Cage!


By Genndy Tartakovsky, Stephen DeStefano & various (Marvel)
ISBN: 978-0-7851-2786-4 (TPB)

For most of modern history black consumers of popular entertainments enjoyed far too few fictive role models. In the English-speaking world that began changing in the turbulent 1960s and truly took hold during the decade that followed. Many characters stemming from those days come from a cultural phenomenon called Blaxploitation. Although criticised for its seedy antecedents, stereotypical situations and violence, the films, books, music and art were the first mass-market examples of minority characters in leading roles, rather than as fodder, flunkies or flamboyant villains. If you scroll back a bit, you’ll see a rather pompous review by (old, white) me detailing how that groundbreaking era led to the birth of superheroic cultural icon Luke Cage. You should read those stories: they’re rather good.

In 2016, animation superstar Genndy Tartakovsky (Dexter’s Laboratory, Samurai Jack, Hotel Transylvania) reminded readers of something else: those tales were outrageously frantic fun too.

Four-issue miniseries Cage! dials us back to that fabulous mythical moment – or at least 1977 in New York – for a sublimely daft interlude as the street-jivin’ Hero for Hire interrupts roller skating bank robbers before being drawn into an incredible mystery…

Super heroes and top ass-kickers like his friends Misty Knight and Iron Fist are going missing and diligent investigation leads him into nothin’ but trouble…

Soon the bewildered champion is facing off against an army of old enemies, enduring psychedelic enlightenment, and battling simian Professor Soos to liberate the lost defenders and survive a deadly festival of combat on a lost island…

With raucous and rowdy guest appearances from the pre-Dark Phoenix X-Men, Dazzler, Black Panther, Ghost Rider, Brother Voodoo and a host of period stars of the Marvel Pantheon, this timeless delight also includes a full reprint of origin/debut ‘Out of Hell… A Hero!’ (by Archie Goodwin, George Tuska, Billy Graham, Roy Thomas &John Romita Senior) as seen in Luke Cage Hero for Hire #1, plus a stunning covers-&-variants gallery by Tartakovsky, Trevor Von Eeden, Marco D’Alfonso, Joe Quesada, Damion Scott, Bruce Timm, Bill Pressing and Arthur Adams & Paul Mounts

I honestly don’t know what the commissioning editors were thinking, but By Gosh, It Works! This is a superb pastiche and spoof of distant days, packed with fun and frenetic energy. Read it fast with loud music playing and preferably wearing orange rayon slacks. Dig it in paperback or digital, but do, do dig it Baby…
© 2016 Marvel Characters, Inc. All rights reserved.

Hip Hop Family Tree Book 1: 1970s-1981


By Ed Piskor (Fantagraphics)
ISBN: 978-1-60699-690-4 (PB)

Comics is an all-encompassing narrative medium and – even after 40-plus years in the game – I’m still amazed and delighted at innovative ways creators find to use the simple combination of words and pictures in sequence to produce new and intoxicating ways of conveying information, tone, style and especially passion to their audience.

A particularly brilliant case in point was this compulsive compilation of strips and extras from self-confessed Hip Hop Nerd and cyber geek Ed Piskor (author of the astonishing Hacker graphic novel Wizzywig) which originally appeared in serial form on the website Boing Boing.

In astounding detail and with a positively astounding attention to the art styles of the period, Piskor detailed the rise of the rhyme-and-rhythm musical art form (whilst paying close attention to the almost symbiotic growth of graffiti and street art) with wit, charm and astonishing clarity.

Charting the slow demise of the disco and punk status quo by intimately following fledgling stars and transcendent personalities of the era, ‘Straight Out of the Gutter’ begins mid-1970s with South Bronx block parties and live music jams of such pioneers as DJ Kool Herc, Grandmaster Flash, Grandwizard Theodore and Afrika Bambaataa.

The new music is mired in the maze of inescapable gang culture but as early word-of-mouth success leads to first rare vinyl pressings and the advent of the next generation, the inevitable interest of visionaries and converts leads to the circling of commercial sharks…

The technical and stylistic innovations, the musical battles, physical feuds, and management races by truly unsavoury characters to secure the first landmark history-making successes are all encyclopaedically yet engaging revealed through the lives – and, so often, early deaths – of almost-stars and later household names such as Furious 4-plus-1, Kurtis Blow, The Sugarhill Gang, the Furious Five, and those three kids who became Run-DMC.

The story follows and connects a bewildering number of key and crucial personalities – with a wealth of star-struck music biz cameos – and ends with Hip Hop on the very edge of global domination following the breakout single Rapture (from new wave icons and dedicated devotees Blondie) as well as the landmark TV documentary by Hugh Downs and Steve Fox on national current affairs TV show 20/20 which brought the new music culture into the homes of unsuspecting middle America…

To Be Continued…

Produced in the tone and style of those halcyon, grimily urban times and manufactured to look just like an old Marvel Treasury Edition (an oversized – 334x234mm – reprint format from the 1970s which offered classic tales on huge and mouth-wateringly enticing pulp-paper pages), this compelling confection (available in very large paperback and variably-proportioned digital formats) – also includes a copious and erudite ‘Bibliography’, ‘Discography’ and ‘Funky Index’, an Afterword: the Hip Hop/Comic Book Connection (with additional art by Tom Scioli) and a fun-filled Author Bio.

Moreover, there’s also a blistering collection of ‘Pin Ups and Burners’ with spectacular images from guest illustrators including The Beastie Boys by Jeffrey Brown, Afrika Bambaataa by Jim Mahfood; Fat Boys by Scioli; Grandmaster Flash and the Furious Five by Ben Marra; Vanilla Ice by Jim Rugg; Run-DMC by Dan Zettwoch; Eric B. and Rakim by John Porcellino; Salt-n-Pepa by Nate Powell; KRS-One by Brandon Graham & Snoop Dogg by Farel Dalrymple, to get your pulses racing, if not your toes tapping…

Cool, informative and irresistible, Hip Hop Family Tree is wild, fun and deliciously addictive: sparking a revolution and sub-genre in comics creation. This is what cultural cross-pollination is all about and you should dive in right now…
This edition © 2013 Fantagraphics Books. All Hip Hop comic strips by Ed Piskor © 2013 Ed Piskor. Pin ups and other material © 2013 their respective artists. All rights reserved.

Bogart Creek volume 1


By Derek Evernden (Renegade Arts Entertainment)
ISBN: 978-1-98890-349-1 (PB) eISBN: 978-1-98890-355-2

Fancy a laugh? Not one of those genteel chuckles, but a big hearty guffaw laced with a heaping dose of old-fashioned guilt because the subject matter might be a bit cruel or near-the-knuckle. Hilarity evincing undertones of nervous titters because the whole thing is just a bit strange and surreal?

If so, Derek Evernden has got you covered…

You know that old line about writing/drawing what you know? Evernden grew up in actual Bogart Creek, Ontario, so let’s all hope at least some of this stuff is just made up, right? He’s Canadian, so is polite and sympathetic, but clearly, he’s also the other sort of Canadian: someone with a lot to laugh at, plenty of time to sit up and take notice and probably perfused with that slow-burning, ever-mounting rage everyone gracious and well-mannered has boiling inside, because of the nonsense the rest of us get up to…

The strip Bogart Creek is a daily single panel gag delivered in a variety of artistic styles; turning a mordant, trenchant and cruelly satirical eye on modern life. It deftly offers the lighter side of suicide, philosophy, crime, psychiatry, the natural (!?) world, murder, movies, fashion, vengeance, sports, cryptozoology, popular culture and anything else two strangers might feel compelled to discuss at a water cooler or bus stop in deference to social convention…

The strip is also hopelessly addicted to painful punning on a mega “dad-joke” scale, absurdist revelation and surreal slapstick. The creator has mastered the art of marrying funny notions to effective dialogue and efficient, smart cartooning. Evernden proudly admits his debt to and influence of Gary Larson’s The Far Side, but he can’t blame that guy for all of this stuff…

Sick, inventive, witty: instantly addictive and charmingly outrageous, this is a collection (in paperback or digital editions) to delight any weary adult in need of tension release and a therapeutic slice of schadenfreude.
Cover illustration, book design and cartoons all © 2019 Derek Evernden. All rights reserved.

Shadowland


By Kim Deitch (Fantagraphics Books)
ISBN 978-1-56097-771-1 (PB)

Roll, up! Roll, up!

Kim Deitch has been one of the leading lights of America’s Comix Underground since its earliest days, although as with Harvey Pekar and American Splendor, it was only relatively late on that he has won wider acclaim: in his case for 2002’s Boulevard of Broken Dreams and 2010’s The Search for Smilin’ Ed. For much of his cartooning career he has crafted occasional short stories about a down-at-heel carnival and the shabby, eccentric no-hopers that have populated it through-out the 150 years. Shadowland – available in paperback or digital formats – was the first complete collection, and also features a splendid colour gallery of supplemental artwork.

Combining science-fiction, conspiracy theory, urban history and legend, show-biz razzmatazz, Film Noir and an outrageously honed sense of the absurd, Deitch weaves an irresistible spell that charms, thrills and disturbs whilst his meticulous black and white drawing holds the reader in a deceptively fluffy grip.

Dripping authentic loving nostalgia and oozing the sleazy appreciation everyone secretly harbours for trashy entertainments, the story of clown and Carny Al Ledicker Jr. as he shambles his way through the sleaziest parts of the 20th century in this wonderful compendium and critique of the “Americana Way” is a truly unmissable, fabulously guilty pleasure. Fill yer boots, folks!
Text, art & characters © 2006 Kim Deitch. All rights reserved.

