Voyage to the Bottom of the Sea Annual [1967]

[1966] Annual. Original price 10/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.

Based on the US television series starring Richard Basehart and David Hedison.

Cover photographs by UNKNOWN (uncredited).

Contents:

 2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

 4 Indicia

 5 Voyage to the Bottom of the Sea Annual title page; illustrated by UNKNOWN (uncredited).

 6 Contents illustrated by UNKNOWN (uncredited).

 7 The Kingdom of Davy Jones text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

23 The Statue Makers text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

31 Robinson Crusoe of the Depths w: UNKNOWN (uncredited)); a: Alberto Giolitti (uncredited).

r: Voyage to the Bottom of the Sea (Gold Key) #04 (May 1966).

60 The One That Got Away text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

71 Vanderdecken Sails Again text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

81 Trapped in Lost Atlantis text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

This is painful. With such a rich variety of unexplored locations to set stories in, and so much of the planet covered in water, it is expected that the author of these stories might have decided to have some fun, taking the vessel to uncharted depths, creating unique and interesting problems for the characters to think their way out of, but that isn't the case. Tired, worn out references are the first indication that the stories are aiming squarely for pulpy, rehashed dreck. Davy Jones? Robinson Crusoe? Atlantis? Check, check, and check.

Narratives set underwater are open to a multitude of possibilities, and yet there are no risks taken - even ardent fans of the (mediocre) television series, approaching the title with expectations of the same quality of storytelling, are likely to be underwhelmed with the contents on offer.

If the author couldn't be bothered with a simple non-fiction feature, what was the point of snagging the license?

There are hundreds of mythical sea creatures which should have been considered, some truly terrifying in concept, but the sea-life on display is hokey, unimaginative, and entirely ridiculous. A giant green beach-ball with spindly tentacles? That's as terrifying as an average episode of Rainbow. World had, elsewhere, provided some great reference on prehistoric sea-life, and I wouldn't have complained one iota had that merely been reprinted here, though even reused elements are missing.

Facts about the sea in which the story takes place is, likewise, entirely absent, even though including such detail would have raised the sense of danger in which the characters are journeying in. Had the readers been informed of decompression sickness, the temperature of the sea, or even how dark things get, a mere few metres beneath the waves, then the sense of the vessel, and its occupants, being in considerable danger every step of the way might have been presented. As it is, the adventures might as well have taken place in a yellow submarine.

I expect at the very least a feature on Athenian ships, with Thucydides mentioned one (at the bare minimum), a feature on the different kinds of ships used throughout history, different names for familiar items (Kellick being an anchor, for example), and a quick recap of great literature set on the seas. Moby Dick, the most non-fictiony fiction ever fictioned, would have slotted in perfectly had the notion to include something of merit been considered for even a minute. There isn't even a playfulness in naming ships, such as including a vessel called Acushnet. I want to hurl this annual across the room with force, so limited is its imagination.

A terrible waste, which manages, miraculously, to make the television series appear to be high quality, entertaining, lavish, and intelligent in comparison.

Praise Tangaroa that there are only two of these annuals...

Here is the rock that strands me now;
With one side or the other it must come to war.
That's as sure as a ship's hull pegged tight.
Nowhere do I see safe, untroubled harborage.
                                  Aeschylus.

"The sea can wash away all human ills."
                                  Euripides.

Voyage to the Bottom
of the Sea Annual

[1968]

Space Family Robinson Annual [1967]

[1966] Annual. Original price 10/6.
96 pages. Full colour contents.
World Distributors (Manchester) Ltd.

Lost in Space!

Painted cover by UNKNOWN (uncredited).

Contents:

 2 UNTITLED endpaper by UNKNOWN (uncredited).

 4 Indicia

 5 Space Family Robinson Annual - Lost in Space! title page; illustrated by UNKNOWN (uncredited).

 6 Contents illustrated by UNKNOWN (uncredited).

 7 Operation Rescue text story by by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

19 Prehistoric Planet text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

32 The Pit of Doom w: Gaylord Du Bois; Dan Spiegle.

r: Space Family Robinson (Gold Key) #13 (Jul 1965).

55 Space Station '75 text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: Space Family Robinson (Gold Key) #13 (Jul 1965).

56 Star-Trapped text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

70 The Mist of Delusion text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 UNTITLED endpaper by UNKNOWN (uncredited).

Helpfully subtitled "Lost in Space!" in case prospective purchasers didn't realise the connection, its beautiful painted cover doesn't hold back in depicting threats to the titular family. I'm not entirely convinced that the rather brutal, and stark, lettering accurately captures the feel of the Gold Key comics though. The wider format used here is a real boon, allowing room for the art to breathe, and makes the title feel substantial.

The family, for those wondering, are scientists Craig and June, their son Tim, and daughter Tam, who - along with Clancy (a dog), and Yakker (a parrot) - live on Space Station One. This home-away-from-home is a remarkably versatile location, with two small ships available for transporting characters to and fro. Readers might have been familiar with the characters from the strip running in Lady Penelope, but no demands are made on readers to recall events previously seen.

Lively enough adventures, though the illustrations are slightly flat and unconvincing.

Space Family
Robinson Annual

[1968]

Land of the Giants Annual [1970]

[1969] Annual. Original price 12/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.

Based on the US television series starring Gary Conway.

