Category: British Annuals and Albums

Posted on

Marvel Presents The X-Men Collector’s Edition (1982 Annual)


By Roy Thomas, Neal Adams, Tom Palmer & various (Grandreams/Marvel Comics International)
ISBN: 0-86227-038-3 (HB Annual)

When Stan Lee stormed the American comic-book industry in the early 1960s, his greatest weapon wasn’t the compact and brilliant talent pool available nor even the proverbial idea whose time had come, but rather his canny hucksterism and grasp of marketing and promotion. DC, Dell/Gold Key and Charlton all had limited overseas licenses (usually in black-and-white reprint anthologies) but Lee went further, reselling Marvel’s revolutionary early efforts all over the world.

In Britain, the material appeared in Class Comics and reformatted in weeklies like Pow!, Wham!, Smash! and even the venerable Eagle. There were also two almost wholly Marvel-ised papers, Fantastic and Terrific, which ran from 1967 to 1968 with only one UK originated strip in each. These slick format comics mimicked Marvel’s US “split-books” and originally featured three key Marvel properties in each. However, appearing every seven days quickly exhausted the company’s back catalogue.

After years of guesting in other publications, Marvel secured their own UK Annuals at the end of the 1960s through the publishing arm of World Distributors and – after launching their own British-based subsidiary – began a line of hardback premium reprints which made Christmas a special treat for growing Marvelites across the Kingdom and the House of Ideas a mainstay of the Yuletide season…

This particular oddment stems from 1982: a slim, sleekly repackaged but brutally trimmed down tome abridging a classic but somewhat tale from the end of the Silver Age: specifically, X-Men volume 1, #56-59, courtesy of Roy Thomas, Neal Adams & Tom Palmer.

It begins by asking ‘What is… the Power?’ and reveals an uncanny connection between the villainous Living Pharaoh and emergent mutant Alex Summers younger brother of team leader Cyclops.

By imprisoning Alex the Egyptian mastermind transforms into a colossal Living Monolith, but when he breaks free the terrified boy’s mutant energies are unleashed with catastrophic results. Savagely edited together with issue #57 the story jumps to reveal the team’s most relentless adversaries have returned and a public witch-hunt prompts the mutant-hunting Sentinels to capture X-Men and other Homo superior across the globe.

Chapter 2, ‘Mission: Murder!’ ramps up the tension as the toll of fallen mutants increases, with Iceman, the Pharaoh, Angel and Mesmero all falling to the murderous mechanoids, but when their human controller discovers an unsuspected secret the automatons strike out on their own…

With most mutants in the Marvel universe captured, Cyclops, Marvel Girl and Beast are reduced to a suicidal frontal assault, pulling off a spectacular victory, but only at great cost…

Gone are the text stories, quizzes and game pages which traditionally padded out most British Christmas books, replaced with cover-to-cover superhero action produced by the House of Ideas at the very peak of its creativity. Moreover, it’s in full colour throughout – an almost unheard-of largesse at the time.

More a sign of changing attitudes than a celebration of good old days, this is still a quirky nostalgic treat for all concerned.
© MARVEL COMICS INTERNATIONAL LTD. All rights reserved

Posted on

Mighty Warriors Annual 1979


By Paul S. Newman, Don Glut, Dick Wood, José Delbo, Jesse Santos, Paul Norris & various (Stafford Pemberton Publishing)
ISBN: 0 86030 140 0(HB) ASIN: B001E37D7U

The comics colossus identified by fans as Dell/Gold Key/Whitman had one of the most complicated publishing set-ups in history but that didn’t matter to the kids of all ages who consumed their vastly varied product. Based in Racine, Wisconsin, Whitman was a crucial part of the monolithic Western Publishing and Lithography Company since 1915, and drew on the commercial resources and industry connections that came with editorial offices on both coasts (and even a subsidiary printing plant in Poughkeepsie, New York).

Another useful connection was with fellow Western subsidiary K.K. Publications (named for licensing legend Kay Kamen who facilitated extremely lucrative “license to print money” merchandising deals for Walt Disney Studios between 1933 and 1949).

From 1938 on, Western’s comic book output was released through a partnership deal with a “pulps” periodical publisher under the umbrella imprint Dell Comics – and again those creative staff and commercial contacts fed into the line-up of the Big Little, Little Golden and Golden Press books for children that featured in thousands of stores and newsstands. When the partnership ended in 1962 Western swiftly reinvented its comics division as Gold Key.

As previously cited, Western Publishing was a major player since comics’ earliest days, blending a huge tranche of licensed material including newspaper strips, TV and Disney titles (such as Nancy and Sluggo, Tarzan, or The Lone Ranger) with home-grown hits like Turok, Son of Stone and Space Family Robinson.

In the 1960s, during the camp/superhero boom these original adventure titles expanded to include Brain Boy, Nukla, M.A.R.S. Patrol, Total War (created by Wally Wood), Russ Manning’s Magnus, Robot Fighter and much more. There were even heroic classic monsters Dracula, Frankenstein and Werewolf which were utterly irresistible. The sheer off-the-wall lunacy of features like Neutro or Dr. Spektor I shall save for a future occasion…

Such output was a perfect source of material for British publishers whose regular audiences were profoundly addicted to TV and movie properties. For decades, Western’s comics from Frankenstein Jr. to Voyage to the Bottom of the Sea, Yogi Bear and the Beverly Hillbillies to Land of the Giants and Star Trek filled out Christmas Annuals, and along the way also slipped in a few original character concepts.

Despite supremely high quality material and passionate fan-bases, Western never really captured the media spotlight of DC or Marvel’s costumed cut-ups, and in 1984 – having lost or ceded their licenses to DC, Marvel and Charlton – closed the comics division.

crime-fighting iterations of classic movie

The company’s most recognisable stab at a superhero was an understated nuclear era star with the rather unwieldy codename Dr. Solar, Man of the Atom who debuted in an eponymous title dated October 1962, sporting a captivating painted cover by Richard M. Powers that made the whole deal feel like a grown up book rather than a mere comic.

