Category: Humour

By Bill Tidy (Wolfe Publishing)
ISBN: 72340499-2/978-0-72340-499-6 (Landscape PB)

The world became a far less smart and infinitely grimmer place over the last weeks, due to the loss of three cartooning giants many of you have probably never heard of.

As so little of their superb output is readily accessible to digital-age readers, I’m celebrating their amazing achievements and acknowledging my personal debt to them here with items that can still be easily sourced and the heartfelt advice that if you like to laugh and have a surreal bent, these are comedy craftsmen you need to know.

Today, let’s plunge full-on into a lost world of sheerly startling shoddy grandeur…

William Edward “Bill” Tidy (MBE) was born on the 9^th of October 1933 and died on March 11^th 2023. For most of those 89 years he charmed people and made them laugh. Happily, many of his books are available digitally, although incomprehensibly not his sublimely daft (and that’s “Daffft” as in daffodil not “Darhhhhhhhhhhft” as in Dalek or Darling) 14 volume “magnificent octopus” The Fosdyke Saga.

But first, a few words about amusing folk…

Nothing is universally funny, but other people’s idiosyncrasies come pretty close. Comedy is cruel and can be mean-spirited at its core: it all depends on who’s saying what and how. Bill Tidy’s Fosdyke Saga is a grand exemplar: combining a smart, painfully self-aware surreal blend of parody, insular localised legend and working-class aspiration with sheer surrealism.

It is therefore utterly inexplicable to the young or the “Johnny Foreigner” of our Empire Days. In this case that also includes people of other utterly alien cultures – like Americans or Millennials – but also probably incorporates anyone British from further south than bucolic Berkhamsted in Hertfordshire, or Buckinghamshire’s austere Aston Clinton and hoity-toity Tring.

Indeed, rumour has it that until recently, travellers using the Grand Union Canal – grizzled, gruff and grubby bargees hauling coal and rubbing liniment down to the sunlit uplands whilst posh snobs pleasure-boating as disaster tourists trekked a little way into the grim north – had to have their passports checked and stamped at the Apsley/Kings Langley buffer quay…

Seriously though, once upon a time British humour was fiercely and proudly local, regional and factional: cherishing warring accents and nurturing civic rivalries, ancient prejudices (still got plenty of them, though, Ta Very Much!!) and generational grudges. Midlands comedians weren’t funny in Glasgow and Manchester mirth-makers stayed the heck out of Liverpool. But then, after the war – the second one – we began homogenising aspects of life.

In the world of laughter, everything now had a manic, off-kilter skew. Random madcappery abounded where once only genteel wit grazed. The Goon Show and its bastard offspring Do Not Adjust Your Set and Monty Python’s Flying Circus challenged the rational senses whilst racism, sexism, jingoism, wife/mother-in-law jokes, illicit sex, smut, double entendres, “my doctor said” and sporting jibes could no longer securely address all our giggling needs.

Over in a corner somewhere, the bigger picture, establishment inertia and adamantine class structures were still being poked at by a dying cadre of satirists. Then, suddenly, it were 1971 and cartoonist Bill Tidy had a splendidly wicked idea…

He was born in Tranmere, Cheshire and proudly embraced his Northern working-class heritage in everything he did. Raised and educated in Liverpool, his first published work was a cartoon in his school magazine.

Bill joined the Royal Engineers in 1952 and made his first professional cartoon sale three years later whilst posted in Japan. Demobbed and back in Blighty, Tidy joined a Liverpool art agency, creating small ads and doing illustrations for various magazines, and sold his cartoons wherever he could.

Regular clients soon included The Daily Mirror and Daily Sketch so he moved down to London. Time passed and he met other freelancers and in 1966 co-founded a workers club – The British Cartoonists Association. A true wit and natural raconteur, he was mesmerising to listen to and even more so if you were lucky enough to chat with him over a pint…

Although a master of done-in-one single image gags – such as the immortal “Is There Any news of the Iceberg?” (look it up – both the cartoon itself and the illustrated autobiography it now fronts), Tidy inevitably told big stories. He cherished strong narratives powering the engines of his work, and his tales were delivered in a loose flowing, hyper-energetic style perfectly carrying the machine-gun rapidity of his ideas and whacky wordplay.