Merry Christmas, One and All

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, the 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 yet new…

Still topping my Xmas wish-list is further 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.

Look and Learn Book 1964
By various (Fleetway)
No ISBN

One of the most missed of publishing traditions in this country is the educational comic. From the features in legendary icon The Eagle to the small explosion of factual and socially responsible boys’ and girls’ papers in the late 1950s, to the heady go-getting heydays of the 1960s and 1970s, Britain had a healthy sub-culture of kids’ periodicals that informed, instructed and revealed – and don’t even get me started on sports comics!

Amongst many others, Speed & Power, World of Wonder, Tell Me Why and the greatest of them all, Look and Learn, spent weeks over decades making things clear and bringing the marvels of the world to our childish but avid attentions. Moreover, when we had no screens of our own, it was all accomplished with wit, style and – thanks to the quality of the illustrators involved – astonishing beauty and clarity.

Look and Learn launched on 20th January 1962, the brainchild of Fleetway Publications Director of Juvenile Publications Leonard Matthews, and executed by Editor David Stone (almost instantly replaced by John Sanders), Sub-Editor Freddie Lidstone and Art Director Jack Parker.

For twenty years and 1049 issues. the comic delighted children by bringing the marvels of the universe to their doors, and became one of the county’s most popular children’s weeklies. Naturally, there were many spin-off tomes such as The Look and Learn Book of 1001 Questions and Answers, Look and Learn Book of Wonders of Nature, Look and Learn Book of Pets and Look and Learn Young Scientist, as well as the totally engrossing Christmas treat The Look and Learn Book.

Selected simply because it has a lovely and inclusive painted cover, this volume – released for Christmas 1963 (as with almost all UK Annuals they were forward-dated) is a prime example of a lost form. Within this168-heavy-stock-paged hardback are 49 fascinating features on all aspects of human endeavour and natural wonder from And in the beginning there was FIRE, Let’s Look at Canada, How this Book was Printed, It’s On the Map!, The Muscle Menders, When Man Goes to Mars, Every Carpet Tells a Story, The Charm of Canterbury, Puzzle Pix, Art Gallery in an Album, Photo Know-How, The Queen’s Bodyguard, Why Do Camels Have Humps? and dozens more articles, all cannily designed to beguile, enthral and above all else, inspire young minds.

Lavishly illustrated with photographs, diagrams, infographics, and paintings and drawings by some of the world’s greatest commercial artists including such luminaries as Ron and Gerry Embleton, Don Lawrence, Helen Haywood, Ron Turner, Ken Evans, Angus McBride, Severino Baraldi, Graham Coton, Ralph Bruce, Cecil Langley Doughty and many others, these books were an utter delight for hungry minds to devour whilst the turkey and Christmas pudding were slowly digested…

Earlier editions such as this one also valued literary entertainment and hands-on activity: providing illustrated extracts from classic books (as here with ‘Midshipman Easy Goes to Sea’ by Captain Frederick Marryat and illuminated poems ‘The Fall of Ratisbon’ by Robert Browning and William Wordsworth’s ‘An Evening Walk’) and hobby crafts as seen in a vast and detailed section on ‘How to build Model Boats’ – complete with plans and blueprints.

With the internet and TV, I suppose their like is unnecessary and irrelevant, but nostalgia aside, the glorious pictures in these volumes alone make them worth the effort of acquisition, and I defy any child of any age to not be sucked into the magic of learning stuff in such lively, lovely style…
© Fleetway Publications Ltd 1963. All Rights Reserved.

Hotspur Book for Boys 1975
By Many & various (DC Thomson)
Retroactively awarded ISBN: 978-0-85116-077-1

If you grew up British any time after 1960 and read comics, you probably cast your eye occasionally – if not indeed fanatically – over DC Thompson’s venerable standby The Victor.
The Dundee based publisher has long been a mainstay of British popular reading and arguably the most influential force in our comics industry. Its strong editorial stance and savvy creativity is responsible for a huge number of household names over many decades, through newspapers, magazines, books and especially its comics and prose-heavy “story-papers” for Girls and Boys.

That last category – comprising Adventure, Rover, Wizard, Skipper and Hotspur – pretty much-faded out at the end of the 1950s when the readership voted overwhelming with their pocket money in favour of primarily strip-based entertainments…

The last of those venerable all-prose story-papers wasn’t dormant for long. Cover-dated 24th October 1959, Hotspur the comic seamlessly replaced the prose stalwart (which had run from 2nd September 1933 to October 17th 1959) as a (mostly) pictorial serial package, running for 1110 weekly issues until finally folding into Victor with the January 24th1981 edition. It was very much the company’s weird and wonderful repository, like a general interest magazine for kids but with strange and exotic leanings. It was always heavy on bizarre situations and splendidly esoteric superheroes. Hostspur Annuals ran from 1966 to 1992 and were an unmissable fact of many a boy’s Yule loot…

This particular example hit the shops in September 1974, and behind that Ian Kennedy (?) cover opened with a two-coloured fact frontispiece exploring ‘Oil from under the Sea – the Finders’. The feature is mirrored at the end with ‘Oil from under the Sea – the Keepers’.

‘The Black Sapper’ was reformed criminal turned globetrotting troubleshooter: a brilliant engineer who built a mighty mechanical Worm-ship ship to travel beneath the Earth. He transferred to Hotspur from The Beezer, and was illustrated by Jack Glass, Keith Shone and Terry Patrick, who here details how the adventurer extinguishes an Arabian oil fire and scotches a sinister plot to usurp the king, after which we’re clued in on industrial ‘Deep Sea Fishing’.

Combining football and nautical adventure, comedy yarn ‘The Rust Bucket Rovers’ (John Richardson art?) sees soccer-crazed Pacific islanders contending with a multinational crew to clear a cargo, after which hearty spoof ‘Grizzly Grant’(Mike Dorey, or perhaps CD Bagnall) finds a junior Mountie and his ursine assistant battle frontier crime.

Tank commander ‘Blake of the Ironfists’ (Peter Sutherland?) then wins a major engagement in WWII Africa, leading to Dorey’s ‘Willie the Winner’ entering yet more contests with hilarious outcomes, before a 1941 naval blockade is overcome by doughty British mariners in ‘HMS Dent – the Deadly Decoy’.

The secrets of ‘Coastal Fishing’ segue into more mirth as motor racing pioneers ‘Spick and Spanner’ compete on a snowbound course in the Italian Alps after which veteran star ‘Iron Teacher’ and his handler Special Agent Jake Toddtackle an evil hypnotist with designs on a circus.

The history of ballooning in ‘Up, Up and Away!’ neatly proceeds into Great War saga ‘Hasket’s Battle Basket’, after which ‘Last of the Warriors’ sees a Cheyenne cavalry scout solving a murder mystery before slapstick oaf ‘Ossie the Outlaw’ proves again that for him crime does not pay…

After aviation pioneer ‘Skyscraper Kidd’ crashes his flying machine on a desert island and thinks his way home, time-displaced highwayman ‘Nick Jolly’ (and his robot flying horse) do their best to make Christmas unforgettable at a ski resort and mega department store in a rousing romp from Ron Smith whilst ‘Parker’s Barkers’ sees the rundown pooches of a local kennel humiliate the elite racers of the local dog track

Fact feature ‘The King of the Tankers’ leads into Z-Cars spoof ‘The Voice of the Panda’ before serious drama returns as football star ‘Cracker Jackson’ takes some sage advice to get over his psychological barriers. After learning all about ‘The World’s Biggest Shovel’, it’s back to desert islands where castaway WWII survivors ‘Thudd and Blunder’ deal with a native uprising in a manner simply not acceptable to today’s audiences.

Stealing the show is Ron Smith’s captivatingly odd teen hero ‘Red Star Robinson’ who – with the invaluable assistance of his android butler Mr. Syrius Thrice – thwarts The Spider’s plan to steal England’s crown jewels, after which ‘Heavyweights’ details a selection of massive transport options before the fun wraps up in anarchic hilarity as clod-footed ‘Dim Dan the Boobyguard’ (Dorey?) tries escorting his own boss to a crucial meeting and everybody else pays the price for his eager ineptitude…

Divorcing the sheer variety of content and entertainment quality of this book from simple nostalgia may be a healthy exercise but it’s almost impossible. I’m perfectly happy to luxuriously wallow in the potent emotions this annual still stirs. It’s a fabulous read from a magical time and turning those stiffened two-colour pages is always an unmatchable Christmas experience… happily one still relatively easy to find these days.

You should try it…
© DC Thomson & Co., Ltd., 1974.

Hurricane Annual 1969
By Many & various (Fleetway)
SBN: 900376-04-X

From the late 1950s and increasingly through the 1960s, Scotland’s DC Thomson steadily overtook their London-based competitors – monolithic comics publishing giant Amalgamated Press.

Created by Alfred Harmsworth at the beginning of the twentieth century, AP perpetually sought to regain lost ground, and the sheer variety of material the southerners unleashed as commercial 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 ilk.