Crafted by writers Paul S. Newman & Matt Murphy with art by Bob Fujitani, the 2-part origin detailed how a campaign of sabotage at research base Atom Valley culminated in the accidental transmutation of a scientist into a (no longer) human atomic pile with incredible, impossible and apparently unlimited powers and abilities. Of course, his very presence is lethal to all around him…

Here – sans any such useful background – the now well-established atomic troubleshooter battles his old cyborg enemy Nuro to prevent marauding energy beings using ‘The Ladder to Mars’ to invade Earth and solves ‘The Mystery Message’ before winning an outer space ‘Battle of the Electronic Fighters’. The done-in-one yarn originally appeared in Doctor Solar, Man of the Atom #27 (April 1969) crafted by Dick Wood & José Delbo.

During its lifetime the parent company was keenly attuned to trends, and when comic book Sword & Sorcery bloomed they had their own offering: a darkly toned barbarian blockbuster dubbed Dagar the Invincible. Reprinting the first issue origin of an orphan who became a vengeance-seeking mercenary ‘The Sword of Dagar’ is by Don Glut & Jesse Santos, providing motivating backstory, an epic quest and tragic doomed loves story culminating at the ‘Castle of the Skull’ as first witnessed in October 1972’s Tales of Sword and Sorcery – Dagar the Invincible #1.

Ending the outré adventure is a tale of Magnus Robot Fighter 4000 AD which comes from issue #25 (February 1969) of his US comic. The mighty mech masher was first seen in the UK as part of a Gold Key comic strip package deal comprising Tarzan, The Green Hornet, Lone Ranger, Phantom and Flash Gordon for weekly TV Tornado and here battles ‘The Micro-Giants’ – size-shifting alien automatons – and a nefarious human entrepreneur in a classy action-romp by an unidentified author and artists Paul Norris & Mike Royer.

Superb quality and a beguilingly off-beat feel makes these stories and this book a truly enticing prospect. Why don’t you give it a shot?
© MCMLXXVIII by Western Publishing Company, Inc. All rights reserved throughout the world.

Posted on

Pow! Annual 1971


By unknown writers & artists and Miguel Quesada Cerdán, Vicente Ibáñez Sanchis, José Ortiz Moya, Matías Alonso, Enric Badia Romero, Eustaquio Segrelles del Pilar, Leopoldo Ortiz & various (Odhams Books)
SBN: 60039607X

This quirky item is one of my fondest childhood memories and quite inspirational in directing my career path, and as well as being still a surprisingly splendid read I can now see it as a bizarre and desperately belated sales experiment…

By the end of the 1960s, DC Thomson had overtaken the monolithic comics publishing giant that had been created by Alfred Harmsworth at the beginning of the twentieth century. The company – variously named Fleetway, Odhams and IPC – had absorbed rivals such as The Eagle‘s Hulton Press, and stayed at the forefront of sales by latching onto every fad they had kept their material contemporary, if not fresh, but the writing was on the wall, but now

the comedy strip was on the rise and action anthologies were finding it hard to keep readers attention.

By 1970 – when this annual was released – the trend generated by the success of the Batman TV show was thoroughly dead, so why release a book of all-new superhero strips in a title very much associated with comedy features and cheap Marvel Comics reprints?

A last ditch attempt to revive the genre? Perhaps a cheap means of using up inventory?

I don’t know and I don’t care. What they produced that year was a wonderful capsule of fanboy delight, stuffed with thrills, colourful characters and a distinctly cool, underplayed stylishness, devoid of the brash histrionics of American comic books.

Conceived by tragically uncredited writers – but purportedly all created by Alan Hebden – this is a visual delight illustrated in alternating full colour (painted) and half-colour (black and magenta) sections by IPC’s European stable of artists: some of the greatest artists of the era, and delivered in a thoroughly different and grittily dark take on extraordinary champions, costumed crimebusters and the uncanny unknown…

The wonderment kicked off with ‘Magno, Man of Magnetism’ drawn by Miguel Quesada Cerdán: a valiant crimecrusher who seemed a cross between Simon Templar and James Bond, who donned his mask and used his superpowers only if things got really rough…

Eerily off-kilter sea scourge ‘Aquavenger’ was an oceanic crimefighter illustrated by The Victor veteran Vicente Ibáñez Sanchis, while ‘Mr. Tomorrow: Criminal of the Future’ – illustrated by jack of all genres Matías (Air Ace, Battle Action, Commando, The Victor, Twinkle) Alonso was an outright rebel from an oppressive state in days to come.

I don’t know who wrote or drew edgy, self-contained thriller ‘The Hunter and the Hunted’, but ‘Electro’ (no relation to the Marvel villain – other than the high-voltage shtick) is gloriously rendered by the legendary José Ortiz Moya (Caroline Baker, Barrister at Law; Smokeman; UFO Agent; The Phantom Viking; Commando Picture Library; BattlePicture Library; Vampirella; The Thirteenth Floor; Rogue Trooper; Tex Willer, Judge Dredd and many more).

In the most  traditional tale of the book, Eddie Edwards defends Surf City, USA as a voltaic vigilante and as part of the hero-heavy Super Security Bureau defeating terrors such as the crystalline marauders on view here…

Limned by future Modesty Blaise and Axa illustrator Enric Badia Romero, the fascinating psionic super-squad ‘Esper Commandos’ infiltrate and eliminate the competition before urban hunter ‘Marksman’ deals with a deadly saboteur and faux vengeful spectre ‘The Phantom’ (again no relation to any US star and illustrated by watercolours specialist Eustaquio Segrelles del Pilar) hands out summary justice decked out in a spooky uniform loaded with cunning gadgets…

We dip into the mind of a monster when aquatic horror ‘Norstad of the Deep’ – illustrated by Leopoldo Ortiz – invades the upper world but revert to heroic adventure for closing yarn ‘Time Rider’. Rendered by Ibáñez, it details how a bored genius millionaire builds a time-travelling robot horse and goes in search of adventure…

These are all great little adventures, satisfactorily self-contained, beautiful and singularly British in tone, even though most of the characters are American – or aliens (and no, that’s not necessarily the same thing). This tome easily withstands a critical rereading today, but the most important thing is the inspiring joy of these one-off wannabes. They certainly prompted me to fill sketchbook after sketchbook and determined that I would neither be a “brain surgeon nor a bloke wot goes down sewers in gumboots”. This great little tome gave me that critical push towards the fame and fortune I now enjoy, and could probably do it again!
© 1970 The Hamlyn Publishing Group Limited.