In April 1967 he created The Cloggies – an Everyday Saga in the Life of Clog Dancing Folk – which ran in Private Eye until 1981 and thereafter The Listener until 1986. He had a few comic residencies: weird/evil science spoof Grimbledon Down (1970-1994 in New Scientist), Dr. Whittle (1970-2001 in General Practitioner) and – from 1974 – imbibers strip Kegbusters in the Campaign for Real Ale’s periodical What’s Brewing? Other regular venues included Classic FM Magazine, The Oldie, The Mail on Sunday, The Yorkshire Post and Punch. When that last venerable humour institution (1841-2002) went bust, Tidy unsuccessfully tried to buy it and keep it going…

Tidy also authored 20 books and illustrated 70 more. If you’re interested, my favourites are The Bedside Book of Final Words and Disgraceful Archaeology: or Things You Shouldn’t Know About the History of Mankind…

From cartooning and dedicated charity work with the Lords Taverners, he latterly drifted into radio and TV presentation, appearing on or hosting shows such as I’m Sorry I Haven’t a Clue, Draw Me, Countdown, Watercolour Challenge, Blankety Blank and Countryfile. There will never be another like him.

The best way to remember him is through his work: most notably the multi-volume Fosdyke Saga as gathered in collections from the 1970s and 1980s (but not so much the 2016 compilation).

Perhaps a little context is appropriate. In 1906, author John Galsworthy began in The Man of Property a sequence of novels detailing the lives of an English upper-middle class “new money” family. Spanning half a century (1886-1936) and augmented by In Chancery and To Let, the generational tale was formally repackaged as The Forsyte Saga in 1922. From then onwards, the societal epic has been adapted regularly as movies, immense radio plays and – in 1967 – a groundbreaking BBC television serial. Galsworthy wrote two more trilogies of novels plus spin-off “interludes” – like Indian Summer of a Forsyte and Awakening – cumulatively known as the Forsyte Chronicles. The effort won him 1932’s Nobel Prize for Literature.

Generally, it all showed how even posh folk don’t get to be secure or content and remains a powerful literary presence. The saga was revived in 1994 in a new novel by Suleika Dawson.

The British truly love their television and the BBC especially have produced numerous game changing dramas – everything from the Quatermass stories to I, Claudius. However, their 26-part Forsyte Saga adaptation utterly captivated viewers in a whole new way, so in regard to what’s we’re reviewing here, a little further clarification is required.

The Galsworthy adaptation had originally run from January 7^th to July 1^st 1967, in BBC 1’s prestigious prime Saturday slot. It was augmented by repeat showings three days later on BBC 2, and the entire series was re-screened on Sundays from September 8^th 1968 with the final episode in 1969 seen by 18 million viewers. Overseas sales were staggering (it was the first BBC product sold to the Soviet Union!) and worldwide viewing figures topped in excess of 160 million. All this in the era before home recordings were available. If you missed an episode of anything, all you could was endure other people’s smug gloating…

The TV sensation inspired much imitation, such as ITV’s Upstairs Downstairs, which ran on Sundays from October 10^th 1971 to December 21^st 1975… just as Bill Tidy’s delirious spoof was hitting its baggy-trousered stride…

I mention this simply because Upstairs Downstairs also highlighted disparities, similarities and interactions of upper-class toffs and working people in a weekly accessible form, but explored the same Edwardian and Georgian eras as Tidy’s wickedly whacky wonders. It ensured the cartoon’s strong historical underpinnings were familiar to the hoi-polloi Daily Mirror readership who might have slept through school, but avidly paid attention to the goggle box…

Just like its inspiration, The Fosdyke Saga is no stranger to media adaptations: spawning a TV series, a play co-written by Alan Plater, two radio series and latterday sequels…

Describing itself as “a classic tale of Struggle, Power, Personalities and Tripe” the story follows Josiah Fosdyke and his family, who in 1900 emigrate from Lancashire mining town Griddlesbury to cosmopolitan Manchester. The move follows another near-death experience “down pit” as the aspiration scab labourer crosses picket lines and nearly ends up another casualty of “King Coal”…

Resolved that this is no way to get ahead, Jos, wife Rebecca, daughter Victoria and sons Tom, Albert and newborn Tim eschew aid from Becky’s wealthy brother and head for Manchester – “where streets are studded wi’ meat pies!”…

A chance meeting with old Ben Ditchley – the Lancashire Tripe King – sets them on the path to prosperity. As Jos repeatedly impresses the self-made millionaire with his cunning and ruthless work ethic, Ditchley’s dissolute son Roger dishonours and debauches Vicky and ultimately is disinherited in Fosdyke’s favour. The end result is by-blow Sylvia Fosdyke, Victoria’s radicalisation and eternal involvement with the paramilitary wing of the Women’s Suffrage Movement and Roger’s lifelong vendetta to crush the family who cost him his inheritance…