Cover photos (uncredited).
r: partial cover from Land of the Giants (Gold Key) #01 (Nov 1968).

Contents:

 2 UNTITLED illustration by UNKNOWN (uncredited). / Indicia

 3 Land of the Giants Annual title page. / Contents

 4 Crash into the Unknown text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

10 The Name's the Same quiz; illustrated by UNKNOWN (uncredited).

11 The Happy Return text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

17 Giants of Earth text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

19 Other Days: Other Giants text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

23 The Bigger They Are text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

25 The Toy Trap text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

32 Star Facts text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

33 The Mini-Criminals, part one, The Power Seekers w: Dick Wood (uncredited); p: Ted Galindo (uncredited), i: Tom Gill (uncredited).

r: Land of the Giants (Gold Key) #01 (Nov 1968).

47 Barry and the Bank Robbers text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

53 The Mini-Criminals, part two, The Torch is Lit w: Dick Wood (uncredited); p: Ted Galindo (uncredited), i: Tom Gill (uncredited).

r: Land of the Giants (Gold Key) #01 (Nov 1968).

65 All About Giants quiz; illustrated by UNKNOWN (uncredited).

66 The Lost One text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

72 Man Made Monsters text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

73 The Bargain text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

80 Points of View text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

81 Nightmare in Giantland text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

86 Terror in the Woods! board game; illustrated by UNKNOWN (uncredited).

88 The Mini-Spies text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 The Giant One text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

Young Barry Lockridge was the first to come to his senses after that tearing shock on the edge of space, when the sun seemed to increase its size twelve times, then fade into blackness, which slid into the greyness of oblivion. Chipper, his dog, was by his side when he recovered, and the dog was whining frantically. Barry stared round the large cabin.
   Sub-orbital spaceliner Flight 703, from Los Angeles to London, would have brought tears to the eyes of her designers. In a word, she was a mess! Many of the fabulous instruments were smashed; the walnut trim of the room was ripped apart in places, and the unconscious figures of crew and passengers were sprawled in every direction. Barry scrambled to his feet in sudden panic.

Retelling the series' pilot episode in speedy fashion, Crash into the Unknown gets across the central premise without attempting to rationalise events, and it is all the better for its haste - with the television series explaining events remarkably well, there is little reason for the recap other than giving readers a reminder of what has gone before. The set-up really could have been handled with a page-long summary, but this feels as if some energy has gone into fleshing out the moments after crash.

With the Spindrift at the bottom of an ornamental pool, Steve is concerned about the cabin pressure and air purifiers, taking the ship up and out of the water and up into the night. The hopes of some that this might get them back on course is quickly refuted:

"I'm afraid we are a long, long way from London, Mark," said Steve, in a level voice. "We are not even in the same dimension! This world of the giants is in an entirely different universe from ours. We have about one chance in ten thousand million of getting back home!"

Landing the craft on a flat roof so that the crew and passengers can get outside without having to dodge over-sized wildlife, to boost morale, and while considering their options Steve decides to return to the broken window in the laboratory to get back to Earth. When the ship returns, however, the way into the room is blocked...

Giants of Earth covers terrestrial monsters such as the Seward Glacier in Alaska, the Giant's Causeway in Ireland, Yellowstone Park, the Sahara, and Ayers Rock in Australia. While the geography lesson is handled intelligently, the sense of scale isn't as clear as it could have been - we are told that these are large, yet the immensity isn't articulated in a manner which is easy to grasp. Large numbers are thrown around - the Amazon is 3,900 miles long - but without a human-scale to compare such vast distances it loses some of the potential impact.

Accompanying this is Other Days: Other Giants, which concerns itself with dinosaurs. In specific, the Brachiosaurus, Allosaurus, Tyrannosaurus Rex, Triceratops, Titanotherium, Plesiosaurs, Ichthyosaurs, and the Mammoth. One can only wonder what the author would have made of the Alamosaurus or Argentinosaurus. Sizes are given in feet, rather than being described as X number of London buses long, which is (as any child knows) the proper way such measurements are meant to be given. When dates are presented ("one hundred million years ago") the sheer scale of the timeline is ignored.

Having some indication of humanity's existence in comparison makes timescales more impressive. Instead of presenting yet more impressive facts (going bigger, as it were), the next feature, The Bigger They Are, falls back on "David and Goliath" battles. Ho, and indeed, hum.

The Toy Trap uses toys as comparison to the stranded humans, in a plot which must have taken all of ten minutes to think up, and which doesn't fulfill anything near its potential. While using toys as a means of making the size difference concrete in readers minds, the lack of originality, combined with a sense of the story being provided merely to fill pages, makes it a difficult story to like.

Star Facts, albeit a single page, finally gets to real immensity. Although the handful of facts presented are interesting, the piecemeal manner in which the page is presented detracts from what ought to have been the real treat. There is, despite all this, a small concession to the younger readers.

Imagine an Earth forty feet in diameter. The moon would be ten feet across and a quarter of a mile away. The farthest planet, Pluto, would be only twenty feet across but would be 3,600 miles from Earth.

Oh, for the days when Pluto was still a planet...

The comic strip, reprinted from the US series, is a strangely muted affair, with artwork which doesn't capture enough drama within its images. Too bright, and with stiff poses, it is a real disappointment.