Posted on

Superboy Annual 1967


By Jerry Siegel, Otto Binder, Robert Bernstein, Dave Wood, Henry Boltinoff, John Broome, George Papp, Curt Swan, John Sikela, Carmine Infantino, Irwin Hasen & various (Atlas Publishing/K.G. Murray)
No ISBN:

Before 1959, when DC Comics and other American publishers began exporting directly into the UK, our exposure to their unique brand of fantasy fun came from licensed reprints. British publishers/printers like Len Miller, Alan Class and bought material from the USA – and occasionally, Canada – to fill 68-page monochrome anthologies – many of which recycled the same stories for decades.

Less common were (strangely) coloured pamphlets produced by Australian outfit K.G. Murray and exported here in a rather sporadic manner. The company also produced sturdy and substantial Christmas Annuals which had a huge impact on my earliest years (I strongly suspect my adoration of black-&-white artwork stems from seeing supreme stylists like Curt Swan, Carmine Infantino, Al Plastino, Wayne Boring, Gil Kane or Murphy Anderson uncluttered by flat, limited colour palettes).

This particular tome of was one of the last licensed DC comics compilations before the Batman TV show turned the entire planet Camp-Crazed and Bat-Manic, and therefore offers a delightfully eclectic mix of material far more in keeping with the traditionally perceived interests of British boys than the suited-&-booted masked madness that was soon to follow in the Caped Crusader’s scalloped wake.

Thankfully, this collection was still produced in the cheap and quirky mix of monochrome, dual-hued and weirdly full-coloured pages which made Christmas books such a bizarrely beloved treat.

Sturdily stiff-backed, the sublime suspense and joyous adventuring begins with ‘The Secret of Fort Smallville!’ by Otto Binder & John Sikela and first seen in Superboy Comics #56 (April 1957). When a celebratory historical re-enactment is highjacked by an unscrupulous  rogue and poses a tough test for the Boy of Steel, he needs the aid of native American classmate Swift Deer to crack the case. Despite being produced in a far less understanding era, this yarn displays degrees of taste and cultural sensitivity practically unheard of in mass entertainment of the time…

Cartoonist Henry Boltinoff was a prolific and nigh-permanent fixture of DC titles in this period, providing a variety of 2, 1, and ½ page gag strips to cleanse visual palates and satisfy byzantine US legal directives that allowed comics publishers to sustain cheaper postal shipping rates. He’s here in strength, as his gentle humour jibes perfectly with British tastes, opening with Homer who leans a big lesson while fishing at sea after which ‘Superboy’s Best Friend!’ (by Robert Bernstein & George Papp from Superboy #77, December 1959) tugs at heartstrings by playing on a favoured theme: that of the Boy of Steel’s isolation from kids his own age.

Here that manifests as a doomed friendship with new kid Freddy Shaw, who briefly shares all Clark Kent’s secrets, but inadvertently shares the biggest one with his criminal older brother. Cue tragedy and cover-up…

Boltinoff’s Peter Puptent, Explorer deals with arctic antics prior to the first outing of seminal comics lunacy in the hirsute form of Detective Chimp: a Florida-based stalwart who was an assistant sheriff. ‘The Riddle of the Riverside Raceway!’by John Broome, Irwin Hasen & Joe Giella (from Rex the Wonder Dog #11, September/October 1953) sees a mystery cracked as impressionable Bobo befriends a prize steed and stymies gangsters set on fixing a race, after which Binder, Curt Swan & John Forte revisit the theme of loneliness as a modern teen freshly arrived on Earth travels back in time to meet her cousin as a kid in ‘Superboy Meets Supergirl!’ (Superboy Comics #80, April 1960). There’s fun aplenty, but it can’t last…

Bobo is back as Detective Chimp solves ‘The Case of the Suspicious Signature!’ (Broome & Carmine Infantino from Rex the Wonder Dog #11, September/October 1954) when his new passion for autograph collecting accidentally inserts him into a Hollywood star’s kidnapping.

Jerry Siegel & Papp then reveal how baby Kal-El inadvertently thwarted ‘The Invasion of Krypton! (Superboy #83, September 1960) and Boltinoff’s Doctor Rocket makes merry at an atomic eatery before by Broome, Hasen & Bernard Sachs share their passion for sports when Detective Chimp rescues his favourite baseball star from kidnappers in ‘Crime Runs the Bases’ (Rex the Wonder Dog #9, May/June 1953).

Superboy #84, October 1960, provides a brace of tales by Siegel & Papp beginning with ‘The Rainbow Raider!’ as a mystery thief seemingly enslaves the Boy of Steel, after which the self-explanatory ‘Superboy Meets William Tell!’reveals how the time-travelling hero gives the Swiss legend a few pointers on battling injustice.

Broome & Infantino the transform Detective Chimp into ‘The Scientific Crook-Catcher!’ (Rex the Wonder Dog #29, September/October 1956) when the savvy simian sneaks into a symposium of savants and the old world charm and drama conclude with another western themed tale. Although now an incredibly inappropriate title, ‘The Super-Injun of Smallville!’ (by Dave Wood & Papp and again from Superboy #84) offers a heart-warming tale of redemption when a bully in a store-bought Superboy costume abuses the other kids on the nearby Corobee Reservation, until an undercover Clark Kent teaches him the error of his ways…

Gently thrilling and absorbingly uplifting, these yarns of yesteryear are timeless delights for properly supervised kids of all ages. If that’s not a good thing, what is?
© National Periodical Publications, Inc. Published by arrangement with the K.G. Murray Publishing Company, Pty. Ltd., Sydney.

Posted on

Happy Holidays, Earthlings!

These Christmas Chronicles are lavish and laudatory celebrations of good times and great storytelling but at least they’re not lost or forgotten, and should you care to try them out, the internet and a credit card are all you’ll need.

Greetings of the Season, a fruitful New Year and Happy Reading from Everybody at Now Read This!

Posted on

Hurricane Annual 1968


By Many & various (Fleetway)
No ISBN:

From the late 1950s and increasingly through the 1960s, Scotland’s DC Thomson steadily overtook their London-based competition – primarily monolithic comics publishing giant Amalgamated Press. Founded by Alfred Harmsworth at the beginning of the twentieth century, AP sought to regain lost ground, and the sheer variety of material the southerners unleashed as countermeasures offered incredible vistas in adventure and – thanks to the defection of Leo Baxendale and Ken Reid to the enemy – eventually found a wealth of anarchic comedy material to challenge the likes of the Bash Street Kids, Dennis the Menace, Minnie the Minx and their unruly kin.