The Fosdyke Saga ran from March 1971 to February 1985 and was purportedly personally killed by unctuous, sleazily gentrifying corporate bandit Robert Maxwell after he acquired Mirror Group Newspapers in 1984. This volume is a severely edited compilation of the first few years of the sublime bizarre strip, packed with gags about fierce powerful women (many with full beards and steel toecap boots), privation, music halls, and new inventions. It’s populated by rogues, scoundrels, wastrels and gobsmacked bystanders, and stuffed with shocking foodstuffs like pigs trotters, cowheels, tripe and assorted offal, pigs ears and pickled cabbage, Bavarian Death’s Head Infantry Sausage, Sauerkraut und Schweinwurst and Tinned Tripe for the Troops, all of which act as milestones tracing Fosdyke fortunes in war and peace…

After inheriting old Ben’s business, Jos imaginatively expands and diversifies, but family troubles and Roger’s machinations constantly confound his plans for repast supremacy. Sub-plots reference contemporary turning points like the Titanic’s launch, the Salvation Army movement, suffragettes and the King’s horse, poverty, depression and the day-by day-absurdist drama of the Great War at home, at the Front and everywhere in between…

We see how Tom converts from staunch Conscientious Objector to trench infantryman/POW (with Jos naturally seeking to corner the white feather trade), and Albert’s astounding duel of wills and imagination with Red Baron Von Richthoven and sordid French air ace Marcel Waive, as well as Tom’s thriving prison camp restaurant trade.

The tripeworks is sabotaged and bombed by zeppelins and Jos is accused of being the Salford Ripper, before being blackmailed by Roger for colluding with the enemy, but always the Fosdykes soldier on…

High points for young Ditchley include sending aviator Albert on countless suicide missions, fomenting the Manchester Tripe Wars, seducing a quasi-mystical Tripe Inspector, and hiring the murderous O’Malley Sisters to crush Jos’ trade. When Ditchley’s scheme is quashed by Vicky’s suffragette comrades, the cad enlists “Legendary Lancashire Lothario” T. Edgar Shufflebottom to seduce them in job lots, before being foiled by a simple twist of fate…

When straightforward murder fails too, Roger blackmails “Russian Nightingale” Nadine Buzom into compromising Jos just as little Tim ships out as a cabin boy and is lost at sea…

With the war ended, attacks on the factory resume, Albert is lost in an air race that lands him and Albion’s adored aviatrix the Hon. Cynthia Spofforth at the mercy of a lusty and frustrated Arab sheik and Tom heads west to America’s ease Prohibition woes with Fosdyke’s latest innovation. Sadly, Ditchley is already there, getting rich in Chicago with whisky-soaked offal in his illicit Tripe-Easy…

As Tom joins Elliot Ness and the Untouchables, the volume ends with Jos’s hunger to expand his markets landing him in big trouble: held captive by a Soviet Commissar who just wanted a million tons of free tripe for her starving people… until the elder Fosdyke’s devastatingly manly demeanour turns her Red head…

A forgotten treat for us oldsters and a potential new delight for smart youngsters, Bill Tidy’s surreal tour de force is a delicious treat just waiting to be rediscovered. Over to you…
© Daily Mirror Newspapers Limited 1972.

By “The Usual Gang of Idiots” & edited by John Ficarra (Time Home Entertainment)
ISBN: 978-1-61893-030-9 (HB)

The world has become a measurably less smart and infinitely less funny place over the last month or so, due to the loss of three cartooning giants many of you have probably never heard of.

As it’s unforgivably crass to bundle them all up together – especially because so little of their incredible output is readily accessible to modern readers – I’m celebrating their amazing achievements and acknowledging my personal debt to them over the next few days with items that can still be easily sourced and the heartfelt advice that if you like to laugh and have a surreal bent, these are comedy craftsmen you need to know.

We’re kicking off with the unsung god of cunningly contrived chortles…

Eldest of 4 sons, Abraham Jaffee was born in Savannah, Georgia on March 13^th 1921. A successfully transplanted New Yorker, he died in the Big Apple on April 10^th 2023, after three years of retirement. For 74 years – 65 of them as an invaluable and unmissable regular contributor to Mad Magazine – he had been paid to make people laugh and think…

Jaffee garnered many awards, inspired millions – including Steven Colbert, John Stewart and generations of other satirists like Gary Larson, Matt Groening and Ted Rall – and he holds the Guinness World Record for longest career as a comics artist. The writer/artist officially retired in 2020 aged 99, and between April 1964 and April 2013 appeared in all but one issue of Mad. And that’s only consecutively – he also joined earlier than you think and carried on after he quit.