During the latter end of that period the Batman TV show sent the entire world superhero-crazy. Amalgamated had almost finished absorbing all its other rivals such as The Eagle’s Hulton Press to form Fleetway/Odhams/IPC and were about to incorporate American 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 the early successes of Marvel comics 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 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 sustained their presence for years after Hurricane seasonal specials were produced for every year from 1965 to 1974…

Following a tried-&-true formula, this book – published in 1968 – offers comics adventures, prose stories, fact-features, and funnies and puzzles, kicking off with visual vexations in ‘Fantastic – but True!’ before western star Drago joins an embattled cavalry troop in staving off an invasion from Mexico (no, really!) in duo-hued thriller ‘The Gun that Saved the West’ – possibly illustrated by Renato Polese.

‘The Worst Boy in the School’ – as illustrated by Geoffrey Whittam? – was a long-running boarding school saga enlivened by its star Duffy coming from Circus stock. Here the comedy chaos and espionage excitement stems from the boys trying to keep an escaped chimp and parrot secret from the Masters…

‘Two Fists Against the World!’ was a Regency-set strip featuring prize-fighter Jim Trim. Illustrated by Carlos Roume, this origin reprint sees how, in 1804, the husky orphan first sets out on his pugnacious path…

‘Casey and the Champ’ then details in strip form the last hurrah of a broken-down steam engine as prelude to a text feature of weird facts corralled here as ‘It Was the Way Out West’ feature. Truly gripping prose yarn ‘The Vanished Wreck’then recounts how a clever insurance scam is foiled by an inventive salvage crew, before Typhoon Tracy – Extra Special Agent stars in ‘Mad, Mad Mission’: baffling spies and American agents in equal measure with his blundering rescue of a kidnapped boffin. Switching back to prose, Rex Barton, Investigator of the Weird and Unknown foils a cunning robbery in ‘The Phantom Monks of Milborough’.

Following the comedy capers of ‘Rod the Odd Mod and ‘is old pal Pervy Vere’, pictorial history lesson ‘Into Battle with King-Sized Catapults!’ and ‘Safari Quiz’ segue into a thrilling prose sci-fi short illustrated by immaculate stylist Reg Bunn. ‘Hunt for the Human Time-Bomb!’ stars atomic accident survivors Ace Sutton and Flash Casey who use their abilities to walk through walls to avert imminent catastrophe, after which The Robot Builders (drawn by what looks like early Massimo Bellardinelli?) attend a New World symposium and experience ‘All the Fear of the Fair!’ when a giant mechanical brain goes haywire…

Masked cowboy ‘The Black Avenger’ then exposes a fake sheriff before we jump to luscious full-colour as the worst ship in the WWII navy again confounds the British Admiralty and escapes being broken up for parts in ‘HMS Outcast in the Big Scrap’. Geoff Campion’s unruly mob here stave off doom and dispersal by implausibly capturing an Italian super dreadnaught in the Mediterranean…

‘Defeat for the ‘Boy General’ – the True Story of Custer’s Last Stand’ gives a fairly jaundiced review of the cavalryman’s career (backed up by visuals from contemporary movie Custer of the West) whilst ‘War Under the Sea’ offers technical speculation on the development of the Oceans, ending the colour section and leading into monochrome soccer star Harry of the Hammers who wins his cup-tie after first foiling a robbery in prose piece ‘Mystery Marksman’

After gag magician ‘Marvo Brings the House Down’, Giovanni Ticci limns a sublime light-hearted ‘Sword for Hire’ romp starring Cavalier soldier-of-fortune Hugo Dinwiddie who pawns his blade but still manages to save the day against burglars and bandits, and racer Geoff Hart wins a war of wills and wheels in ‘Stock-Car Duel!’

Sport was a major fascination of publishers at this time and ‘Soccer Special by The Ref’ opens an extended section of pictorial mini-features comprised of ‘Cap-and-Cup Winners’, ‘Before they were Famous’, ‘Odd Things Happen in Soccer’ and ‘They Made Soccer History’, before full-on fantasy returns with cover-star ‘The Juggernaut from Planet Z’, who revisits his Earth chum Dr. Dan Morgan and foils alien invaders employing tectonic terror tactics.

Another outing for Rod the Odd Mod and ‘is old pal Pervy Vere brings us to prose fable ‘The Impostor Knight’, revealing how an affable blacksmith’s assistant wins a joust, augmented by fact-filled sidebar ‘Warriors in Armour’ before ‘Sgt. Rock – Special Air Service’ is assigned to destroy a Nazi fuel dump and ‘Typhoon Tracy Trouble-Shooter’ riotously ends a revolution far, far South of the Border in his own inimitable incompetent manner…

Mischievous moppet ‘Terrible Tich’ literally brings the house down and ‘Wild West Funmen’ offers a magazine of owlhoot hoots before the nostalgia-fest closes in spectacular style as Hugo Dinwiddie stalks a flamboyant highwayman and ends up as a ‘Courier for the King!’

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., 1968

Shazam! The World’s Mightiest Mortal volume 2


By E. Nelson Bridwell, Gerry Conway, Elliot S! Maggin, Denny O’Neil, Kurt Schaffenberger, Dick Giordano, Rich Buckler, Tenny Henson, Alan Weiss, Don Newton, Bob Oksner & various (DC)
ISBN: 978-1-7795-0117-2 (HB)

Win’s Christmas Gift Recommendation: Joyous Superhero Fun… 9/10

One of the most venerated and loved characters in American comics was created by Bill Parker and Charles Clarence Beck as part of the wave of opportunistic creativity that followed the successful launch of Superman in 1938. Although there were many similarities in the early years, the Fawcett character moved swiftly and solidly into the area of light entertainment and even broad comedy, whilst as the 1940s progressed the Man of Steel increasingly left whimsy behind in favour of action and drama.

Homeless orphan and thoroughly good kid Billy Batson is selected by an ancient wizard to battle injustice and subsequently granted the powers of six gods and mythical heroes. By speaking aloud the wizard’s name – itself an acronym for the six patrons Solomon, Hercules, Atlas, Zeus, Achilles and Mercury – he can transform from scrawny boy to brawny (adult) hero Captain Marvel.

At the height of his popularity, Captain Marvel hugely outsold Superman and was even published twice a month. However, as the decade progressed and tastes changed, sales slowed, and an infamous court case begun in 1941 by National Comics citing copyright infringement was settled. Like many other superheroes, the “Big Red Cheese” disappeared, becoming a fond memory for older fans. A big syndication success, he was missed all over the world…

In Britain, where an English reprint line had run for many years, creator/publisher Mick Anglo had an avid audience and no product, and transformed Captain Marvel into atomic age hero Marvelman, continuing to thrill readers into the early 1960s.

Then, as America lived through another superhero boom-&-bust, the 1970s dawned with a shrinking industry and wide variety of comics genres servicing a base that was increasingly founded on collectors and fans rather than casual or impulse buyers. National – now DC – Comics needed sales and were prepared to look for them in unusual places.

After the court settlement with Fawcett in 1953 they had secured the rights to Captain Marvel and his spin-off Family. Now, and though the name itself had been taken up by Marvel Comics (via a circuitous and quirky robotic character published by Carl Burgos and M.F. Publications in 1967), the publishing monolith decided to tap into that discriminating if aging fanbase.

In 1973, riding a wave of national nostalgia on TV and in the movies, DC brought back the entire beloved cast of the Captain Marvel crew in their own kinder, weirder universe. To circumvent the intellectual property clash, they named the new title Shazam! (‘With One Magic Word…’): the memorable trigger phrase used by myriad Marvels to transform to and from mortal form and a word that had already entered the American language due to the success of the franchise the first time around.

Now the latest star of film and TV is back in print in this stylish Hardback and digital compendium, collecting select material from Shazam! #14-17 and all of 19-35; and All-New Collectors’ Edition #C-58 (spanning July 1975 – May 1978).

The previous volume – ya gotta gettem all! – revealed how the entire Marvel family was trapped in time for a generation before being released to preserve gain justice and decency on their own kindler, gentler, more whimsical Earth and here Shazam! #19 introduces extra-dimensional delinquent Zazzo, the malevolent culprit revealed when Elliot S! Maggin and Kurt Schaffenberger ask ‘Who Stole Billy Batson’s Thunder?’.

Billy’s super sister Mary Marvel is the back-up feature, cannily solving E. Nelson Bridwell and Bob Oksner’s ‘Secret of the Smiling Swordsman!’, before the next issue teams the entire Marvel Family in full-length sci fi thriller ‘The Strange and Terrible Disappearance of Maxwell Zodiac!’, courtesy of Maggin and Schaffenberger.

Shazam! #21, 22, 23 and 24 were all reprint, represented here by covers from Ernie Chua & Bob Oksner, two from Schaffenberger and then another from Chua & Oksner, reflecting a scheduling change that saw the comic released quarterly.

I suspect, but have no proof, that this coincided with the TV show that ran in parallel being off-air, as – when issue #24 appeared in Spring 1976 – new editor Joe Orlando oversaw a massaging of the scenario which would see young Billy and Uncle Dudley (a mainstay of the TV incarnation) set off around America in a minivan as roving reporters, encountering threats and felons in America’s Bicentennial year.

Bridwell and Schaffenberger became the permanent creative team, with occasional inkers such as Vince Colletta, Bob Wiacek and Bob Smith pitching in, if seldom to the enhancement of Schaffenberger’s pencils.

