splendid book for casual readers, a fine shelf addition for dedicated fans of the show and a perfect opportunity to cross-promote our particular art-form to anyone minded to give comics another go…
All Doctor Who material © BBCtv 2014. Doctor Who, the Tardis and all logos are trademarks of the British broadcasting corporation and are used under licence. All other material © 2017 its individual creators and owners. Published 2017 by Panini. All rights reserved.