Those facts barely scrape the surface of an incredible career…

Jaffee’s early life was troubled: a succession of brief stays in Savannah, Far Rockaway, Queens and Zarasai, Lithuania, resulted from his mother arbitrarily and repeatedly returning to the Old Country with her sons. Eventually he and they at last escaped domestic turmoil to settle in New York.

For escape, he read comic strips (primarily those by Harold Foster, Milton Caniff, Noel Sickles, Otto Soglow, Alex Raymond and Rube Goldberg) and devised ingenious little contraptions from rubbish and junk – a habit that served him well during his later Mad days on the long running Crazy Inventions feature…

During the 1930s, he studied at the NYC High School of Music and Art. That institution also tutored his troubled brother/lifelong assistant Harry Jaffee and future co-workers Harvey Kurtzman, Will Elder, John Severin and Al Feldstein…

Abraham was a brilliantly innovative writer and gifted, multi-disciplined artist who officially started work in late 1942: acting as an illustrator for Timely’s Joker Comics. Soon he was an editor too, all whilst creating features such as Super Rabbit and Ziggy Pig and Silly Seal – originally two singles who became a knockout double act.

In truth, Jaffee had begun selling comedy a year earlier: working for a “Studio Shop” and inventing spoof hero Inferior Man, who debuted in Quality Comics’ Military Comics #7 (cover-dated February 1942 and on sale from December 10^th 1941). When his own call-up time came, Jaffee’s war service involved working at the Pentagon as a military draughtsman. He found his first wife there and used the Service’s name-change facility to become Allan “Al” Jaffee…

Returned to civvy street in 1946, he hooked up with Stan Lee again at Timely/Atlas, and became editor of the hugely popular teen division headlined by Patsy Walker Comics.

Al was apparently tireless, freelancing all over even whilst in his ascendancy at Mad. He first worked there in 1955, on the second issue after conversion from colour comic book to monochrome magazine). His school pal Kurtzman was editor then and quit three months later in a fractious dispute with owner Bill Gaines. Al went with him and worked on Kurtzman’s retaliatory rival satire magazines Trump and Humbug. Only when the later closed in 1958 did Jaffee head back to Mad to formally become one of “The Usual Gang of Idiots”.

Between 1957-1963, he wrote and drew 2200 episodes of internationally syndicated strip Tall Tales for the New York Herald Tribune, before ghosting Frank Bolle’s soap opera melodrama Debbie Deere from 1966-1969 and Jason between 1971-1974. From 1984 Jaffee produced kids strip The Shpy for The Moshiac Times. He was an illustrator for Boy’s Life for 25 years and a stalwart of World’s Best Science Fiction (1977) and Ghoulish Book of Weird Records (1979).

Between 1963-1964, Al co-ghosted Kurtzman & Elder’s legendary adult satire Little Annie Fanny for Playboy: a tenure that surely inspired his most memorable Mad creation – the “Fold-In”. Hugh Hefner’s men’s magazine was infamous for its nude “fold-outs”, revealing even more pulchritudinous flesh than other skin mags, so what could be more potent and fitting than a graphic creation that exposed an uncomfortable truth by covering up an innocuous image?

Jaffee’s first fold-in appeared in Mad #86 (April 1964) and became one its most popular and immortal features. Other Jaffee landmarks include Vietnam-war era strip Hawks and Doves, Don’t You Hate…, Scenes We’d Like to See, Mad Inventions, Crazy Gadgets and Fake Ads, assorted covers, movie and TV parodies and utterly irresistible Snappy Answers to Stupid Questions. Many of these have been seen in countless Mad Paperback collections released since the mid-Sixties…

I’ll hopefully get around to his Tall Tales strip collection soon, or maybe some of his Mad paperbacks or even 4-volume HB Boxed set The Mad Fold-In Collection: 1964-2010, but don’t wait for me: buy them if you see them…

For now, however, here’s a great big compendium jam-packed with Jaffe goodness showing him amongst his kind and playing in his natural environment… the world’s greatest humourists…

 

Totally Mad – 60 Years of Humor, Satire, Stupidity and Stupidity

EC Comics began in 1944 when comicbook pioneer Max Gaines sold the superhero properties of his All-American Comics company to half-sister National/DC, retaining only Picture Stories from the Bible. His plan was to produce a line of Educational Comics with schools and church groups as the major target market.