There were even bigger changes in store. Shazam! #25 (September/October 1976) featured a team-up of the Captain with Mighty Isis, a TV character that DC was then licensing for a tie-in comic book. ‘Isis… as in Crisis!’ is by Denny O’Neil & Dick Giordano and sees Cap reduced to a cameo as Isis recalls how archaeologist Andrea Thomas uncovered an Egyptian Amulet and scroll, gaining the powers of an ancient goddess to fight modern crime and injustice…

That issue’s back-up ‘The Bicentennial Villain’ introduces a new roving format as TV reporter Billy briefly clashes with arch-nemesis Dr. Sivana and learns of a far-reaching plot to destroy America in its anniversary year, courtesy of Bridwell & Schaffenberger …

Issue #26 sees the saga properly launched in a highly enjoyable romp. ‘The Case of the Kidnapped Congress’ finds Billy and Uncle Dudley battling Sivana in Washington DC. Vince Colletta inked the self-explanatory ‘Fear in Philadelphia’, but that doesn’t detract from a right royal romp as the Mad Doctor uses a resurrection machine to bring back the greatest rogues in America’s history – a much shorter list to pick from in 1976…

Clearly having tremendous fun, writer Bridwell began his own resurrections: bringing back Fawcett and Quality Comics characters as guest-stars. First up was the ghostly Kid Eternity and Mister Keeper, and with issue #28 he scripted his masterstroke with ‘The Return of Black Adam’: a Golden-Age villain whose fabled single appearance was a landmark long remembered by fans.

That he is still a huge favourite today shows the astuteness of that decision. That was in Boston, with #29 set in Buffalo and Niagara Falls where ‘Ibac meets Aunt Minerva!’: a comedic battle of the sexes that was heavy on the hitting.

Another faux meeting with his greatest rival occurred in #30’s ‘Captain Marvel Fights the Man of Steel’, wherein the Batson bus reaches Pittsburgh, Pennsylvania. Here, inspired by a comic book Sivana recrates local folk legend Joe Magarac (the Paul Bunyan of Steel workers) and the Three Lieutenant Marvels guest-star.

All girl villain-team ‘The Rainbow Squad’ expose Captain Marvel’s gentlemanly weakness in #31, heralding the return of patriotic hero Minute Man to step in, step up and save the day.

Tenny Henson pencilled #32’s tale from Detroit (with Bob Smith inking) as aliens led by wicked space worm Mr. Mindattempt to eliminate baseball in ‘Mr. Tawny’s Big Game!’ and fans knew that the good old days were coming to an end. A radical change to Shazam!

issue #33 heralded the metamorphosis in ‘The World’s Mightiest Race’ (Bridwell, Henson & Colletta) as Nuclear robotic menace Mister Atom tries to disrupt the Indianapolis 500 motor race. The radical about-face came with #34 (April 1978) as Bridwell, Alan Weiss & Joe Rubinstein ditch the charming light-heartedness to insert a brutal dose of reality. ‘The Fuhrer of Chicago’ reintroduces sadistic super-fascist Captain Nazi, but his plans to annexe the city are brought to sorry end by a vengeful Captain Marvel Junior, eager for some payback on the monster who crippled him…

The realism was reinforced in #34 as Bridwell, Don Newton & Schaffenberger decreed ‘Backward, Turn Backward, O Time in Your Flight!’ with the Marvels battling murderous Beastman King Kull’s attempts to roll back history and re-establish his extinct race and empire. The war carries on into Hell itself and features a return for infernal foe Sabbac

Part of DC’s experimental line of bigger, bolder comics, All-New Collectors’ Edition #C-58 was a tabloid-sized, 72-page extravaganza intended to restore the “wow-factor” to the medium and industry.

Crafted by Gerry Conway, Rich Buckler & Giordano, ‘When Earths Collide!’ features a trans-dimensional team up of Captain Marvel and Superman, engineered by primordial Martian sorcerer Karmang, who seeks to resurrect his people and civilisation by destroying two Earths. Aid, abetting and adding tension are Black Adam and the Quarrmer Sand-Thing Superman, with Supergirl and Mary Marvel also intent on averting Armageddon.

The epic adventure wraps up with a series of essays and vignettes from Shazam! #14-17 and 22, detailing the histories of the Patrons in ‘Legends of Shazam!’ – specifically Solomon, Hercules, Atlas and Zeus in prose by Bridwell with Achilles rendered in strip form by Schaffenberger & George Papp.

Although still controversial amongst older fans like me, the 1970’s incarnation of Captain Marvel/Shazam! has a tremendous amount going for it. Gloriously free of angst and agony (mostly), beautifully, simply illustrated, and charmingly scripted, these are clever, funny wholesome adventures that would appeal to any child and positively promote a love of graphic narrative. There’s a horrible dearth of exuberant superhero adventure these days. Isn’t it great that there is somewhere to go for a little light action?
© 1974, 1975, 1976, 1977, 1978, 2020 DC Comics. All Rights Reserved.

The Complete Johnny Future


By Alf Wallace, Luis Bermejo & various (Rebellion Studios)
ISBN: 978-1-78108-758-9 (HB)

Win’s Christmas Gift Recommendation: Evergreen Wonderment and an Ideal Last-Minute Gift… 10/10

Until relatively recently, Britain never really had a handle on superheroes. Although every reader from the 1950s on can cite a particular favourite fantasy muscle-man or costumed champion – from Thunderbolt Jaxon to Morgyn the Mighty, or Gadget Man & Gimmick Kid to the Spider, Tri-Man and Phantom Viking to Red Star Robinson and Billy the Cat (& Katie!) – to have populated our pages, they all somehow ultimately lacked conviction. Well, almost all…

During the heady Swinging Sixties days of “Batmania”, just as Marvel Comics was first infiltrating our collective consciousness, a little-remembered strip graced the pages of a short-lived experimental title and the result was sheer, unbridled magic…

With Scotland’s DC Thomson steadily overtaking their London-based competitors – monolithic comics publishing giant Amalgamated Press – throughout the late 1950s and 1960s, the sheer variety of material the southerners unleashed to compete offered incredible vistas in adventure material. Thanks to the defection of Leo Baxendale and Ken Reid to Amalgamated, they also 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 ilk.

During that latter end of the period, the Batman TV show sent the entire world superhero crazy just as Amalgamated absorbed all its local rivals such as The Eagle’s Hulton Press to form Fleetway/Odhams and ultimately IPC.

Formerly the biggest player in children’s comics, Amalgamated Press (created by Alfred Harmsworth at the beginning of the 20th century) had stayed at the forefront of sales by latching onto every fad: keeping their material contemporary, if not always fresh or original. The all-consuming monolith had been reprinting the early successes of Marvel comics for a few years; feeding on a growing fashion for US-style adventure which had largely supplanted the rather tired True-Blue Brit style of Dan Dare or DCT’s Wolf of Kabul or the Tough of the Track. A key point at that time was that although both part of the Mirror Group, Fleetway and Odhams were deadly rivals…

“Power Comics” was a sub-brand used by Odhams to differentiate their periodicals – which contained reprinted American superhero material – from the greater company’s regular blend of sports, war, western adventure and gag comics such as Buster, Valiant, Lion or Tiger. During this time, the Power weeklies did much to popularise budding Marvel characters and their shared universe in this country, which was still poorly served by distribution of the actual American imports.

The line began with Wham! – but only after the comic was well-established. Originally created by newly-ensconced Leo Baxendale, it launched on June 20th 1964. At the start, the title was designed as a counter to The Beano, as was Smash! (which launched February 5th 1966), but the tone of times soon dictated the hiving off into a more distinctive imprint, which was augmented by the creation of little sister Pow!

Pow! launched with a cover date of January 31st 1967, combining home-grown funnies such as Mike Higgs’ The Cloak,Baxendale’s The Dolls of St Dominic’s, Reid’s Dare-a-Day Davy, Wee Willie Haggis: The Spy from Skye and British originated thrillers such as Jack Magic and The Python with the now ubiquitous resized US strips: in this case Spider-Man and Nick Fury, Agent of S.H.I.E.L.D.

The next step was even bolder. Fantastic – and its sister paper Terrific – were notable for not reformatting or resizing the original US artwork whereas in Wham!, Pow! or Smash!, an entire 24-page yarn could be resized and squeezed into 10 or 11 pages, accompanied by British comedy and adventure strips.

These slick new periodicals – each with a dynamic back cover pin-up taken from Marvel Comics or created in-house by apprentice comics bods and future superstars Barry Windsor-Smith and Steve Parkhouse – reprinted US Superhero fare, supplemented by minimal amounts of UK originated filler and editorial.

Fantastic #1 debuted with cover-date February 18th 1967 (but was first seen in newsagents on Saturday 11th), revealing the origin stories of Thor, Iron Man and the X-Men, but from the get-go, savvy tykes like me were as engrossed by a short adventure serial also included to fill out the page count. The Missing Link was beautifully drawn and over the following year (February 18th 1967 – February 3rd 1968) would become a truly unique reading experience…

The series began inauspiciously as a kind of homegrown Incredible Hulk knock off. Oddly, editor and writer Alfred “Alf” Wallace crafted for the filler a tone very similar to that adopted by Marvel’s own Green Goliath when he became a small screen star a decade later…

The illustrator was the astoundingly gifted Luis Bermejo Rojo, a star of Spanish comics forced to seek work abroad after the domestic market imploded in 1956. He became a prolific contributor to British strips, working on a succession of moody masterpieces such as the Human Guinea Pig, Mann of Battle, Pike Mason, Phantom Force Five and Heros the Spartan, in a variety of genres, appearing in Girls Crystal, Tina, Tarzan Weekly, Battle Picture Library, Thriller Picture Library The Eagle, Buster, Boys World, Tell Me Why, Look and Learn and many more. He finally achieved a modicum of deserved acclaim in the 1970s, after joining fellow studio mates José Ortiz, Esteban Maroto and Leopoldo Sanchez working on adult horror stories for Creepy, Eerie and Vampirella.

