Super Thriller Annual [1959]

[1958] Annual. Original price 6/.
130 pages. Full colour & B&W contents.
World Distributors (Manchester) Limited.

Painted cover by Edgar Hodges (signed).

Contents:

  2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

  4 Indicia

  6 "Danger in the Deep colour plate; illustrated by Ronald W. Smethurst (signed).

  7 Super Thriller Annual title page; illustrated by UNKNOWN (uncredited).

  8 Contents; illustrated by UNKNOWN (uncredited).

  9 The Mystery of the Mary Celeste text feature by A.W. Dalby-Phillips; illustrated by UNKNOWN (uncredited).

 17 Menace from Space text story by Derek Somers; illustrated by UNKNOWN (uncredited).

 29 Midget Submarine Adventure text story by David Reynolds; illustrated by UNKNOWN (uncredited).

 43 Atomic Pile-Up w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

 49 Black Frost text story by Capt. H.H. Swift; illustrated by UNKNOWN (uncredited).

 63 The Time Jumpers text story by Joseph Morrissey; illustrated by UNKNOWN (uncredited).

 75 Ace Hart Earth at Bay text story by Bryn Cullen; illustrated by UNKNOWN (uncredited).

 89 Highwayman's Hideout w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

 95 The Tulip Mystery text story by Guy Deakin; illustrated by Edgar Hodges (signed).

109 Thunder Flash text story by Edwin Dale; illustrated by UNKNOWN (uncredited).

119 The Legendary Lawrence text feature by Arthur Winsford; illustrated by UNKNOWN (uncredited).

128 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

Opening with a colour plate of a diver surrounded by sharks isn't the best start. A far better use of the sole full-colour page would have been to include an Ace Hart image, though underplaying the role of the character does have the (likely unintended) consequence of making his later appearance more special - it was almost a hidden treat within the pages, for readers to stumble upon unexpectedly.

It is a shame, therefore, that Ace's appearance on the title page is so poor - looking substantially older than his regular depictions, it is an image which calls out for explanation - has he, one wonders, been hit with an ageing ray by some diabolical mastermind? Is he really much older than he has let on, utilising rejuvenation creams to appear more vital? Or is this, as I suspect, some crafty imposter, using the costume to go about his nefarious business?

Although there is little to add after so many years of rumination and speculation, The Mystery of the Mary Celeste covers the (altogether far too familiar) events with skill and clarity, laying out the facts as known, and ensuring that the separation between historical fact and lurid fiction is kept suitable clear. I do so enjoy seeing A.W. Dalby-Phillips here, as he never seems to give in to easy options, turning anything he touches into gripping and interesting prose, filled with detail.

The space-ship came at dawn on a bright summer day in 1992, and at that moment Earth's isolation in the Universe was ended. Mankind did not yet know, of course, that the ship was from the stars, but in a very short space of time he was to know that no longer was he alone in space.
   It chose a most unfortunate time to pass over Binstead, for on the previous night there had taken place the annual party in which both the Experimental Station and its attached R.A.F depot pooled resources in making whoopee for all personnel of both establishments in the officers' mess. Harry Morse and Tom Berry, being invited to stay the night, were asleep in two bunks in the sergeants' mess when they were awakened at 5 a.m. by the most awful concert of sirens, klaxons, bells, and whistles, and, scrambling from their bunks, they rushed to the window and stared out.

Displaying how dangerous it is to date events in stories, the first piece of fiction could hardly be more anachronistic now, though looking thirty years into the future was probably far enough for most readers to grasp when this was published. Somers provides a very engaging style here, and the realisation that there is other life in the galaxy is treated intelligently, with enough consideration to keep it from becoming juvenile. It is always appreciated when there is scientific thinking incorporated into such tales, no matter how small the inclusion is.

It is a real shame that Atomic Pile-Up is so dated in appearance. The strip has a strange - though not entirely unappreciated - forties feel to it, and the conceit of a resourceful child outsmarting kidnappers isn't so over-played that it becomes annoying. That the police are involved is a great boon to the story's credibility, as similar narratives in which the child comes to the rescue unaided are always too optimistic regarding the outcome. Can't have readers getting upset when a sprog takes a .45 in the chest, can we...