Barry goes investigating in Barry and the Bank Robbers, discovering a hatch which leads to the interior of a building. Far too relaxed in its telling, there isn't any sense that imminent death awaits the curious child, and without this tension hanging in the air there isn't much that the author can do to engage interest beyond describing the scale of the environment.

We get it. Everything is twelve times the size.

I'm impressed with the All About Giants quiz, which treats readers more intelligently than the prose thus far:

1. Who was the owner of Doubting Castle in John Bunyan's book Pilgrim's Progress?

9. Can you name the demon giant of Hindu mythology reputed to have ten faces?

Escaping from a cat, Valerie and Betty encounter Tuftian Spicer, an Earthman who is the only survivor of a team of space explorers who set out from Earth in 1954. He has been living in a rabbit hole all this time, and might know where there exists a power source capable of getting them off-planet and back to Earth, though he is hesitant to reveal the location as he might be left behind.

I know this is based on an Irwin Allen show, but there really should have been someone involved in the annual with a smidgen of knowledge about history.

Man Made Monsters, as with the other features, picks out a handful of large constructions, though the choice of items is, to say the least, eccentric.

Perhaps sensing that comparisons to Gulliver's Travels might be raised by readers regardless, Points of View tackles the novel head-on. Unfortunately the text is more interested with Land of the Giants, and most of the piece isn't actually about the novel at all. It begs the question of how this annual can simultaneously be so intelligent and so idiotic at the same time - had a little more care been taken in picking out important facts about the book, World might have pushed readers into hunting down a copy.

And there is no mention, while on the subject of literature, of Mary Norton's The Borrowers series.

Terror in the Woods is one of the poorest board games in any World annual, with wonky lettering, lurid colouring, and an unnecessarily complex layout. Some of the imagery is, as expected, rather good, though the presentation falls down when examined closely. It is a shame that something as simple as a game feature can't be delivered properly.

Closing with a feature on the blue whale, this annual presents a lingering feeling that there really wasn't a great deal of heart put into this. There are good aspects here, but so buried under the presentation that one has to work somewhat to find enjoyable material. Missing entirely are features on the cast of the series, despite cover photographs displaying the actors. While the annual is sloppy, it is also very, very close to being a great tie-in, with most of the elements in place for a top notch read. How they were fitted in remains the problem.

Disappointing.

Land of the
Giants Annual

[1971]

Atom Ant Annual [1968]

[1967] Annual. Original price 8/6.
64 pages. Full colour & tone contents.
Atlas Publishing & Distributing Co. Ltd.

Based on the US television series.

Painted cover by UNKNOWN (uncredited).

Contents:

 2 UNTITLED [Balloons] endpaper by UNKNOWN (uncredited).

 4 Atom Ant Annual contents; illustrated by UNKNOWN (uncredited). / Indicia

 5 Atom Ant "The Day I Broke the Bank-Robbers" text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

 9 Atom Ant Up and at 'Em w: UNKNOWN (uncredited); a: Phil de Lara (uncredited).

r: Atom Ant (Gold Key) #01 (Jan 1966).

19 Top Cat "Dibble's Dragon" w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: UNKNOWN.

27 Secret Squirrel The Perils of Paris or Who Swiped the Eiffel Tower? w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: Secret Squirrel (Gold Key) #01 (Oct 1966).

37 Quick-Draw McGraw "Tree-Trap" w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: UNKNOWN.

42 Atom Ant On With the Game w: UNKNOWN (uncredited); a: Tony Strobl (uncredited).

r: Atom Ant (Gold Key) #01 (Jan 1966).

52 Top Cat "Sorry, Wrong Number" w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: UNKNOWN.

57 Puzzle maze; illustrated by UNKNOWN (uncredited).

58 Secret Squirrel Who Needs Glasses.? text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

62 UNTITLED [Balloons] endpaper by UNKNOWN (uncredited).

Note: Companion titles to this volume include: Yogi Bear Annual - Huckleberry Hound Annual - The Impossibles Annual - Flintstones Annual

The sole edition for Atom Ant to show his popularity, the annual is a slim affair, with thin pages, yet packed with strips. Not all of the contents, it has to be noted, are especially fine examples of the Hanna-Barbera characters in comic form, though there are more hits than misses in this collection. It is, if you like, a taster of the offerings the studio was producing for the small screen, sharing so much room with the various characters that it might as well have been titled the Hanna-Barbera Annual.

Its attractive cover, while not strictly in the style of the cartoons, is far more detailed than this type of annual would normally call for, and it makes the annual somehow appear more retro than if it had replicated the two-dimensional appearance of the cartoons. Did Secret Squirrel always look that goofy? Top Cat, with a mis-coloured jacket and hat, a tuft of red hair sprouting from the top of his head, is the sole sticking point in what is otherwise beautiful image.

I want this cover as a poster, and I don't normally care enough about these properties to make such a statement.

The endpaper is more in keeping with the usual depictions of the characters, as is the amusing contents page image. While the paper used is rather thin, it is also very white, and the strips are presented far better than Gold Key was ever able to manage - although the formatting made to conceal the portion of the page where the original indicia was located is rather obvious.

Atom Ant must clear his name when an ant with similar strength undertakes a series of robberies, while the authorities are determined that only Atom Ant could possibly be the perpetrator. Up and at 'Em may be predictable, and so very, very simple, but it follows what we have see in the series almost to the point of self-parody. Very clean art, imbued with an appropriate sense of fun, the strip's only drawback are the final two panels - one of thich indicates Butch will go to jail, the other freeing him to join the circus once more.