I’m a big kid helplessly enmired in nostalgia, but to me his greatest moments were the year spent drawing Johnny Future

The Missing Link – as the feature was entitled for the first 15 episodes – was disturbingly similar to TV’s Hulk of the 1970s. Superhumanly strong, tragically misunderstood, the strip combined human-scaled drama with lost world exoticism in the manner of King Kong, as can be see seen following Steve Holland’s incisive and informative Introduction ‘Welcome to the Future!’, when the drama opens in the wilds of Africa.

A bestial man-beast roams the veldt, swamps and mountains, until great white hunter Bull Belson comes to capture him, accompanied by secretary/photographer Lita Munro. The infamous tracker sees only profit in the mute beast, who, after much frustratingly destructive behaviour, is lured into captivity by an inexplicable attraction to Miss Munro…

To be fair, she has the brute’s interests at heart, attempting to befriend and teach the Link on the slow voyage back to England, but on reaching London Dock, the sideshow attraction is spooked by mocking labourers and breaks his bonds and cage…

Brutally rampaging across the city at the heart of the Swinging Sixties, the Link is soon being hunted by the army, but nobody realizes that beneath the bestial brow is a cunning brain. Hopping a freight train up north, he seeks refuge in an isolated government atomic research laboratory run by Dr. Viktor Kelso and is accidentally dosed with vast transformative radiation…

The unleashed uncanny forces jumpstart an evolutionary leap, turning the primitive beast into a perfect specimen of manhood, while simultaneously sparking a near-catastrophic meltdown in the machinery, which is only averted by the massive instinctive intellect of the new man. Arrested as a terrorist spy, the silent superman is very publicly tried in court and again encounters Lita.

Meanwhile, Kelso has deduced the true course of events. As the Link uses his prison time to educate himself in the ways of the world, the scientist works on a deadly super-weapon, prompting the Link to escape jail and clear his name. With his super-strength and massive mind, the task is easy but he still needs Lita to complete his plan…

The series cheerfully plundered the tone of the times and the drama seamlessly morphs into chilling science fiction tropes as Kelso’s device brings the nation to a literal standstill leaving only the evolved outsider to thwart a staggeringly ambitious scheme…

Set on a new heroic path, although still a hunted fugitive, the Link creates a civilian identity (John Foster) and a costumed persona just as Britain is assaulted by ‘The Animal Man’: a psionic dictator able to control all beasts and creatures. Incredibly, that includes recently ascendant Johnny Future, but the villain is defeated after overextending himself and accidentally awakening a primordial horror from Jurassic times…

In short order, Johnny Future tackles Dr. Jarra and his killer robot; a society of evil world-conquering scientists, invention-plundering shapeshifting aliens, prehistoric giants, and deranged science tyrant The Master.

Fully hitting his stride, the future man overcomes personality warping psychopath Mr. Opposite and defeats the Secret Society of Science’s top assassins ‘The Brain, The Brute and the Hunter’ before saving Earth from marauding living metal and defeating Dr. Plasto’s animated waxwork killers.

And that was that. Without warning the comic merged with sister publication Terrific and there was no more room for a purely British superhero. Here, however, there’s one more delight: a 14-page, full-colour complete adventure with Johnny battling diabolical primordial revenant Disastro, first seen in Fantastic Annual 1968, plus a colour pin-up from Fantastic #30 (September 9th 1967).

Interest in superheroes and fantasy in general were on the wane and British weeklies were diversifying. Some switched back to war, sports and adventure stories, whilst with comedy strips on the rise again, others became largely humour outlets. Johnny Future (available in comforting hardback and accessible digital formats) is a unique beast: a blend of British B-movie chic, with classic monster riffs seen through the same bleak but compelling lens that spawned Doctor Who and Quatermass: the social sci fi of John Wyndham trying on glamourous superhero schtick whilst blending the breakneck pace of a weekly serial with the chilling moodiness of kitchen sink crime dramas.

There was never anything like this before or since and if you love dark edges to your comics escapism you must have this amazing collection far sooner than tomorrow.
™ & © 1967, 1968, & 2020 Rebellion Publishing Ltd. All Rights Reserved.

Justice League of America: A Celebration of 60 Years


By Gardner Fox, Dennis O’Neil, Steve Englehart, Gerry Conway, Keith Giffen, J.M. DeMatteis, Grant Morrison, Mark Waid, Brad Meltzer, Geoff Johns, Scott Snyder, Mike Sekowsky, Dick Dillin, George Pérez, Pat Broderick, Carmine Infantino, Jim Aparo, Dick Giordano, Gil Kane, Brian Bolland, Joe Kubert, Chuck Patton, Kevin Maguire, Howard Porter, Ed Benes, Jim Lee, Jim Cheung & various (DC Comics)
ISBN: 978-1-4012-9951-4 (HB)

Win’s Christmas Gift Recommendation: Comic Perfection and the ideal Stocking Stuffer… 10/10

A keystone of the DC Universe, the Justice League of America is the reason we have comics industry today. This stunning compilation – part of a series reintroducing and exploiting the comics pedigree of veteran DC icons and concepts – is available in hardback and digital formats and offers a too-brief but astoundingly enticing sequence of snapshots detailing how the World’s Greatest Superheroes came to be, and be and be again…

Collecting material from The Brave and the Bold #28; Justice League of America #29, 30, 77, 140, 144, 200; Justice League of America Annual #2, Justice League #1, 43 and Justice League of America volume 4 #1 (covering July 1960- August 2018), the landmarks selected are all preceded by a brief critical analysis of the significant stages in their development, beginning with Part I – 1960-1964: The Happy Harbor Years

After the actual invention of the comicbook superhero – by which we mean the launch of Superman in June 1938 – the most significant event in the industry’s progress was the combination of individual sales-points into a group. Thus, what seems blindingly obvious to everyone with the benefit of four-colour hindsight was irrefutably proven – a number of popular characters could multiply readership by combining forces. Plus of course, a whole bunch of superheroes is a lot cooler than just one – or even one and a sidekick…

The Justice Society of America is rightly revered as a true landmark in the development of comic books, and – when Julius Schwartz began reviving and revitalising the nigh-defunct superhero genre in 1956 – the true key moment came a few years later with the inevitable teaming of his freshly reconfigured mystery men…

When wedded to the relatively unchanged big guns who had weathered the first fall of the Superhero at the beginning of the 1950s, the result was a new, modern, Space-Age version of the JSA and the birth of a new mythology.

That moment that changed everything for us baby-boomers came with issue #28 of The Brave and the Bold, a classical adventure title that had recently become a try-out magazine like Showcase.

Just in time for Christmas 1959, ads began running…

“Just Imagine! The mightiest heroes of our time… have banded together as the Justice League of America to stamp out the forces of evil wherever and whenever they appear!”

When the Justice League of America was launched in issue #28 of The Brave and the Bold (March 1960) it cemented the growth and validity of the genre, triggering an explosion of new characters at every company producing comics in America and even spread to the rest of the world as the 1960s progressed.

Crafted by Gardner Fox & Mike Sekowsky with inking from Bernard Sachs, Joe Giella & Murphy Anderson, ‘Starro the Conqueror!’ saw Flash, Green Lantern, Wonder Woman, Aquaman and J’onn J’onzz – Manhunter from Mars unite to defeat a marauding alien starfish whilst Superman and Batman stood by (in those naive days editors feared that their top characters could be “over-exposed” and consequently lose popularity). The team also picked up an average American kid as a mascot. “Typical teenager” Snapper Carr would prove a focus of fan controversy for decades to come…

The series went from strength to strength and triumph to triumph, peaking early with a classic revival as the team met the Justice Society of America, now sensibly relegated to an alternate Earth rather callously designated Earth-2.

From issues #29-30, ‘Crisis on Earth-Three’ and ‘The Most Dangerous Earth of All!’ reprise the first groundbreaking team-up of the JLA and JSA, after the metahuman marvels of yet another alternate Earth discover the secret of multiversal travel. Unfortunately, Ultraman, Owlman, Superwoman, Johnny Quick and Power Ring are ruthless villains from a world without heroes who see the costumed crusaders of the JLA and JSA as living practice-dummies to sharpen their evil skills upon…

With this cracking 2-part thriller a tradition of annual summer team-ups was solidly entrenched in heroic lore, giving fans endless joys for years to come and making the approaching end of school holidays less gloomy than they could have been.

Although a monster hit riding a global wave of popularity for all things masked and caped, the JLA suffered like all superhero features when tastes changed as the decade closed. Like all the survivors, the team adapted and changed…

A potted history of that interregnum, emphasising the contributions of iconoclastic scripters Denny O’Neil and Steve Englehart follows in Part II – 1969-1977: The Satellite Years after which groundbreaking issue #77 exposes a new kind of America.

America was a bubbling cauldron of social turmoil and experimentation at this time, with established beliefs constantly challenged and many previously cosy comics features were using their pages to confront issues of race, equality, and ecological decline. O’Neil and his young colleagues began to utterly redefine superhero strips with their relevancy-driven stories; transforming complacent establishment masked boy-scouts into uncertain, questioning champions and strident explorers of the revolution.