During the latter end of that period the Batman TV show sent the entire world superhero-crazy. Amalgamated had almost finished absorbing all its local rivals – such as The Eagle‘s Hulton Press – to form Fleetway/Odhams/IPC and were about to incorporate American-styled superheroes into their heady brew of weekly thrills.

Once the biggest player in children’s comics, Amalgamated had stayed at the forefront of sales by latching onto every fad: keeping their material contemporary, if not strictly fresh. The all-consuming company began reprinting early Marvel Comics successes for a few years: feeding on the growing fashion for US style adventure which had largely supplanted the rather tired True-Blue Brit style of Dan Dare or DC Thompson’s Wolf of Kabul.

Even though sales of all British comics were generally – and in some cases, drastically -declining, the 1960s were a period of intense and impressive innovation with publishers embracing new sensibilities; constantly trying new types of character and tales. At this time Valiant and its stable-mate Lion were the Boys’ Adventure big guns (although nothing could touch DC Thomson’s Beano and Dandy in the comedy arena).

Hurricane was an impressive-looking upgrade that began during that period of expansion and counterattack, apparently conceived in response to DCT’s action weekly Hornet. It launched the week of February 29th 1964 and ran for 63 issues, but was revamped three times during that period before ultimately being merged into companion paper Tiger.

It carried a superbly varied roster of features in that time, including two (and a half) stars who survived its extinction. Racing driver Skid Solo and comedy superman Typhoon Tracy as well as Sgt Rock – Paratrooper… but not for so long for him…

There was heavy dependence on European and South American artists initially, among them Mario Capaldi, Nevio Zeccara, Georgio Trevisan, Renato Polese and Lino Landolfi, some of whom lasted into the Annuals. As with so many titles, although the comics might quickly fade, Christmas Annuals maintained a presence for years after and Hurricane seasonal specials were produced for every year from 1965 to 1974…

Following a tried-&-true formula, this book – published in 1967 – offers comics adventures, prose stories, fact-features, funnies and puzzles and kicks off with stunning full-colour fact feature strip ‘Lawmen and Badmen of the Wild West’.

Looking  like they’re painted by Reg Bunn or Tony Weare, these comics outline the lives and times of Wyatt Earp, Tom Smith, Black Bart, Sam Bass, Billy the Kid and Bat Masterson, before fully fictional western star Drago teaches a headstrong young cavalry officer the meaning of command in monochrome thriller ‘He Rides Alone’ – possibly illustrated by Polese.

Regular prose feature ‘The Worst Boy in the School’ (illustrated by Geoffrey Whittam?) follows a page of medical gags entitled ‘Take a dose of Chuckles!’ The long-running boarding school saga was enlivened by its star Duffy coming from Circus stock. Here the comedy, chaos and espionage excitement stems from a New Boy who’s convinced enemies of his father – a South American president – are trying to kidnap him. He’s not wrong…

Returning to monochrome strips, ‘Sgt. Rock – Special Air Service’ ferrets out Nazi infiltrators masquerading as American GIs before we switch back to fact for a photo-feature offering capacious coverage of modern British military might in ‘The Army Marches on its Wheels!’ whilst the comedy capers of ‘Rod the Odd Mod and ‘is old pal Percy Vere’ literally bring the house down when he gets the Hi Fi bug.

‘Casey and the Champ’ stars a veteran railroad man and his steam engine who here reveal in strip form the unlikely salvation of a played-out mining town as prelude to photo feature ‘Why Not Go by Balloon?’ before heading to 1804 where Regency prize-fighter Jim Trim stumbles upon a Napoleonic plot to conquer England in ‘Two Fists Against the World!’ (perhaps illustrated by Carlos Roume)…

Prose yarn ‘Carlos of the Wild Horses’ details the story of conquistadores imperilled by rebellious Aztecs and saved by the bond between the governor’s young son and a herd of mustangs and is followed by text fact-features ‘War Dogs’ – commemorating canines in combat – and ‘Atlantic Greyhounds’ explaining why the glory days of cruise liners had passed and why they could be built no bigger. Ah, the joys of schadenfreude and hindsight in action…

Next is a prose-&-photo precis current of movie release ‘The Train’(starring Burt Lancaster, but I’d never heard of it): a tale of Nazi collaboration and pursuit of transport of stolen art, followed by photo feature ‘When Nature Turns Nasty!’ before the incontestable star of Hurricane thunders in on a wave of colour illustration. ‘The Juggernaut from Planet Z’ is again despatched to aid his Earth chum Dr. Dan Morgan only to be overridden – and temporarily enslaved – by crazed would-be dictator General Zeb.

Sport next as ‘Hurry of the Hammers’ finds the football star in black-&-white and almost deprived of club and grounds by an unscrupulous new owner more interested in profit than the beautiful game. Historical factual strip ‘They Climbed… the Matterhorn’ then leads to a prose outing for the worst ship in the WWII navy. One again confounding the British Admiralty and escaping being broken up for parts in ‘HMS Outcast – Pride of the Fleet’ sees Geoff Campion’s unruly mob save the Pacific flotilla from destruction by the Japanese using ping pong balls and tomato sauce…

‘Typhoon Tracy’s Lucky Strike!’ finds the mighty moron in Alaska, battling bears, triggering a gold rush and helping an old friend stave off poverty, after which Giovanni Ticci employs duo-colour to limn a superbly light-hearted ‘Sword for Hire’ romp starring Cavalier soldier-of-fortune Hugo Dinwiddie who saves a fugitive king’s agent from capture even while acting as an unwilling substitute for a duellist.

Reverting to prose, ‘The Terrible Revenge of Dr. Parvo’ stars atomic accident survivors Ace Sutton and Flash Casey who use their journalistic skills and ability to walk through walls to stop a madman weaponizing weather, after which strip ‘Danger at Manakee Deep’ details a futuristic undersea habitat and resource factory endangered by greed and treachery.