Gaines augmented this core title with Picture Stories from American History, Picture Stories from Science and Picture Stories from World History, but the so-worthy notion was already struggling when he died in a boating accident in 1947. With disaster looming, son William was dragged into the family business and with much support and encouragement from unsung hero Sol Cohen – who held the company together until the initially unwilling Bill Gaines abandoned his dreams of a career in chemistry – transformed the ailing enterprise into Entertaining Comics…

After a few tentative false starts and abortive experiments, Gaines and his multi-talented associate Al Feldstein settled into a bold, fresh publishing strategy, utilising the most gifted illustrators in the field to tell a “New Trend” of stories aimed at an older and more discerning readership. From 1950 to 1954 EC was the most innovative, influential publisher in America, dominating the genres of crime, horror, war and science fiction, spawning a host of cash-in imitations and, under the auspices of writer, artist and editor Harvey Kurtzman, the inventor of an entirely new beast: the satirical comic book…

Mad also inspired dozens of knock-offs and even a controversial sister publication, Panic.

Kurtzman was a cartoon genius and probably the most important cartoonist of the last half of the 20th century. His early triumphs in the fledgling field of comicbooks (Mad, Two-Fisted Tales, Frontline Combat) would be enough for most creators to lean back on, but Kurtzman was a force in newspaper strips (See Flash Gordon Complete Daily Strips 1951-1953) and a restless innovator, a commentator and social explorer who kept on looking at folk and their doings: a man with exacting standards who just couldn’t stop creating.

By inventing a whole new format he gave the USA Populist Satire: transforming highly distasteful, disgraceful, highly successful colour comic Mad into a mainstream monochrome magazine, safely distancing the outrageously comedic publication from fall-out caused by the 1950s socio-political witch-hunt that eventually killed all EC’s other titles, and bringing the now more socially acceptable publication to a far wider, broader audience. Kurtzman wasn’t around for long…

He then pursued his unique brand of thoughtfully outré comedy and social satire in Trump, Humbug and Help!, all the while conceiving challenging and powerfully effective humour strips like Little Annie Fannie (in Playboy), The Jungle Book, Nutz, Goodman Beaver, and Betsy and her Buddies. Seemingly tireless, he inspired a new generation through his creations on Sesame Street and by teaching cartooning at the School of Visual Arts in New York. He died far too early in 1993.

… And he was just one of the astonishingly gifted creators who made Mad an international franchise, a staggeringly influential cultural phenomenon and a global brand in the years that followed…

Totally Mad -and we’re long overdue for an updated edition, y’all – reviews the rise and rise of the magazine, with tantalising snippets of gags and features accompanied by big excerpts and illustrations from many brilliant creators to have contributed to its success.

Be Warned: this is not a “best of” collection – it would be impossible to choose, and there are hundreds of reprint compilations and websites for that. This is a joyous celebration of past glories and a compulsive taster for further exploration, albeit with few complete stories…

At 256 pages, this luxuriously huge (312x235mm) compendium is regrettably only on sale in physical form but does include historical articles, amazingly funny art and cleverly barbed observations, all divided by decade and augmented by many full-colour, iconic cover reproductions. The minimal text references favourite features such as Spy vs Spy (both by originator Antonio Prohias and successor Peter Kuper), Dave Berg’s The Lighter Side of…, Mad Mini-Posters, Film and TV parodies including ‘Gunsmoked’, ‘My Fair Ad-Man’, ‘East Side Story’, ‘Flawrence of Arabia’, ‘Star Blecch’, ‘Jaw’d’, ‘Saturday Night Feeble’, ‘LA Lewd’, ‘Dorky Dancing’, and assorted mega-movie franchises ad infinitum as well as sterling examples of Jaffee’s uniquely barbed ‘Mad Fold-Ins, ‘Scenes We’d Like to See’ and ‘Snappy Answers to Stupid Questions’.