The Time Jumpers explicitly references H.G. Wells in its introduction, although Morrissey is no Wells, as can be deduced from the story itself. Lance Everett and Bob Wells make in the direction of an abandoned house when they are caught in a thunderstorm, lightning striking the ground all around. Soaked through, they take shelter, and are astonished to hear the sound of a gunshot from within the building. They investigate where the sound came from, tackling two armed men.

What was I just saying about the possibilities of children getting shot in stories...

They are soon transported through time thanks to Professor Wilde's time machine, launched in to all manner of fun and games. It is really difficult to get excited about such stories, with the ever-present "get out of jail free card" hanging over the plot - if something goes wrong, a time machine can deposit the characters back in time just long enough to correct what once went wrong. Or not, for dramatic purposes. Either way, the possibilities have been thoroughly explored in both long and short-form, leaving little room to strike out in an vaguely original manner.

Ace Hart picked his way along the dark gallery formed by fallen masonry. Behind him echoed the footsteps and voices of the other members of the Department of Space Defence - what remained of them. The tortuous passage widened out into a sort of high-roofed chamber.

A disappointing tale, albeit with many interesting moments, regarding an attack by Sylvanus on Earth - which likely makes much more sense with the rest of Ace Hart's adventures to hand.

The closing feature on Lawrence of Arabia is not, as to be expected, a warts and all account, with the usual press-friendly statements repeated. His life has been pored over so relentlessly that what we are presented with is quite slight in comparison. With a few informative books already available in the late fifties, this stands out as a needless excursion. The mix of elements in the annual is appreciated, no matter how often the non-fiction portions have been recounted, and it would likely have been the first time some readers had cause to consider the life of the explorer.

Although extremely dated in places, this retains an appeal. There are, of course, aspects which do not immediately smack of real inspiration, though enough is done to set the work apart from similar publications. Even Ace Hart is provided with a story most unlike the regular superhero fare, which is remarkably brave given the period in which the annual was published.

An absolute gem, although not as finely polished as one might hope.

[1958]

Super Thriller Annual

[1960]

Billy the Kid Western Annual [1961]

[1960] Annual. Original price 7/6.
96 pages. Tone art contents.
World Distributors (Manchester) Ltd.

Painted cover by Walt Howarth (signed)

Contents:

 2 UNTITLED endpaper; illustrated by Walt Howarth (signed).

 4 Indicia

 5 Billy the Kid Western Annual title page; illustrated by UNKNOWN (uncredited).

 6 Contents illustrated by UNKNOWN (uncredited).

 7 The Drummer Boy and the Blackfeet text story by Hart Cooper; illustrated by UNKNOWN (uncredited).

17 Dynamite Pass w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

27 The Adventure of Running Deer text story by Richard Armstrong; illustrated by UNKNOWN (uncredited).

35 The Mystery of Mandrake's Mine text story by Geoff Williamson; illustrated by UNKNOWN (uncredited).

45 The Wreckers w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

55 Outlaw Canyon text story by T.A. Cooper; illustrated by UNKNOWN (uncredited).

65 The Last Great Scout text feature by A.W. Dalby-Phillips; illustrated by UNKNOWN (uncredited).

73 Ransom on the River! w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

83 Renegades of Fort Laramie text story by Hart Cooper; illustrated by UNKNOWN (uncredited).

94 UNTITLED endpaper; illustrated by Walt Howarth (signed).

Going out on a high, Walt Howarth's cover for the final edition of Billy the Kid Western Annual is a masterful, luxurious, and perfectly executed example of cover art. Capturing the essential elements of the character, and imbuing Billy with a handsome charm, it ranks as one of the finest covers to appear on a World annual - which points to the problems the title had experienced having been noted and acted on.