Here, the team’s mascot suddenly grows up and demands to be taken seriously. The drama commences with the heroes’ collective confidence and worldview shattered as enigmatic political populist Joe Dough suborns and compromises their beloved teen sidekick in ‘Snapper Carr… Super-Traitor!’ Crafted by O’Neil, Dick Dillin & Joe Giella, the coming-of age-yarn changed the comfy, cosy superhero game forever…

By March 1977, the team was back in traditional territory but still shaking up the readership. Issue #140, by Steve Englehart, Dick Dillin & Frank McLaughlin questioned heroism itself in ‘No Man Escapes the Manhunter!’ as the venerable Guardians of the Universe and their beloved Green Lanterns are accused of planetary extinctions – until the JLA expose a hidden ancient foe determined to destroy galactic civilisation…

Sadly, all you get here is the opening chapter, but it’s worth tracking down the entire saga elsewhere…

Closely following is issue #144 ‘The Origin of the Justice League – Minus One!’ (July 1977) by the same team. Here Green Arrow does a little checking and discovers the team have been lying about how and why they first got together: a smart and hugely enjoyable conspiracy thriller guest-starring every late 1950’s star in the DC firmament…

Change is a comic book constant and events described in the essay fill in crucial context before Part III: The Detroit Years 1982-1987 precis’ the first Beginning of the End for the World’s Greatest Superheroes, starting with blockbuster anniversary giant #200.

Here scripter Gerry Conway and artists George Pérez, Pat Broderick, Carmine Infantino, Jim Aparo, Dick Giordano, Gil Kane, Brian Bolland, Joe Kubert, Brett Breeding, Terry Austin & Frank Giacoia reprise, re-evaluate and relive the alien Appellax invasion that brought the heroes together in ‘A League Divided’: a blockbuster saga involving every past member…

Big changes began in Justice League of America Annual #2 1984. ‘The End of the Justice League!’ by Conway, Chuck Patton & Dave Hunt saw the team disband following a too-close-to-call alien attack, leading Aquaman to recruit a squad of full-time agents rather than part-time champions. Relocating to street level in Detroit, his old guard veterans Elongated Man, Martian Manhunter, Zatanna and Vixen also began training a next generation of costumed crusaders…

The biggest innovation came after a couple of publishing events recreated the universe and a new kind of team was instituted. In 1986 DC’s editorial leaders felt their 50-year continuity was stopping them winning new readers. The solution was a colossal braided-mega series to streamline, redefine and even add new characters to the mix.

The worlds-shattering, reality-altering bombast of Crisis on Infinite Earths was such a spectacular commercial success, those movers-&-shakers felt more than justified in revamping a number of their hoariest icons for their next fifty years of publishing. As well as Superman, Flash, and Wonder Woman, the moribund and unhappy Justice League of Americawas earmarked for a radical revision. Editor Andy Helfer assembled plotter Keith Giffen, scripter J.M. DeMatteis and untried penciller Kevin Maguire to produce an utterly new approach to the superhero monolith: they played them for laughs…

The series launched as Justice League with a May 1987 cover-date before retitling itself as Justice League International with #7. The new team was formed from the ashes of the old on the basis of events comprising follow-up crossover-event Legends. The gathering comprised a roster of relative second-stringers as America’s newest champions – Black Canary, Blue Beetle, Captain Marvel (now Shazam!), Dr. Fate, Green Lantern Guy Gardner and Mr. Miraclewith heavyweights Batman and Martian Manhunter J’onn J’onzz as nominal straight-men.

The first story introduced charismatic filthy-rich manipulator Maxwell Lord – who used wealth and influence to recreate the neophyte and rather shambolic team who started their march to glory by fighting and defeating a bunch of rather inept terrorist bombers in initial outing ‘Born Again’ (Giffen, DeMatteis Maguire & Terry Austin).

An eventful decade passed and the team were rebooted again, as described in Part IV: The Watchtower Years 1986-2003

After the Silver Age’s greatest team-book died a slow, painful, wasting death, not once but twice, DC were taking no chances with their next revival of the Justice League of America, tapping Big Ideas wünderkind Grant Morrison to reconstruct the group and the franchise.

The result was a gleaming paradigm of comic book perfection which again started magnificently before gradually losing the attention and favour of its originally rabid fan-base. Apparently, we’re a really fickle and shallow bunch, us comics fans…

That idea that really clicked? Put everybody’s favourite Big-Name superheroes back in the team.

It worked, but only because as well as name recognition and star quantity, there was a huge input of creative quality. The stories were smart, fast-paced, compelling, challengingly large-scale and drawn with effervescent vitality. With JLA you could see all the work undertaken to make it the best it could be on every page.

The drama begins in ‘Them!’ (January 1997 by Morrison, Howard Porter & John Dell) as a family of alien super-beings called the Hyperclan dramatically land on Earth and declare that they’re going to usher in a new Golden Age – at least by their standards.

Almost simultaneously the current iteration of the Justice League is attacked in their orbital satellite and only narrowly escape utter destruction. Tragically, one of their number does not survive…

Hyperclan’s very public promises to make Earth a paradise and attendant charm offensive does not impress veteran heroes Superman, Batman, Wonder Woman, Martian Manhunter and Aquaman or even the latest incarnations of Flash and Green Lantern.

These legends see their methods and careers questioned and are not impressed by seeming miracles or summary executions of super-criminals in the streets. They know there’s something not right about the overbearing sanctimonious newcomers…

The hits kept coming: a strung of superb adventures that enticed the readership. One of the very best and often cited as one of the best Batman stories ever created, multi-part paean to paranoia Tower of Babel saw immortal eco-terrorist Ra’s Al Ghul’s latest plan to winnow Earth’s human population to manageable levels well underway. Again, only the first instalment is here but you know where else to look…

Issue #43 declared ‘Survival of the Fittest’ (by Mark Waid, Porter & Drew Geraci), as a series of perfectly planned pre-emptive strikes cripple Martian Manhunter, Flash, Wonder Woman, Aquaman, Plastic Man and Green Lantern whilst Batman is taken out of the game by the simple expedient of stealing his parents’ remains from their graves…

Comics stars increasingly became multi-media franchises at the beginning of this century, and Part V: The Crisis Years 2006-2011 acknowledges the change as the printed form started a constant stream of ever-escalating blockbuster scenarios to compete. A perfect example is Justice League of America volume 4 #1 (October 2006) as Brad Meltzer, Ed Benes & Sandra Hope examine ‘Life’.

Thanks to the events Infinite Crisis, One Year Later and 52, Superman, Batman and Wonder Woman convene as a star-chamber to reform the Justice League of America as a force for good, only to discover that events have escaped them and a new team has already congealed (I really can’t think of a better term) to defeat the imminent menace of Professor Ivo, Felix Faust and the lethal android Amazo, plus a fearsome mystery mastermind and a few classic villains as well.

The tale is told through the heartbreaking personal tragedy of the Red Tornado, who achieves his deepest desire only to have it torn from him: an enjoyable if complex drama that hides its true purpose – that of repositioning the company’s core team in an expanded DCU which encompasses all media, tacitly accepting influences from TV shows, movies and animated cartoons underpinning everything – even the Super Friends and Justice League Unlimited-inspired HQ.

In 2011, DC took a draconian leap: restarting their entire line and continuity with a “New 52”. Justice League volume 2 #1 (November) led from the front as ‘Justice League Part One’ by biggest guns Geoff Johns, Jim Lee & Scott Williams introduced a number of newly debuted heroes acrimoniously pulled together to fight an alien invader called Darkseid

This celebration concludes with Part VI: The Media Era 1986-2018 and Justice League volume 4 #1 (August 2018) wherein Scott Snyder, Jim Cheung & Mark Morales kick off a colossal, years-long company-wide event. ‘The Totality Part 1’ sees the universe fall apart, its creator escape eternal imprisonment and the JLA hard-pressed to prevent the final triumph of Evil as represented by Lex Luthor and his Legion of Doom

Adding immeasurably to the wonderment is a superb gallery of covers by Sekowsky, Anderson, Rich Buckler, Dillin & McLaughlin, Pérez, Patton & Giordano, Maguire & Austin, Porter, Dell & Geraci, Ed & Mariah Benes, Lee & Williams and Jim Cheung.

The Justice League of America has a long, proud history of shaking things up and providing dynamic provocative, drama delivered with quality artwork. This compelling assortment is staggeringly entertaining and a monolithic testament to the inestimable value of a strong core concept matured over decades of innovation.
© 1960, 1964, 1969, 1977, 1982, 1984, 1987, 1997, 2000, 2006, 2005, 2011, 2018, 2020 DC Comics. All Rights Reserved.

The Eternals by Jack Kirby: The Complete Collection


By Jack Kirby & various (Marvel)
ISBN: 978-1-3029-2200-9 (TPB)

Win’s Christmas Gift Recommendation: Monumental Marvel Magic for Movie-Oriented Fun Seekers… 9/10

Jack Kirby was – and remains – the most important single influence in the history of American comics. There are millions of words about what the man has done and meant, and you should read those if you are at all interested in our medium.