If a script can't decide on a proper conclusion, why should the reader care?

There are green cats in the Top Cat universe? There is a dragon (albeit a paper one) which TC uses to trick Dibble. Not intentionally, of course, but events conspire to see Dibble tasked to night duty after making his report. Secret Squirrel is a touch more ambitious in its storytelling, with the top of the Eiffel Tower having been stolen - and Secret Squirrel is on the case.

I really despise the use of invisible paint as a means of concealing items. It is a lazy and cheap method of introducing invisibility into a story, and doesn't make any sense.

Okay, so Hanna-Barbera shows aren't known for being intelligent, but still...

A string of robberies gives Quick-Draw McGraw trouble, so he sets out in search of a waterhole in the desert where the bandits have been striking from. So often a one-note character, there is nothing here to indicate that Quick-Draw actually has a personality. His cartoons aren't particularly amusing, and the trend for satisfactory-yet-unrewarding stories continues here.

Which is a real shame, as the setting provides for a wealth of amusing incident, not often fully embraced.

Top Cat's machinations turn foul on him when he sets up a telephone agency using Dibble's police telephone. In an escalating sequence of office-changes, TC ends up using the Mayor's office, but when the biggest job imaginable is offered he is too late to take advantage of it.

Although by no means perfect, the strip is good enough to keep a smile on my face - its plot is straight out of The Phil Silvers Show, and the artwork is very attractive.

It is difficult to gauge how well the annual would have appealed on release, with almost all of the featured characters having redesigns and shifts in storytelling over the years. An oddity, for sure, the annual is nevertheless very entertaining.

The Man from U.N.C.L.E. Annual [1968]

[1967] Annual. Original price NA.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.

Based on the US television series starring Robert Vaughn and David McCallum.

Cover by Ronald W. Smethurst ; photo (uncredited).

Contents:

 2.The Man from U.N.C.L.E. title page; illustrated by Edgar A. Hodges.

 3 Contents / Indicia

 4 The Hydrofoil Affair text story by UNKNOWN (uncredited); illustrated by Edgar A. Hodges.

10 The Gilded Face Affair text story by UNKNOWN (uncredited); illustrated by Edgar A. Hodges.

17 Confidential File on UNCLE Agents feature by UNKNOWN (uncredited); photographs by UNKNOWN (uncredited).

20 The Big Timber Affair text story by UNKNOWN (uncredited); illustrated by Edgar A. Hodges.

25 Secret Agents and All That text feature by Kevin McGarry; photographs by Edgar A. Hodges.

26 Travel With U.N.C.L.E. (half page) feature on Corgi models by UNKNOWN (uncredited); photograph (uncredited).

27 The Katmandu Affair text story by UNKNOWN (uncredited); illustrated by Edgar A. Hodges.

32 If You Can't Find it, You Can't Read It text feature by UNKNOWN (uncredited).

33 Jet Dream and her Stunt-Girl Counterspies "The Super-Tiger of Targan!" w: UNKNOWN (uncredited); p: Mike Sekowsky (uncredited), i: Mike Peppe.

r: The Man from U.N.C.L.E. (Gold Key) #09 (Nov 1966).

37 The Chinese Pagoda Affair text story by UNKNOWN (uncredited); illustrated by Edgar A. Hodges.

43 Spies Through the Ages text feature by UNKNOWN (uncredited).

45 The Roman Scandal Affair text story by UNKNOWN (uncredited); illustrated by Edgar A. Hodges.

50 The Spirit of St. Louis Affair, part one, w: UNKNOWN (uncredited); p: Mike Sekowsky (uncredited); i: Mike Peppe (uncredited).

r: The Man from U.N.C.L.E. (Gold Key) #09 (Nov 1966).

65 The Mighty Antagonists text feature by UNKNOWN (uncredited); photographs by UNKNOWN (uncredited).

67 Profile of a Spy (two thirds page) text feature by UNKNOWN (uncredited).

68 U.N.C.L.E. May Need You! quiz.

69 The Grey Beard Affair text story by UNKNOWN (uncredited); illustrated by Edgar A. Hodges.

75 Judo for You! text feature by UNKNOWN (uncredited); photographs (uncredited).

r: photographs from Judo for Juniors by Pat Butler. (Faber and Faber; 1966) ISBN-10: 0571068855.

77 The Flea Circus Affair text story by UNKNOWN (uncredited); illustrated by Edgar A. Hodges.

81 The Spirit of St. Louis Affair, part two, w: UNKNOWN (uncredited); p: Mike Sekowsky (uncredited); i: Mike Peppe (uncredited).

r: The Man from U.N.C.L.E. (Gold Key) #09 (Nov 1966).

93 Underground Heroine text feature by UNKNOWN (uncredited).

r: The Man from U.N.C.L.E. (Gold Key) #09 (Nov 1966).

94 The Gadgetry of U.N.C.L.E. illustrated feature by Edgar A. Hodges.

Stories and features written by Douglas Enefer, Kevin McGarry and M. Broadley.

The wider format immediately looks better than the first outing, and as this edition has credits it is already a much more attractive prospect. That it so much more accomplished a tie-in to the series, with numerous features, is a bonus, approaching its source with a sense of respect for readers rather than pandering to the base elements of spycraft as before. The story titles may not have improved greatly, but the writing is much less insipid.