‘Rodeo!’ traces the history of the sport with photos front the Calgary Stampede whilst monochrome strip ‘The Ragged Racer’ offers early environmental activism from its Wildman hero as he thwarts a circus’ scheme to destroy his mountainous animal preserve and gag page ‘It’s a Dog’s Laugh!’ brings us the text cover feature ‘R.A.F. to the Rescue’ outlining the history and activities of the coastal guardians.

The prose perseveres with adventure yarn ‘The Fiery Furnaces’ as two roving sportsmen accidentally dethrone a South American tyrant with delusions of grandeur (with illustrations by either Nevio Zaccara or Alfredo Giolitti) before ‘Rod the Odd Mod and ‘is old pal Percy Vere’ endure a calamitous bath night…

Sport was a major fascination of publishers at this time and ‘Soccer Special by The Ref’ opens an extended section of pictorial mini-features comprising ‘Famous Captains before they were Famous’, ‘Soccer Trophies Worth Winning’ and ‘Strange Things Happen in Soccer’ before we all ride off into the sunset, ending with comic strip masked cowboy ‘The Black Avenger’ who chases and then saves a “white magician” stirring up Indian tribes.

Eclectic, wide-ranging and always of majestically high quality, this blend of fact, fiction, fun and thrills is a splendid evocation of lost days of joy and wonder. We may not be making books like this anymore but at least they’re still relatively easy to track down. Of course, what’s really needed is for some sagacious publisher to start re-issuing them…
© Fleetway Publications Ltd., 1967

Posted on

The Outer Limits Annual 1966


By Paul S. Newman(?) & Jack Sparling, & various (World Distributors {Manchester} Limited)
No ISBN. ASIN: B0042Q9PAE (HB)

British Comics have always fed heavily on other media and as television grew during the 1960s – especially the area of children’s shows and cartoons – those programmes increasingly became a staple source for the Seasonal Annual market. There would be a profusion of stories and strips targeting not readers but young viewers and more and more often the stars would be American not British.

Much of this stuff wouldn’t even be as popular in the USA as here, so whatever comic licenses existed usually didn’t provide enough material to fill a hardback volume ranging anywhere from 64 to 160 pages. Thus, many Annuals such as Daktari, Champion the Wonder Horse, Lone Ranger and a host of others required original material or, as a last resort, similarly-themed or related strips. That’s not the case here…

The Outer Limits launched in the USA on September 16th 1963, running until January 16th 1965: two seasons comprising 49 self-contained episodes of an anthological science fiction series with no returning stars where drama, suspense and uncanny situations beguiled paranoid, culturally shell-shocked audiences seeking a brief release from real-world threats like the Cold War and Cost of Living. Like contemporary rival show The Twilight Zone, it was sold all over the world and developed a fanatically devoted fanbase, thereby achieving a kind of immortality, with modern reboots and merchandising.

Comic book franchising specialist Gold Key produced a series of 18 issues spanning March 1964 to October 1969, running almost half a decade beyond the show’s cancellation (but presumably sustained by regional TV syndication). They were part of print monolith western Publishing whose Dell Comics, Gold Key, Big Little, Little Golden and Golden Press books for children were a staple of kids’ lives in America for decades.

Western Publishing was a major player since comics’ earliest days, blending a huge tranche of licensed material including newspaper strips, TV and Disney titles, (such as Nancy and Sluggo, Tarzan, or The Lone Ranger) with home-grown hits like Turok, Son of Stone and Magnus, Robot Fighter.

Their output was an ideal perfect source of material for British publishers whose regular audiences were profoundly addicted to TV and movie properties. For decades, Western’s comics from The Impossibles and Bugs Bunny to Voyage to the Bottom of the Sea and Star Trek filled our Christmas treats and also slipped in some original character concepts.

“All Killer and No Filler”, this book – the second of two Outer Limits editions – was produced in a non-standard UK format, with full-colour for three American reprints and nothing else: no prose pieces, puzzles, games or fact-features on related themes. It looks and feels like it’s one from the wonderful Mick Anglo’s packaging company Gower Studios, however and I’m fairly certain the originals were scripted by prolific wonder Paul S. Newman (Dr. Solar, Man of the Atom, Space Family Robinson, Turok, The Lone Ranger)

There’s no doubt the illustrator was the uniquely stylish and equally prolific John Edmond “Jack” Sparling (Hap Hopper, Washington Correspondent, Claire Voyant, Doc Savage, Challengers of the Unknown, Unknown Soldier, Captain America) who in sterling fashion produced this trio of terrors…

‘The Dread Discovery’ debuted in quarterly issue #5 (April 1965) and is set in a NASA base where Peter Norton, with his pals Andy and Fred, accidentally shoot down a flying saucer with their model rocket. The kids’ parents all work on-base and are – eventually – delighted to meet the vessel’s occupant. FR-2 is a defector from his own people, arriving in advance of their invasion fleet and willing to give his life to save humanity…

The Outer Limits #6 (July 1965) recounted the saga of ‘The Mystery Moon’ wherein little Jim Burke is abducted by aliens when he exposes their seeming mission of mercy as a devious scheme to fling earth out of orbit. Luckily for humanity, the lad’s a lot smarter and more cunning than his kidnappers…

The brooding mystery and omnipresent menace conclude with ‘The Message from Space’ (#8, July 1966) as radio-astronomer Arthur Godderd decodes a communication from distant star 102 Beta and has his chemist chum Charles Dilling mix up the resulting formula. When sunlight hits the goo, it super-expands and attacks civilisation on multiple fronts. Seemingly unstoppable, the glob is only countered when all the previously warring nations on Earth act in unison in accordance with a crazy theory put forward by desperate Dr. Dilling…

Quirky but chilling, and always applying sound scientific principles to the most outlandish plot circumstances, this is a superb scare package for kids in the manner of Goosebumps and well worth a latter-day revisit.
© MCMLVX, MCMLVXI by Daystar-Villa Di Stefano-United Artists Television. All rights reserved throughout the world.

Posted on

Superman Annual 1963-1964


By Jerry Siegel, Edmund Hamilton, Bill Woolfolk, Ed Herron, Alvin Schwartz, Dave Wood, Henry Boltinoff, George Papp, Curt Swan, Wayne Boring, Al Plastino, Jack Kirby, Lee Elias & various (Atlas Publishing and distributing Co./K.G. Murray)
No ISBN:

Before DC and other American publishers began exporting comic books directly into the UK in 1959, our exposure to their unique brand of fantasy fun came from licensed reprints. Seemingly ubiquitous British publishers/printers like Len Miller, Alan Class and Top Sellers bought US material – and occasionally Canadian – to fill 68-page monochrome anthologies, many of which recycled the same stories for decades.