Naturally, I’m adding my own two-bobs’-worth, pointing out what you probably already know: Kirby was a man of vast imagination who translated big concepts into astoundingly potent and accessible symbols for generations of fantasy fans. If you were exposed to Kirby as an impressionable kid, he owns you for life. To be honest, the same probably applies whatever age you jump aboard the “Kirby Express”…

For those of us who grew up with Jack, his are the images which furnish our interior mindsets. Close your eyes and think “robot” and the first thing that pops up is a Kirby creation. Every fantastic, futuristic city in our heads is crammed with his chunky, towering spires. Because of Jack, we all know what the bodies beneath those stony-head statues on Easter Island look like, we’re all viscerally aware that you can never trust great big aliens parading around in their underpants and, most importantly, we know how cavemen dress and carnosaurs clash. Kirby’s creations are magical: they all inspire successive generations of creators to pick up the ball and keep running with it…

In the late 1930s, it took a remarkably short time for Kirby and his creative partner Joe Simon to become the wonder-kid dream-team of the newborn comic book industry. Together they produced a year’s worth of pioneering influential monthly Blue Bolt; dashed out Captain Marvel Adventures (#1) for overstretched Fawcett and – after Martin Goodman appointed Simon editor at Timely Comics – co-created a host of iconic characters such as Red Raven, the original Marvel Boy, Mercury, Hurricane, The Vision, Young Allies and of course million-selling mega-hit icon Captain America.

When Goodman failed to make good on his financial obligations, Simon & Kirby were snapped up by National/DC, who welcomed them with open arms and a fat chequebook. Bursting with ideas the staid company were never really comfortable with, the Dynamism Duo were initially an uneasy fit, and were given two moribund strips to play with until they found their creative feet: These were Sandman and Manhunter and they are an amazing feat of breathtaking bravura.

Both features turned both around virtually overnight and, once established, were parcelled off to studio staff as S&K switched to the “Kid Gang” genre they had pioneered at Timely. Joe ‘n’ Jack created wartime sales sensation Boy Commandos and Homefront iteration the Newsboy Legion, before being called up to serve in the war they had been fighting on comic pages since 1940.

Once demobbed, they returned to a very different funnybook business and soon left National to create their own little empire…

Simon & Kirby heralded and ushered in the first American age of mature comics – not just by inventing the Romance comic, but with all manner of challenging modern material about real people in extraordinary situations – before seeing it all disappear again in less than eight years.

Their small stable of magazines – generated for the association of companies known as Prize, Crestwood, Pines, Essenkay and/or Mainline Comics – blossomed and as quickly wilted when the industry abruptly contracted throughout the 1950s. After years of working for others, Simon & Kirby had finally established their own publishing house, producing comics for a far more sophisticated audience, only to find themselves in a sales downturn and awash in public hysteria generated by an anti-comicbook pogrom.

Hysterical censorship-fever spearheaded by US Senator Estes Kefauver and opportunistic pop psychologist Dr. Frederic Wertham led to witch-hunting Senate hearings. Caving in, publishers adopted a castrating straitjacket of draconian self-regulatory rules. Horror titles produced under the aegis and emblem of the Comics Code Authority were sanitised and anodyne affairs in terms of Shock and Gore, even though the market’s appetite for suspense and the uncanny was still high. Crime comics vanished and mature themes challenging an increasingly stratified and oppressive society were suppressed…

Simon quit the business for advertising, but Jack soldiered on, taking his skills and ideas to a number of safer, if less experimental, companies. As the panic abated, Kirby returned briefly to DC Comics where he worked on mystery tales and Green Arrow (at that time a mere back-up, page-filler in Adventure Comics and World’s Finest Comics) whilst concentrating on his long-dreamed-of newspaper strip Sky Masters of the Space Force.

During that period Kirby also re-packaged an original super-team concept that had been kicking around in his head since he and Joe had closed their studio. At the end of 1956, Showcase #6 premiered the Challengers of the Unknown

After three more test issues the “Challs” won their own title with Kirby in command for the first eight issues. Then a legal dispute with Editor Jack Schiff exploded and the King was gone…

He found fresh fields and an equally hungry-for-change new partner in Stan Lee at ailing Atlas Comics (which had once been mighty Timely) and there created a revolution in superhero comics storytelling…

After just over a decade of never-ending innovation and crowd-pleasing wonderment, Kirby felt increasingly stifled. His efforts had transformed the little publisher into industry-pioneer Marvel but now felt trapped in a rut. Thus, he moved back to DC for another burst of sheer imagination and pure invention.

Kirby always understood the fundamentals of pleasing his audience and strived diligently to combat the appalling state of prejudice about the comics medium – especially from industry insiders and professionals who despised the “kiddies’ world” they felt trapped in.

After his controversial, grandiose Fourth World titles were cancelled, Kirby looked for other concepts which would stimulate his own vast creativity yet still appeal to a market growing evermore fickle. His follow-ups included science fiction themed heroes Kamandi and OMAC, supernatural stalwart The Demon, a run of war stories starring The Losers, and even a new Sandman, co-created with Simon, but although the ideas kept coming (Atlas, Kobra, Dingbats of Danger Street), yet again editorial disputes ended up with him leaving for promises of more creative freedom elsewhere…

Jack Kirby’s return to Marvel in 1976 was much hyped at the time but again turned out to be controversial. His new works and creations found friends rapidly, but his return to earlier creations Captain America and Black Pantherdivided the fanbase.

Kirby was never slavishly wedded to tight continuity, and preferred, in many ways, to treat his stints on titles as another “Day One”: a policy increasing at odds with the close-continuity demanded by a strident faction of the readership…

They were apparently blind to the unfettered, joyous freedom of imagination run wild, the majesty of pulse-pounding thrills and galvanising BIG ART channelling BIG IDEAS!

The end of the 1970s saw Kirby drift into animation: designing characters and scenarios for shows such as Turbo-Teen, Thundarr the Barbarian and even The New Fantastic Four. His comics efforts included graphic novel The Hunger Dogs and Super Powers for DC, and an adaptation of movie The Black Hole for syndicated strip Walt Disney’s Treasury of Classic Tales.

However, his most memorable move was to validate the newly-minted Independent Comics/Direct Sale Market sector where he launched bombastic sci fi shockers Captain Victory and the Galactic Rangers and Silver Star for distributor-turned-publisher Pacific Comics.

For Eclipse, he co-created with Steve Gerber the industry-excoriating symbol of creative rebellion Destroyer Duck (part of a grass-roots campaign that ultimately destroyed the iniquitous work-for-hire business model that had made creators little more than indentured servants for decades).

Let’s return to that final tenure at Marvel though. Despite his ideas frequently clashing with the company continuity, and being editorially sabotaged, his new ideas found an appreciative audience. 2001: A Space Odyssey, Devil Dinosaur and Machine Man broke new ground but his greatest and final contribution was undoubtedly his treatment of a contemporary crypto-science fad: The Eternals

Now with a blockbuster Marvel movie just waiting on the shelf for punters to come watch it, the eccentric original feature has been squeezed into a trade paperback and digital Complete Collection (containing issues #1-20 and Eternals Annual#1 from June 1976 to January 1978), and is just crying out for you to come get it…

Written and drawn by Kirby withs inks by John Verpoorten, it all begins on ‘The Day of the Gods’, as anthropologist Doctor Damian and his daughter Margo are steered by mysterious guide Ike Harris through an incredible South American temple to discover that aliens inspired and educated the ancients…

Simultaneously, half a world away, diabolical monsters emerge from millennia of self-isolation to resume a war that spans the length of human existence…

And so begins a frantic scrabble as history is rewritten and humanity learns terrible truths: how giant aliens had visited Earth in ages past, sculpting proto-hominids into three distinct species: Human Beings; monstrous, genetically unstable Deviants and god-like super-beings who called themselves Eternals. Moreover, those humungous Space Gods have returned once again to check up on their experiment…

Remember Ike? His real name is Ikaris and he’s an Eternal monitoring how ‘The Celestials!’ will react as they set up to assess their experiment. As a country-sized ship enters Earth orbit, a cadre of mountain-sized aliens set up a monitoring station in the ruins, ignoring humanity, Deviants and Eternals alike, but the monstrous faction who once subjugated mankind and inspired most of our infernal mythology have resolved to destroy their creators whatever the cost…

The plan involve provoking humanity into rash attacks and their warlord Kro unleashes hell as ‘The Devil in New York!’Sadly for him and his vile minions, Ikaris has just left potentially orphaned Margo with capricious party-loving Sersi at her Manhattan apartment just in time to be truly ticked off by ‘The Night of the Demons!’

Mike Royer takes over as series inker with #5 as the solitary Eternals finally respond by having a committee meeting in their isolated citadel ‘Olympia!’ In the meantime, Sersi, Margo and Ikaris have been abducted to the Deviants’ undersea city, invoking a brutal response from warrior princess Thena, excitable speedster Makkari and a novel one from supreme Eternal Zuras who calls a press conference to explain Earth’s real history in ‘Gods and Men at City College!’

As ‘The Fourth Host’ take their mysterious measurements around the world, spy agency SHIELD infiltrates the Space God compound and almost triggers Armageddon, even as in Deviant Lemuria clandestine war within the ruling family endangers ‘The City of Toads’, while introducing two more tormented characters who fit no mould or definition.

The first is comely Ransak, and the other horrific Karkas: but which one is ‘The Killing Machine!’ too savage even for the Deviant arena?