Files on Solo (agent 138787) and Kuryakin (agent 138337) fill in much of the characters backgrounds, providing an excellent glimpse into their personal lives. Their gadgetry is the subject of a text feature which describes in just enough detail some of the techniques used. It isn't a perfect glimpse into cold war techniques, yet remains an interesting subject for coverage. Of slightly more relevance to the intended audience is the account of first world war code-passing techniques, which is - frustratingly - not followed up on with second world war techniques.

Spies Through the Ages is too piecemeal to truly deliver on its title, with a mere handful of entries spread over two pages. The most curious entry in this annual is Profile of a Spy, which is a very telling piece of writing - regarding the archetypal spy as male, which isn't the greatest leap given the year of publication, it outlines the properties such an individual is meant to possess, though this is squarely towards the more glamourous end of the genre. Harry Palmer would be surprised to see members of his profession described in such a manner.

The least impressive aspect of the annual is its feature on judo. While it represents the most basic aspects of the sport, it doesn't provide enough details, nor have enough style to override the impression that it is cheap filler material.

Overall a much more satisfying read.

[1967]

The Man from U.N.C.L.E. Annual

[1969]

Jonny Quest Annual [1966]

[1965] Annual. Original price 9/6.
96 pages. Full colour contents.
World Distributors (Manchester) Ltd.

Based on the Hanna-Barbera television series.

Painted cover by UNNOWN (uncredited).

Contents:

 2 UNTITLED endpaper; a: UNNOWN (uncredited).

 4 UNTITLED indicia.

 5 Hanna-Barbera's Jonny Quest Annual title page.

 6 Contents

 7 Capers on Capri text story by UNNOWN (uncredited); illustrated by UNKNOWN (uncredited).

17 The Plot on Power Island text story by UNNOWN (uncredited); illustrated by UNKNOWN (uncredited).

27 Bandit the Bulldog text story by UNNOWN (uncredited); illustrated by UNKNOWN (uncredited).

33 The Mystery of the Lizard Men w: UNNOWN (uncredited), based on the teleplay by Joseph Barbera, William Hanna, Douglas Wildey & Alex Lovy; a: UNKNOWN (uncredited).

r: Jonny Quest (Gold Key) #01 (Dec 1964).

65 Black Gold text story by UNNOWN (uncredited); illustrated by UNKNOWN (uncredited).

75 The Town of Lost Men text story by UNNOWN (uncredited); illustrated by UNKNOWN (uncredited).

87 The Riddle of Shark Bay text story by UNNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 UNTITLED endpaper; a: UNNOWN (uncredited).

A suitably action-packed cover, inspired by the strip inside, though made curiously two-dimensional thanks to the lack of background detail, lets us know what to expect - the animated hero caters, after all, to a particular audience, expectant of mystery and (despite Hanna-Barbera's limited animation) motion. There is something, however, a little bit 'off' regarding Bandit, whose appearance throughout the annual feels curiously off-model. The unfortunate placement of the foot of the diver to page-right makes it appear as if he is enjoying himself a tad too much - simultaneously adding a new dimension to the image, and providing a creepy subtext.

Jonny's fishing trip is cancelled - U.S. Zero Five, their Central Intelligence Organization, have informed Dr. Quest a military aircraft carrying a supply of X909, a new top-secret wonder drug, blew up on the runway at Naples Airport. Setting off to investigate the incident in a private plane, the team learn that the plane was in perfect condition, and that the explosion must have been deliberate. A black car was seen hastily departing just after the plane took off, with two unidentified men in uniform.

An all too easy problem to solve, with no sense of distress at any loss of life the aircraft's destruction occurred. So jolly is the tale, at its conclusion there is talk of fishing... Dr. Quest's inventions seem to be rather rudimentary here, and even the action is decidedly muted.

Dr. Benton Quest is busy putting the finishing touches to a top secret report on Intercontinental Ballistic Missile projection, scheduled to be studied by a major Congressional Committee in Washington, while Jonny is enjoying the sun. Having decided to take the hydrofoil out, Race gets it ready for him, and while changing in his bedroom Jonny is kidnapped. After telling Dr. Quest about the incident, the pair set out to locate Jonny.

Feeding what is known into UNIC, the computer gives out a location of interest: The Island of Red Sand, an uninhabited island two hundred miles out to sea, and whose most notable feature is vivid red sand. Hesitating to immediately investigate this lead, Quest awaits further information - which is eventually revealed as Zoltan. Race queries the name, which Quest explains belongs to Zaptan Zoltan, a man who might be plotting to control the world from the island.

An attempt to suppress Dr. Quest's research was never going to go down well, and although the story does its best to keep things moving, there isn't a sense of desperation in the hunt for Jonny. When he is eventually located, there is a ray-gun (a-la Buck Rogers) and much levity, rather than an emotional and powerful conclusion. Adding another layer of problems, the story makes use of sound effects throughout.

Bandit the Bulldog is, sadly, not much better. Fortunately a strip reprint is deployed to reengage the interest of flagging readers.

In the mid-Atlantic lies a vast stretch of becalmed waters, marked by massive islands of drifting seaweed and rotting hulks of ancient ships... Derelicts from centuries past. On the fringe of this foreboding place a tramp steamer cautiously makes its way...