Less commonplace were strangely coloured pamphlets produced by Australian outfit K. G. Murray: exported to the UK in a rather sporadic manner. The company also produced sturdy Annuals which had a huge impact on my earliest years (I suspect my abiding adulation of monochrome artwork stems from seeing supreme stylists like Curt Swan, Carmine Infantino, Gil Kane and Murphy Anderson strut their stuff uncluttered by flat colour…).

In Britain we began seeing hardcover Superman Annuals in 1950, Superboy Annuals in 1953, Super AdventureAnnuals in 1959 and Batman books in 1960. Since then many publishers have carried on the tradition. This particular tome comes from 1963 as the super-hero craze was barely beginning, allowing us to see a range of transitional material that fell between the Golden and Silver Ages …

This particular tome predates the Batman TV show that turned the entire planet Camp-Crazed and Bat-Manic, and therefore provides a delightfully eclectic mix of material far more in keeping with traditionally perceived interests of British boys than the suited-&-booted masked madness that was soon to follow in the Caped Crusader’s scalloped wake.

It’s also produced in the cheap and quirky mix of monochrome, dual-hued and weirdly full-coloured pages which made Christmas books such a bizarrely beloved treat.

The sublime suspense and joyous adventuring begins with a rare treat as in black, blue and red on white, we meet ‘The Menace from the Stars!’ by Bill Woolfolk, Wayne Boring & Stan Kaye, coming from World’s Finest Comics #68 (January/February 1954) in which a brush with a Green Kryptonite-infused asteroid gives the Man of Steel amnesia.

Happily, before he can inadvertently expose his secret identity, another sudden impact sets things aright, just as Green Arrow clashes with a devious criminal, necessitating the inexplicable side-lining of Boy Bowman Speedy and recruitment of ‘The Legion of 100 Archers!’: an anonymously-authored yarn drawn by George Papp and originating in Adventure Comics #189 (June 1953).

British books always preferred to alternate action with short gag strips, and Murray Line perfectly exploited the phenomenal DC output of cartoonist Henry Boltinoff, whose various gag-strip stars acted as palate-cleansing chapter breaks between dramas. Here a convict conundrum for ‘Warden Willis’ and bedtime woes for ‘Moolah the Mystic’ presage another archery adventure as the Battling Bowmen meet ‘The Amazing Miss Arrowette’.

Taken from WFC #113 (November 1960), the painfully parochial and patronising tone of the times seeped into the saga (scripted by Dave Wood and limned by Lee Elias) as a hopeful, ambitious Ladies’ Archery competitor tries her very best to become Green Arrow’s main helpmeet. Moreover, in a series notorious for absurd gimmick shafts, nothing ever came close to surpassing the Hair-Pin, Needle-and-Thread, Powder-Puff or Lotion Arrows stashed in Bonnie King‘s fetching and stylish little quiver…

Quirky colour returns with gag strips ‘Pop’ and ‘Jail Jests’ before the Man of Tomorrow recalls ‘The Girls in Superman’s Life’ in a slightly reformatted by Edmond Hamilton & Al Plastino from Superman #78 (September/October 1952) bring an adult Lana Lang into the full-grown hero’s life as a rival for Lois Lane and suspicious stalker of Clark Kent…

‘Moolah the Mystic’ and ‘Warden Willis’ japes precede a return to monochrome and a spectacular Jack Kirby GA extravaganza from WFC #97 (October 1958). ‘The Menace of the Mechanical Octopus!’ is a grand old-school high-tech crime-caper scripted by Ed Herron and inked by Roz Kirby.

Superman #137 (May 1960) then delivers an epic sci fi shocker in ‘The Super-Brat from Krypton!’ (Jerry Siegel, Curt Swan & John Forte), revealing how an energy duplicate of baby Kal-El was raised in secret by Earth criminals to become ‘The Young Super-Bully’ before finally confronting his noble counterpart in ‘Superman vs. Super-Menace!’

Slapstick colour interludes from ‘Hy Wire’ and ‘Fireman Pete’ segue neatly into doomsday drama as an unknown writer, Boring & Kaye unearth ‘Jor-El’s Last Will!’ (WFC #69 March/April 1954) and sees the Man of Tomorrow strive to save his adopted home from his father’s deadliest inventions.

Fact fillers were also popular and a ‘Quick Quiz’ and one more ‘Hy Wire’ gag brings us back to black-&-white as Green Arrow tackles the lethally informative threat of alternative fact distributor ‘Crime’s TV Station’ in a canny teaser from Adventure Comics #197 (February 1954) before killer fillers ‘Science Says You’re Wrong’, ‘Scientific Word Origins’ and ‘Jerry the Jitterbug’ herald ‘The Return of Miss Arrowette’ by Wood & Elias from WFC#118 (June 1961) which proves far less cringeworthy than her debut but still manages to make the Bow Babe both competent and imbecilic at the same time.

One last stab at colour sees ‘Science Says You’re Wrong’ and ‘Jerry the Jitterbug’ lay the groundwork for ‘Batman – Double for Superman’ by Alvin Schwartz,  Swan & Kaye from World’s Finest Comics #71, July/August 1954. A landmark piece made in response to economic circumstances, it details the first official team-up of Superman and Batman…

With dwindling page counts, rising costs but a proven readership and years of co-starring but never mingling, it saw the Man of Tomorrow and the Gotham Gangbuster in the first of their shared cases as the merely mortal hero traded identities to save his Kryptonian comrade’s alter ego and, latterly, life…

Simple, straightforward action-adventure never goes out of style and these tales could as easily beguile today’s young scamps as they did my lot. Worth a shot, right?
© National Periodical Publications, Inc., New York.  Published by arrangement with the K.G. Murray Publishing Company, Pty. Ltd., Sydney.

Posted on

Merry Christmas Every One!