Whatever your period, and whichever is your most dearly revered, it’s probably sampled and trammelled here…

Following an eccentric and loving Introduction from Stephen Colbert and Eric Drysdale -ably illustrated by Sam Viviano – veteran contributor Frank Jacobs provides a photo-packed profile of Mad’s unique father-figure by asking – and answering – ‘Who Was Bill Gaines?’ after which ‘Mad in the 1950s’ recalls the Kurtzman era with brightly-hued extracts from giant ape spoof ‘Ping Pong!’, ‘Superduperman!’, ‘Lone Stranger Rides Again!’, ‘Sound Effects!’, ‘Melvin of the Apes!’, ‘Mad Reader!’, ‘Bringing Back Father!’ and ‘Starchie’. These highlight the talents of Will Elder, Wallace Wood, Jack Davis, John Severin, Basil Wolverton & Bernie Krigstein before moving into the magazine phase via spoof advertising and popular pastimes such as ‘Readers Disgust’, ‘What Makes a Glass of Beer Taste so Good?’ and more.

Arch-caricaturist Mort Drucker began a stellar run at this time, as did mildly maniacal Don Martin, whilst comics legends Joe Orlando, Wood, Davis and George Woodbridge reached astonishing peaks of artistic excellence as seen via a parade of stunning covers and end-pages with additional contributions by Kurtzman, Kelly Freas, Norman Mingo and others…

In ‘Who is Alfred E. Neuman?’, Jacobs recounts the twisted, turbulent origins of the iconic gap-toothed-idiot company mascot, after which ‘Mad in the 1960s’ highlights the rise of Television and the counter-culture before ‘Was Mad Ever Sued?’ sees Jacobs testify to some truly daft and troubling moments in the mag’s life…

Many of the very best bits of ‘Mad in the 1970s’ is followed by the conclusion of ‘Who Was Bill Gaines?’ prior to Davis, Dick DeBartolo & Jacobs’ iconic ‘Raiders of the Lost Art skit heralding ‘Mad in the 1980s’ wherein patriotism, movie blockbusters, Hip-hop and computer games seized the public’s collective imagination…

‘What Were the Mad Trips?’ explores a grand tradition of company holidays, after which ‘Mad in the 1990s’ covers Rap music, the rise of celeb culture and the magazine’s frenzied forays into a rapidly changing world. Then comes ‘Mad After Gaines’, detailing internal adjustments necessitated by the death of its hands-on, larger-than life publisher in 1992. ‘Mad in the 2000s’ details the brand’s shift into the digital world, with exemplars from creators old and new spoofing medicines, newspaper strips, elections, religion, dead phrases, celebrity causes, cell-phones, man-boobs, war in Iraq, obesity, satirical competitor ‘The Bunion’, contemporary Racism and media sensations Donald Trump (Who He?): all accompanied by parodies including ‘Bored of the Rings’, ‘Sluts in the City’, ‘Spider-Sham’, and more…

Editor John Ficarra offers his Afterword and this magnificent tome also includes a poster pack of a dozen of the very best covers from Mad’s epochal run.

Most of you can happily stop now, but if you’re into shopping lists, here’s a small portion of other contributing “idiots” making Mad a national institution… like graft, perjury, prison and pimples:

Sergio Aragonés is represented throughout with Mad Marginals and many masterful cartoons and pastiches, whilst guest writers include Vic Cohen, Tom Koch, Larry Siegel, Nick Meglin, Earl Doud, Lou Silverstone, Jacobs, DeBartolo, Arnie Kogen, Chevy Chase, Max Brandel, Stan Hart, Marylyn Ippolito, Billy Doherty, Barry Liebman, Desmond Devlin, Russ Cooper, Joe Raiola, Charlie Kadau, Robert Bramble, Michael Gallagher, and Butch D’Ambrosio.

All-rounders both scripting and scribbling include Berg, Aragonés, Martin, Kuper, John Caldwell, Drew Friedman, Paul Peter Porges, Don “Duck” Edwing, Tom Cheney, Feggo, Christopher Baldwin and the incomparable Mister Jaffee.

There are also star artists making a rare splash amongst these venerable veterans. These include Frank Frazetta, John Cullen Murphy, Angelo Torres, Bill Wray, Mark Frederickson, Bob Clarke, Gary Belkin, Paul Coker Jr., Mutz, Jack Rickard, Irving Schild, Gerry Gersten, Rick Tulka, Harry North, Richard Williams, Tom Bunk, Steve Brodner, Mark Stutzman, Tom Richmond, and Gary Hallgren… Heck! – the list is nigh endless.

Wrist-wreckingly huge, eye-poppingly great and mind-bogglingly fun, this is one to treasure and pore through… and probably fight over…
© 2012 E.C. Publications, Inc. All rights reserved.