A poor adaptation of the first episode, with stiff artwork and numerous backgrounds deprived of detail, doesn't suggest that much care had been taken in transferring the story to the page. The colouring is also extremely poor, with no sense of where the action is occurring.

The Town of Lost Men is, by far, the most intriguing story herein, with Dr. Quest, Jonny, and Race driving across America as part of their vacation. Arriving at a ghost town, they discover a hotel which is inhabited by men with lost looks on their faces, who do not wish to be disturbed. After driving off, Dr. Quest tells Jonny that there was, indeed, something odd going on, but that Race and Jonny are not going to be returning to the town.

Sadly the telling of the tale isn't up to the promise, though the tone is certainly that of familiar Hanna-Barbera series.

An odd, and not entirely successful, attempt at celebrating the series.

Jonny Quest Annual

[1967]

The Man from U.N.C.L.E. Annual [1967]

[1966] Annual. Original price 10/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.

Based on the US television series starring Robert Vaughn and David McCallum.

Cover by UNKNOWN (uncredited); photo (uncredited).

Contents:

 2.UNTITLED endpaper illustrated by UNKNOWN (uncredited).

 4 Indicia

 5 The Man from U.N.C.L.E. title page; illustrated by UNKNOWN (uncredited).

 6 Contents illustrated by UNKNOWN (uncredited).

 7 The Last Flight Affair text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

17 The Fortune Cookie Affair text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

37 Rip Van Solo Affair w: Dick Wood (uncredited); p: Werner Roth (uncredited); i: Mike Peppe.

r: The Man from U.N.C.L.E. (Gold Key) #04 (Jan 1966).

69 The Invisible Man Affair text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

79 The Explosive Affair text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 UNTITLED endpaper illustrated by UNKNOWN (uncredited).

Judged entirely by the cover, this would appear to be as stylish as the originating television series, though the contents betray the annual's rather humble nature. The endpaper illustrations, while capturing the likeness of Vaughn and McCallum to a surprising degree, are coloured with a blasé attitude to realism, making it appear as if the spies are wearing lipstick. It is very fetching lipstick, but inappropriate for a publication which would likely prefer to have its main characters treated with respect.

Mirroring episode titles, the use of The _____ Affair for each of the stories is a nice touch, though I had expected more originality to be used in the nature of the titles. The first story is a perfect example of complacency in the naming of stories, offering a solid yet uninspiring title - it doesn't hold much hope for the story itself, a concern which is borne out by the initial paragraphs:

The Man from UNCLE was strolling north on the Avenue of the Americas savouring the genial warmth of a particularly fine spring morning when a small sound came from inside his jacket pocket.

Solo is THE man from U.N.C.L.E. now? What the rest of the agency's men think about this development is not related, but I'm sure sneering would be a likely response to this news. Feeling as if the author is writing down to the annual's audience, the plot is wielded like a blunt object, hammering events into place with the finesse of a gorilla wielding a broadsword.

The Fortune Cookie Affair is a more polished tale, yet far from the heights of the series. Taking in mistaken identities, fortune cookies, amnesia, and a journey to China, there is much activity to make up for a paucity of puzzles - with so little to work out, the characters bounce around from scene to scene without considering their actions. That it ends on such a predicable note is to be expected, and somewhat ruins the effect of the previous page or so.

Within the secret projection chamber at UNCLE headquarters, startling films are shown by Chief Alexander Waverly! And as Napoleon Solo observes, he can hardly know that he himself will fall tragic victim to the awesome weapon that will soon tempt THRUSH and trigger... The Rip Van Solo Affair

Footage of an anti-aircraft laser weapon is projected on the screen, which Waverly describes as being able to cut through steel at short range, and which THRUSH is planning on stealing. During a sojourn to inspect the weapon's security, Solo is captured by THRUSH and brainwashed into acting as their agent.

An interesting strip which, if not entirely original, at least attempts to break the characters out of the usual plots. It isn't entirely successful, with too few pages to develop the central ideas fully, but it manages to deliver a few outstanding moments regardless.

An actual invisibility potion is, unsurprisingly, at the root of The Invisible Man Affair. Anything I might say as to its plot or characterisation might be misconstrued as being mean for the sake of it, so I'm going to refrain from recounting the impressive laundry list of issues I have with the story. Rounding out the annual is Another Prose Affair (apologies), which is impressively titled The Explosive Affair, which marginally redeems the annual.

Not the best start, despite an attractive cover and rather superior rear cover illustration.

The Man from U.N.C.L.E. Annual

[1968]

Mighty Mouse Annual [1982]

[1981] Annual. Original price £2.25.
80 pages. Full colour contents.
World Distributors Ltd.

Cover by UNKNOWN (uncredited).