The question remains unanswered as a curious Celestial invades the city in ‘Mother!’ sparking catastrophe and mass evacuation, even as the still-gathering Eternals debate their future in Olympia. The world’s doom-clock then jumps closer to midnight as the Soviets respond precipitately in ‘The Russians are Coming!’ just as the godly Eternals form a psychic gestalt to meet the Space Gods on more equal terms in ‘Uni-Mind!’

An extra-length diversion follows as The Eternals Annual #1 pits recently-relocated Ransak and Karkas against ‘The Time Killers’, after which the mind-blowing Story of Us resumes with human ‘Astronauts’ breaking into the Celestial orbiter, and proving an unreasonable response from the youngest Eternal and a forgotten colossus of human legend…

Presumably in response to publisher pressure, Kirby almost perpetrates a guest appearance from the mainstream Marvel Universe as a college experiment unleashes uncanny cataclysm in ‘Ikaris and the Cosmic Powered Hulk’: a brutal battle leaving the local environs a ‘Disaster Area’ and uncovering a lost terror of antiquity imprisoned in a subterranean ‘Big City Crypt’

The awesome menace ignores the best the Eternals can muster, but ultimately falls to ‘Sersi the Terrible’, precipitating another crisis as sly, scheming Druig disregards the concerns of his fellow immortals and attempts ‘To Kill a Space God!’, before falling to the sheer determination of Ikaris in ‘The Pyramid’

And then it stopped. Never a comfortable fit with the rest of the Marvel Universe, the comic explored Kirby’s fascinations with Deities, Space and Supernature through the lens of very human observers. Once the series ended and Kirby left, other creators greedily co-opted the concept – with mixed success – into the company’s mainstream continuity. The concept remade the greater continuity and there’s been duff and excellent reinterpretations ever since.

No matter their merits though, nothing has ever matched The King’s verve, passion or scope and scale…

This volume also includes unused art and covers, character designs, original art pages, pages of Kirby pencils, promotional house ads and editorial pages, plus a gallery of covers from previous collections.

Jack Kirby’s commitment to wholesome adventure, breakneck action and breathless wonderment, combined with his absolute mastery of the comic page and unceasing quest for the Next Big Thrill always makes for a captivating read. His comics should be compulsory for all and found in every home…
© 2020 MARVEL

Beano and Dandy: A Celebration of Dudley D. Watkins


By Dudley D. Watkins, R.D. Low & various (DC Thomson)
ISBN: 978-1-84535-818-1 (HB)

Win’s Christmas Gift Recommendation: Evergreen Traditional Entertainment from a Much-Missed Master… 10/10

Unlike any other artform, Comics is uniquely set up to create small gods. Initially low cost, mass-market and appearing with rapidity – sometimes for decades – the works of some creators are instantly recognisable and generally prolific, and come to define the medium for generations of enthralled recipients. They generally all defy exact duplication, despite being always heavily imitated by adoring adherents, since they possess some indefinable element that slavish imitation cannot capture: Osamu Tezuka, Hergé, Jack Kirby, Alex Raymond, Moebius, Steve Ditko and Charles Schulz are all instantly known. There are certainly a few others you’d like to add to that list.

Feel free.

My own candidate for ascension is Dudley Dexter Watkins…

A tireless and prolific illustrator equally adept at comedy and drama storytelling, his style – more than any other’s – shaped the look and form of Scottish publishing giant DC Thompson’s comics output.

Watkins (1907-1969) started life in Manchester and Nottingham as an artistic prodigy before entering Glasgow College of Art in 1924. Before too long he was advised to get a job at expanding, Dundee-based DCT, where a 6-month trial illustrating prose boys’ stories led to comic strip specials and some original cartoon creations. Percy Vere and His Trying Tricks and Wandering Willie, The Wily Explorer made him the only contender for both lead strips in a bold new project conceived by writer/editor Robert Duncan Low (1895-1980).

Low began at DC Thomson as a journalist, rising to Managing Editor of Children’s Publication and between 1921 and 1933 launched the company’s “Big Five” story papers for boys: Adventure, The Rover, The Wizard, The Skipper and The Hotspur.

In 1936, he created the landmark “Fun Section”: an 8-page pull-out comic strip supplement for national newspaper The Sunday Post. This illustrated accessory – the prototype for every comic the company ever released – launched on 8thMarch and from the outset The Broons and Oor Wullie were the headliners.

Low’s shrewdest notion was to devise both strips as comedies played out in the charismatic Scottish idiom and broad unforgettable vernacular, supported by features such as Chic Gordon’s Auchentogle, Allan Morley’s Nero and Zero, Nosey Parker and other strips. These pioneering comics then laid the groundwork for the company’s next great leap.

After some devious devising in December 1937 Low launched the first DC Thomson weekly all-picture strip comic. The Dandy was followed by The Beano in 1938 and early-reading title The Magic Comic in 1939.

Low’s irresistible secret weapon in all of these ventures was Watkins. He drew the Fun Section signature strips The Broons and Oor Wullie from the outset and – without missing a beat – added Desperate Dan (in The Dandy) to his weekly workload in 1937. Seven months later, placidly outrageous social satire Lord Snooty became a big draw for freshly launched The Beano.

This stunning and luxurious hardback commemorative celebration was released to mark fifty years since his death and – despite dealing with a rather solemn topic – is exuberantly joyous in tracing the man’s astounding career and output. No one could read this stuff and not smile, if not actually collapse in gentle mirth…

Packed with brief commentary and visual extracts, the artist is revealed in excepts and complete episodes chronologically curated to maximise his artistic development. Beginning with The 1930s, a selection of strips starring Oor Wullie and The Broons (from The Fun Section) is followed by a vintage full-colour Beano Book cover, while a feature on Desperate Dan leads inevitably to a tranche of wild cowboy antics in the best Dundee tradition. The system then repeats for Lord Snootyand his Pals – before forgotten almost-stars Wandering Willie the Wily Explorer and the aforementioned Percy Vere and his Trying Tricks share their brand of whimsy.

Up until now, the majority of strips have been monochrome, but the sequence starring Smarty Grandpa comes in the nostalgic two-colour style we all remember so fondly…

An introductory essay about The 1940s is followed by more of the same, but different, beginning with lost family favourite adventure series. Jimmy and His Magic Patch (latterly Jimmy’s Magic Patch) revealed the exploits of a wee nipper whose torn trousers were repaired with a piece of mystical cloth that could grant wishes and transport the wearer to other times and fantastic realms…

Here Watkins got to impress with authentic imagery of pirates and dinosaurs, while a two-tone tale from an annual took Jimmy to Sherwood Forest and a meeting with Robin Hood

Watkins could seemingly handle anything, as seen by the selection of book covers that follow (The Story of Kidnapped, The Story of Treasure Island and The Story of Robinson Crusoe) and illustrated general knowledge pages Cast Away!, Wolves of the Spanish Main and Soldiers’ Uniforms & Arms 1742-1755 which precede complete Jacobite adventure strip Red Fergie’s “Army”.

Once upon a time, comics offered illustrated prose yarns too, and a literary legend was a fan favourite when Watkins did the pictures. ‘Gulliver – the Paraffin Oil Plot’ has stood well the test of time and neatly segues into a hefty section of strips starring the evergreen Lord Snooty and his Pals and Desperate Dan, before Biffo the Bear debuts in full colour – beginning with his premier on January 24th 1948 and including three more captivating outings. The decade then closes with another prose Gulliver treat in ‘Baron Bawler’s Blackout’

A true golden age, The 1950s section opens with Oor Wullie derivative Ginger from The Beezer, another full-colour cover-star copiously represented and followed by fellow mischief-maker Mickey the Monkey in The Topper, after which Lord Snooty and his Pals get the text & picture treatment for an extended (Annual?) adventure and Desperate Dan and Biffo the Bear star in multi-hued shorts trips.

‘The Tricks of Tom Thumb’ is another classical adventure yarn setting the scene for a veritable flurry of strips starring Biffo and Dan to see the decade out.

The venerable Lord Snooty and his Pals open The 1960s, with Desperate Dan quickly following before more full-colourful Mickey and Ginger strips lead into what was probably the artist’s preferred material. Watkins was a committed man of faith, creating illustrated Bible tracts in his spare time, and always eager to (decorously) promote his beliefs.

Here – in full colour – are a brace of theological adventure strips beginning with ‘David’ and his notorious battle, followed by ‘The Road to Calvary’ which lead into a rousing clan romp in the prose-&-picture yarn of English-trouncing scots rebel Wild Young Dirky

Ending the festival of fun, with a lump in the throat, is the Biffo strip that formed the cover of Beano #1423 (25th October 1969). Watkins had soldiered on in unassailable triumph for decades, drawing some of the most lavishly lifelike and winningly hilarious strips in comics history, and died at his drawing board on August 20th 1969. The page he was working on was completed by David Sutherland, who adds his own gracious homily to the piece.

For all those astonishingly productive years, Dudley D. Watkins had unflaggingly crafted a full captivating page each of Oor Wullie and The Broons, as well as his periodical commitments, and his loss was a colossal blow to the company. DC Thomson reprinted old episodes of both strips in the newspaper and the Annuals for seven years before a replacement was agreed upon, whilst The Dandy reran Watkins’ Desperate Dan stories for twice that length of time.

DCT’s publications have always played a big part in Britain’s Christmas festivities, so let’s revel in the Good Old Days of comics and look at what their publications have offered to celebrate the season via this lovingly curated tribute to Scotland’s greatest cartoon artisan…
© DCT Consumer Products (UK) Ltd. 2020.