In keeping with my self-imposed Holiday tradition here’s another pick of British Annuals selected not just for nostalgia’s sake but because it’s my house and my rules…

After decades when only American comics and memorabilia were considered collectable or worthy, a resurgence of interest in home-grown material means there’s lots more of this stuff available and if you’re lucky enough to stumble across a vintage volume or modern facsimile, I hope my words convince you to expand your comfort zone and try something old…

Still topping my Xmas wish-list are more collections from fans and publishers who have begun to rescue this magical material from print limbo in (affordable) new collections…

Great writing and art is rotting in boxes and attics or the archives of publishing houses, when it needs to be back in the hands of readers once again. As the tastes of the reading public have never been broader and since a selective sampling of our popular heritage will always appeal to some part of the mass consumer base, let’s all continue rewarding publishers for their efforts and prove that there’s money to be made from these glorious examples of our communal childhood.

Posted on

Genre Annuals

The comic has been with us a long time now and debate still continues about where, when and exactly what constitutes the first of these artefacts to truly earn the title. There’s a lot less debate about the Children’s Annual: a particularly British institution and one that continues – albeit in a severely limited manner – to this day.

It’s a rare and tragic individual who never received a colourful card-covered compendium on Christmas morning; full of stories and comic-strips and usually featuring the seasonal antics of their favourite characters, whether from comics such as The Beano, The Dandy, Lion, Eagle and their ilk, or TV, film or radio franchises/personalities such as Dr Who, Star Wars, Thunderbirds, Radio Fun or Arthur Askey. There were even sports and hobby annuals and beautifully illustrated commemorative editions of the fact and general knowledge comics such as Look and Learn, and special events such as the always glorious Rupert Bear or Giles Annuals.

Here then is a brief celebration of the kinds of genre celebrations which delighted kids and their parents…

The Parsley Annual – including The Herbs – 1973
By Liz Tosker, T. Manwood & Jenny Reyn (Polystyle Publications)
SBN: 85096-027-4

The British comics marketplace has always benefitted from television shows for the very young, probably because most of those enterprises (until very recently at least), were particularly brilliant and well made. There’s no one from my generation or younger whose eyes do not mist over when thinking of Camberwick Green, Mr. Ben, Mary, Mungo and Midge, Trumpton, Paddington, Crystal Tips and Alastair or anything even remotely connected to the names Postgate & Firmin. The shows are always infinitely rewatchable, ceaselessly smart yet whimsical, and saturated with the easy charm that makes viewers into fanatical acolytes.

The Herbs were a product of production company FilmFair (Graham Clutterbuck’s UK division, anyway), with 13 stop-motion episodes debuting from 12th February 1968. Those quarter hour larks were followed in 1970 by 32 5-minute segments of The Adventures of Parsley that ran Monday to Friday before the Six O’Clock News on BBC 1 from April 6th. As was always the case with the “Watch With Mother” shows, episodes were repeated for years after production ceased.

The stories were written with devious sophistication by Paddington Bear author Michael Bond, ensuring adults were as enthralled as the intended audience, and all revolved around a magical and so-very-English Garden beyond a tantalising wall. Access was briefly granted by the utterance of a magic word and inside, people and animals lived together on an idealised Manorial estate, each an avatar of a particular herb.

Parsley was an affable lion, there was an owl named Sage and a dog called Dill, as well as so many, many others. It was instantly addictive and remains popular today through collections and on YouTube.

The show generated seven Annuals between 1969 and 1975: a beguiling mix of stories, strips, and interactive games, puzzles and activities, produced by BBC Books and media adaptation comics specialists Polystyle Publications. This one was released at the end of 1972, crafted by writers Liz Tosker and T. Manwood and illustrated by Jenny Reyn, opening and closing with double-page frontispiece and endpapers depicting the cast indulging in resolutely British sporting relaxations.

The entertainment proper opens with prose mystery ‘Parsley is Brought to his Senses’ wherein the rather nervous and timid lion worries that his tail has gone missing and is curtly told by Bayleaf the Gardener that what he’s lost is his senses…

A semantic miscommunication then prompts an hilarious investigation of his sensorium, embellished by a pictorial Smell, Taste, Touch, Hearing and Sight game, after which ‘Parsley’s Swop Shop’ opens the comic strip chapters, as the Herbs all trade unwanted items to no overall conclusion whilst ‘Parsley – Detective’ sees the hero in action after Dill’s buried bones go missing…

Lady Rosemary‘s wash day goes awry when Dill gets involved in the ‘Bubble Trouble’, before another prose tale sees the Lion again reading his Magic Book, and misconstruing what “the King of Beasts” means in ‘King Parsley’, after which Constable Knapweed takes action on the Lion’s dubious driving skills in strip delight ‘Parsley’s Anchor’…

A mystery picture puzzle to colour-in precedes a prose rite of passage and test of resolve for ‘Parsley the Hero’, duly followed by a game of ‘Dingo’ devised by that dog and the Chives, and a prose vignette detailing Parsley’s ‘Nice Idea’ to make skating on the frozen pond less traumatic…

An identify and colour-in Fruit Game and an age-appropriate Crossword is followed by a cautionary comic strip warning about ‘Green Apples’ and prose tale concerning Parsley’s reluctant return to school in ‘A long time ago’ leads expeditiously to one final story, with ‘Magic Word’ detailing the perils of overusing the potent exclamation “Herbidacious”…

Rendered primarily in full vivid colour with occasional bursts of traditional two-hued pages, this book remains remarkably readable to modern eyes and would happily stand as an easy-reading starter for beginners of all ages. It’s also still wonderfully fun and funny. Don’t take my word for it though: just trying saying that magic word…
© Polystyle Publications 1972. © FilmFair 1972.

Voyage to the Bottom of the Sea Annual 1968
By Mick Anglo, Dick Wood, Marshall McClintock, Tuska George, Alfredo Giolitti and many & various (World Distributors {Manchester} Ltd.)
No ISBN

British comics have always fed heavily on other media. As television grew during the 1960s – especially the area of children’s shows and cartoons – those programmes increasingly became a staple source for the Seasonal Annual market. There would be a profusion of stories and strips targeting not readers but young viewers and more and more often the stars would be American not British.

Much of this stuff wouldn’t even be as popular in the USA as here, so whatever comic licenses existed usually didn’t provide enough material to fill a hardback volume ranging anywhere from 64 to 160 pages. Thus, many Annuals such as Daktari, Champion the Wonder Horse, Lone Ranger and a host of others required original material – generally in illustrated prose form – or, as a last resort, similarly themed or related strips.