SBN: 723566445

Contents:

 5 The Great Secret w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Adventures of Mighty Mouse (Dell) #154 (Apr 1962 - Jun 1962)

11 The Bad Genie w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Adventures of Mighty Mouse (Gold Key) Vol.2 #170 (Oct 1979)

19 Who's Hiding? join the dots; illustrated by UNNOWN (uncredited).

20 The Good Knight w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Adventures of Mighty Mouse (Gold Key) Vol.2 #166 (Mar 1979)

28 Plane Trouble w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Adventures of Mighty Mouse (Dell) #154 (Apr 1962 - Jun 1962)

36 Draw Mighty Mouse art feature; illustrated by UNKNOWN (uncredited)

37 A Mighty Maze! maze puzzle.

38 The Magic Carpet w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Adventures of Mighty Mouse (Gold Key) Vol.2 #170 (Oct 1979)

44 Mouse Mirth!

46 The Railroad Rescue w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Adventures of Mighty Mouse (Gold Key) Vol.2 #166 (Mar 1979)

52 Operation Deep Freeze w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Adventures of Mighty Mouse (Gold Key) Vol.2 #170 (Oct 1979)

60 Mighty Puzzling!

61 Odd Man Out

62 Professor Theorem's Discovery w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Adventures of Mighty Mouse (Dell) #154 (Apr - Jun 1962)

70 The Air Raid w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Adventures of Mighty Mouse (Gold Key) Vol.2 #166 (Mar 1979)

78 Cats Are Coming! a “snakes and ladders” board game.

You know those birthday cards which play a tune when opened? That is the only thing this annual is desperately missing, as reading Mighty Mouse without the rousing theme tune blaring away feels, somehow, like an incomplete experience.

Printed on incredibly bright, stiff card, the strips have never looked better, though leave something to be desired in their lack of imagination. A lively board game enlivens matters considerably, yet this is somehow a disappointing read. There isn't quite enough meat in the concoction of this publication, relying almost entirely on reprints. A valiant, though ultimately unsatisfying, attempt.

The Flintstones Annual [1966]

[1965] Annual. Original price NA.
96 pages. Full colour contents.
World Distributors (Manchester) Ltd.

Painted cover by UNKNOWN (uncredited).

Contents:

 2 UNTITLED endpaper; a: UNKNOWN (uncredited).

 4 Indicia

 5 Hanna-Barbera's The Flintstones Annual title page; illustrated by UNKNOWN (uncredited).

 6 Contents illustrated by UNKNOWN (uncredited).

 7 At the Boy Scout Jamboree w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #18 (May 1964).

28 The Crystal Caper text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #19 (Jul 1964).

29 One Gun Too Many w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #19 (Jul 1964).

37 Getting the Message w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #20 (Aug 1964).

43 Mr. & Mrs. J. Evil Scientist The Case of the Creepy Car w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #18 (May 1964).

47 Mother Was a Mechanic w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #19 (Jul 1964).

54 Perry Gunnite A Hair-Raising Caper text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #18 (May 1964).

55 The Butler Didn't Do it - No Butler w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #18 (May 1964).

61 Just for the Record w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #20 (Aug 1964).

68 Perry Gunnite Going Batty text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #20 (Aug 1964).

69 The Orbit Bit w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #20 (Aug 1964).

75 Mr. & Mrs. J. Evil Scientist TV Or Not TV w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #20 (Aug 1964).

79 Small But Mighty w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #19 (Jul 1964).

84 The Normal Genius w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #20 (Aug 1964).

89 A Slight Case of the Frights w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

94 UNTITLED endpaper; a: UNKNOWN (uncredited).

The slightly uneven earlier annuals were bound to give way to a top-notch selection of choice strips sooner or later, and it is a pleasure to see lessons having been learned - this is an almost perfect outing for the characters. Cave Kids reprints have gone extinct, and in their place we get a quite odd, though thematically suitable, monster strip. While Mr. & Mrs. J. Evil Scientist may not be immediately recognisable, the stories are so great an improvement as to freshen up the entire package. Even the cover steps up to the challenge, with a great (albeit rather stark) image.

The back cover isn't as good, and seems to depict a much younger Fred - or maybe he's just had some bonetox?

Having taken every cent in their checking account to pay all their bills before their vacation, Wilma and Betty bemoan their prospects for a proper holiday. Remembering the fun they had as boys, Fred decides that camping is the solution to their woes, although the news doesn't go down well. After talking with the Bedrock Car Club, Fred settles on Camp Shangri La De Da Valley, After setting up their tents, with help from Bamm-Bamm, they settle down for a quiet camping trip - only to be woken by a bugle, boy scouts having arrived.

There is always fun to be had from seeing Fred dig himself deeper and deeper into trouble, but this is a strangely muted tale. Barney displays a great talent for mimicry, emulating the sound of a sabretooth tiger - a skill which comes out of nowhere, and will be forgotten at the conclusion of the story - which leads to the strip's funniest moment, making Fred a hero in the eyes of the scouts.

An essentially summertime event taking the lead in a title sold at Christmas is, however, a poor choice. Surely there must have been one wintry story to open proceedings.

Fred and Barney are the first to sign up for Bedrock's Annual Turkeysaurus Shoot, but remember that they don't have guns... Fred's memory has been professionally tested before, and found to be lacking, so this isn't the surprise it might be. After purchasing a suitable marksman-type rifle, they head to the bank, which owes Fred money. Unfortunately they take the firearm into the bank, giving the cashier cause to think that they are robbers, and he hands Fred two bags of cash.

Once again Wilma and Betty come to the rescue, though they, also, might need rescuing. There's a lot of amusing little moments in the story, though the whole isn't quite the sum of its parts - almost a shaggy dog story, which is largely redeemed by how amusing the individual incidents are.

When the Flintstones' house is lit up at midnight, weird sounds pour from the windows and rockacycles are parked all over the front lawn, you can be sure of two things...

One, that Rodney Rocktop is in town...

Two, that Fred is miserable...