Jim Osborne shivered. And if there had been anyone about to confide in he would have been the first to admit that the spasm was as much fear as from the biting cold. If this was the New World, more and more he bitterly regretted having left the old.

Having left England with the 4th Regiment of Foot to drive the French from Canada, his troop was making its way slowly over a mountain when attacked, and as one of the few survivors he is desperately cold, lonely, and hungry, though thankful for being alive - as he attempts to keep warm, pondering the circumstances of his survival, he encounters a man named Mitch. Offered somewhere to keep warm, and a meal, he quickly succumbs to sleep. On waking he is surprised to witness two Indians walk up to the cave and enter, relaxing by the fire with cups of coffee. Walt returns, and informs Jim that they must travel to the Indian chiefs over the mountain to pass on news about Canada having yielded to the British crown, to cease lingering hostilities.

Far superior to most of the stories which have featured in the title, The Drummer Boy and the Blackfeet shows that courage, a cool head, and ingenuity can often be better than combat to rectify a problem, and gets things off to a fine start. With events of the story taking place farther in the past than the Billy the Kid strips, it is difficult to justify its inclusion, though it is a welcome addition nevertheless.

Wyoming - a young hard-working and fertile territory whose lush valleys attracted the returning gold-miners and captured them so much that they never returned to the thickly populated east from which they had come with such high hopes. And it was here that Billy the Kid came - to find himself caught up in the fierce wrangle between cattlemen and farmers that the new settlements had brought about.

When Billy happens upon a new town being constructed, and is surprised to see Lem Dacy - inveterate gambler, with a reputation as a gunman - has settled down to a life of farming. All seems peaceful in the town until cattle drivers arrive, informing the inhabitants that a herd of cattle are going to move through the valley, destroying everything in their way.

There were likely a list of laws which would have prevented such an action, and the means by which Billy saves the day seems to be far too extreme to hold credibility. The sound of the explosion would, surely, have a serious effect on the cattle - if the goal was to prevent a stampede, making such a racket would likely have precisely the opposite conclusion to the one desired.

The other strip, The Wreckers finds Billy two miles outside of Newtown, where the train tracks have been deliberately sabotaged - he manages to save the train, and its cargo, though is shot at for his trouble by those responsible. A rather pedestrian tale, told with slightly unattractive artwork, fails to live up to the earlier annuals' tales. Once again the strip introduces an old friend, never before seen, who has gotten into trouble. It is an annoying trend, and one which adds to the background of the character without clearing up his history.

The Last Great Scout, a text feature on William F. "Buffalo Bill" Cody, written with authority by A.W. Dalby-Phillips, might be a last throw of the dice, but it hits its mark with perfection. With a mere eight pages in which to cram as much information as possible, the economy of detail isn't particularly noticeable, minor incident given as much consideration as monumental event, and the sum total of the feature amounts to a fantastic insight into an amazing life.

Which begs the question - why couldn't this have been attempted throughout the title from the start?

The final strip, Ransom on the River opens with a dramatic image which is far more accomplished than most of the strip art in the issue.

When Micky O'Hearn struggles against odds too much for him, Billy the Kid happens to see the fight. Curiosity lead the Kid to follow a most unusual trail ... at one point every step along it could mean sudden death or slow drowning... but Billy corners desperate men and forces them to call off a diabolical plan to each make hundreds of dollars for themselves, at the expense of one young Irishman...

Jimmy Stewart wanted to start a new life in the West, and he got his chance when the wagon train he was travelling in was besieged by Indians...

Hart Cooper's Renegades of Fort Laramie uses a famous name for one of its characters with no perceivable reason, and distracts from the narrative. It is a story which, rather cheekily, features Kit Carson in a supporting role - in a manner which can be seen as emphasising the title's success over Kit Carson's Cowboy Annual, which ceased publication the previous year.

An improvement, with very impressive steps towards the sort of material it ought to have been containing, though constrained by having to maintain the stories which had been appearing in the title. More non-fiction features, and far better strips, could have improved the appearance of the annual to a greater degree.

[1960]

Billy the Kid
Western Annual

[1960]