Voyage to the Bottom of the Sea debuted in America on September 14th 1964, the first of producer Irwin Allen’s incredibly successful string of TV fantasy series which also included Lost in Space, Land of the Giants and The Time Tunnel. It ran until the end of March 1968 before going to the Valhalla of permanent syndication. The set-up involved super-advanced submarine Seaview encountering aliens, monsters, villains and disasters – natural or otherwise – guided by senior savant Admiral Harriman Nelson and Commander Lee Crane and a doughty crew of expendables…

The action begins with terse, tense drama ‘Ten Thousand Feet of Ice’ as Seaview is trapped beneath the North Pole and faces a nuclear catastrophe before ingenuity and luck save them all, after which a selection of illustrated fact features begins with a look at some bizarre ‘Creatures of the Deeps’ and a reviews of whale species in ‘“Thar She Blows!”’

‘Rock of Terror’ then finds the super-sub investigating a spate of strange shipping losses and crashing into a sinister submerged citadel of evil, after which the comic strip section opens with a reprint from the Dell/Gold Key US series.

‘The Great Undersea Safari’ originated in Voyage to the Bottom of the Sea #5 (August 1966 and possibly written by Dick Wood and/or Marshall McClintock and drawn by Tuska George, Alfredo Giolitti & Giovanni Ticci), revealing how the Seaview and Nelson are stalked by a deranged White hunter who turns the oceans into his private game ranch before meeting his fate on dry land…

Back to UK-originated prose stuff again and ‘Prehistoric Venture’ finds Seaview investigating melting icecaps and battling defrosted dinosaurs, accompanied by a feature on actual ‘Sea Beasts of the Past’, after which an inevitable yarn discloses how the ultra-modern submariners encounter and barely escape ‘The Lost Atlantis’, leading into all you need to know about subsea exploration in ‘Divers All!’: themed boardgame ‘Seaview Treasure Hunt Game’ and a history of submersibles in ‘Dive! Dive! Dive!’ before everything ends on a note of frantic fantasy as our heroes apparently encounter ‘King Neptune’…

These yearly slices of screen-to-page magic were an intrinsic part of growing up in Britain for generations and still occur every year with only the stars/celebrity/shows changing, not the package. The show itself has joined the vast hinterland of fantasy fan-favourites and, if you want to see more, in 2010 Hermes Press has collected the US material – which I’ll get around to reviewing one day (so many books, so little time or budget)…
© MCMLXVI, MCMLXVII, by Cambridge Productions Inc. All rights reserved throughout the world. By arrangement with Western Publishing Company, Inc, Racine, Wisconsin, USA

Donald and Mickey Annual 1976
By Many & various (IPC Magazines)
SBN: 85037-202-X

The works of the Walt Disney Studio have been part of global culture since 1928 with their comics spin-offs similarly dominant since the 1930 Mickey Mouse newspaper. These days the publishing empire of Disney properties spans continents, but they have always been a mighty force in comics.

In 1935, Mickey Mouse Magazine launched in the USA, and was supplemented in Britain a year later by an astoundingly beautiful and high-quality photo gravure tabloid counterpart. Mickey Mouse Weekly ran from 1936 to 1957. Although still a presence after that, the franchise only really revived after Disney TV shows became commonplace in the UK. In 1972 Fleetway released Donald and Mickey which ran from March 4th until August 1974, by which time it had morphed into Mickey and Donald and absorbed companion title Goofy.

There were four annuals, of which this is the last…

Following ‘What’s Inside’ and a welcoming message from “the Editor”’, the blend of strips (culled from all over Europe and the USA) and home-generated puzzles and games open with crime spoof ‘The Hound of Basketville’: a product of the Walt Disney Theatre wherein Sherlock Mouse and Doctor Goofy riff effectively on the Conan Doyle classic…

Donald and Daisy Duck go disastrously shopping for gifts in ‘Slappy Birthday’ and ‘Uncle Scrooge McDuck’ pays a high price for his innate parsimony before a prototype photo-infomercial reveals the wonders of new Disneyland attraction ‘The Haunted Mansion’, but it’s comics fun as usual in ‘Super Hungry Hero’ when peanut-powered Super-Goof battles the dastardly Beagle Boys…

Enthusiasm trumps common sense when ‘Mickey Mouse’ employs a pelican to deliver fish before ‘Scamp (Son of Lady and the Tramp)’ learns the painful pros and cons of staying up late, leading to a puzzle section comprising ‘Robin Hood’s Spot the Difference’, a photo packed ‘Disquiz’ and ‘Famous Disney TV Faces’.

Prose vignette ‘Top Trail Marker starring Big Bad Wolf’ segues into a ‘B-Wildering Puzzle’ after which ‘The Mouseketeers’ details the development of the company’s television treats. Activity page ‘Draw Fethry Duck’ leads to single gags courtesy of ‘Goofy’s Jest for Fun’, 8 Colour-It-Yourself images, ‘Peter Pan’s Shadow’ join-the-dots page, ‘Moby’s All-at-Sea Crossword’ and a spot the difference poser in ‘Puzzled Pluto’…

Frenetic and fractious team-up ‘Search for Luck’ unites Chip ‘n’ Dale and the Seven Dwarfs whilst ‘Goofy’s Laughter Lesson’ painfully shares ‘How to be A Gentleman’ before the brainteasing resumes with a vengeance in ‘O’Malley’s Fun & Mystery’, after which inventive Gyro Gearloose causes chaos as ‘The Weatherman’.

A round of short gags follows – ‘It’s Goofy!’, ‘Donald Duck’ and ‘It’s Uncle Scrooge again!’ before final puzzle ‘Wanted- Help for Goofy’, leads into a comedy of errors as the pals squabble over tickets for ‘The Wrestling Match’, ‘Pluto’ is sucked into chase-sparked calamity, leaving Donald and Daisy to wrap things up in style when the daft drake adopts strident libertarian leanings in ‘Free and Easy’…

Straightforward all-ages whimsy and a high recognition factor always made these items a popular parental standby, but the quality of the material is what us kids always remembered.

Check out yourself, why don’t you?
© Walt Disney Productions, 1975