I'm not a fan of the beatnik stories which infested American television throughout the sixties, and the inclusion here is just as irritating. Bongos aren't an immediately attractive musical instrument. Finding that I have something in common with Fred is, it must be said, rather horrifying.

Fred gets rid of his musical nephew, Rocktop, but is soon regretting his decision when a singing telarock delivers news that Rocktop has inherited ten thousand dollars. Rushing out to fetch him back, Fred hopes that by treating Rocktop well he will receive a portion of the money.

Because treating people well because it is the right thing to do would never occur to a lunk-head such as Fred.

The Case of the Creepy Car, the first Mr. & Mrs. J. Evil Scientist strip, sees J. and his wife head out to purchase a car from Variety Used Cars, which guarantees people will find a car they like. Naturally, there isn't anything to their taste, and they are determined to ruin the company due to it making claims it can't back up.

Fred attempts to fix a leak in Mother Was a Mechanic, though his attempts to stop the torrent of water pouring into the house is less than successful. Wilma's mother, visiting Pebbles, manages to get things turned around, and is soon repairing other things Fred had "fixed" - not at all to his pleasure. In an attempt to win over his mother-in-law, Fred enters her into a Most Typical Mother Contest, which ought to interest her womanly instincts.

There ought to be an analysis of the sexual politics of this story somewhere. Cross-dressing, "typical" womanly interests, and a focus on appealing to a narrow bracket of hobbies as appropriate - The Flintstones never really engaged in serious social commentary, often preferring to mock, and having such a rich tapestry around the central characters often hghlighted characters who existed outside of the norms. By forcing the characters back into preconceived notions of proper behaviour for the sake of a few gags seems a retrograde step.

At least there is a sense of surreality to offset events.

An annual dance is scheduled at the Dinosaur Lodge, so Fred and Barney are volunteered to find an orchestra in two days - with a grand budget of thirty-two dollars. Their attempts at securing a suitable band is, however, far from easy. It is interesting to compare the various depictions of bands in the franchise through the years, with developments in popular music altering the look of fictional musicians. Attempts to appeal to contemporary audiences, in stories set so far in the past, raise so many questions.

The Orbit Bit, originally published with a cover date of August 1964, is likely a response to NASA sending the first Apollo command module into orbit. Its final image, of Earth orbited by two dinosaurs, would have made an amazing NASA patch.

If there is one thing to take away from the annuals, it is how often annual events in-universe crop up. Likely unintentional, though amusing to see all the same.

[1965]

The Flintstones Annual

[1967]

Tarzan Annual [1974]

[1973] Annual. Original price 70p.
58 pages. Full colour and tone contents.
Brown Watson Ltd.

Painted cover by UNKNOWN (uncredited).

Contents:

 2 UNTITLED [Tarzan Riding Elephant] illustrated by UNKNOWN (uncredited).

 3 Tarzan Annual title page; illustrated by UNKNOWN (uncredited). / Indicia

 4 Tarzan and the Beast of Kemodo text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

 9 Jungle Puzzles illustrated by UNKNOWN (uncredited)

10 It's Odd - But True! illustrated feature by UNKNOWN (uncredited).

12 Rogue Ape text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

17 Tarzan of the Apes Tarzan and the Demon Elephant w: Gaylord Du Bois (uncredited); p: Paul Norris (uncredited); i: Mike Royer (uncredited).

r: Tarzan (Gold Key) #197 (Dec 1970).

38 The Guardians of the Caves w: Gaylord Du Bois (uncredited). a: Russ Manning (uncredited).

r: Tarzan's Jungle Annual (Dell) #04 (Aug 1955).

30 Tarzan and the Cannibals w: UNKNOWN (uncredited). a: UNKNOWN (uncredited).

r: Tarzan newspaper strip (King Features Syndicate).

45 Tarzan and the Crocodile Men text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

50 Safari Quiz illustrated by UNKNOWN (uncredited).

52 The Man-Tamer text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

A step-down in appearance, with a cover which is slightly rough and ready when compared to the previous edition. Depicting Tarzan swinging through a burning jungle, there really should be more urgency presented, although artistic choices in composition - and Tarzan's body language - seem to nullify whatever inherent drama the situation might hold. The expression on Cheetah's face doesn't help any.

Interior illustrations are similarly spoiled by inexplicable choices. If they were presented in black and white there would be no issue with their inclusion, though choosing green spot-colour is an awful decision - while it might seem logical to use green to indicate that the characters are in a jungle, the background is left monochrome while Tarzan is coloured green.

A green elephant is not, however well-drawn, going to convince me that there is any care taken with the annual. Is it gangrenous? Is it an alien elephant? Is it so lazy that moss has begun growing on it? The answers are not to be found in this publication.

For many hours the great storm had raged. Before sunset the dark clouds had filled the air with a lurid, gloomy light. The dense African jungle, its shadowy depths green even when the sun shone brightly, was a place of darkness and menace.

Now thunder rolled and crashed over the jungle and the hills, and flash after flash of lightning split the skies, lanced to the ground and sent great trees toppling and thudding to the ground, with sulphurous smoke wisping from their ripped bark.

The writing in the stories isn't up to the standards of the novels, nor have a solid grasp on the world of Tarzan - The Beast of Kemodo, with Kemodo being a mountain, features a creature which is larger than an elephant. Vast, with a spiny back, a head with large, whitish eyes, and horny outcrops which weave to and fro... Yes it is a dragon. Named the "fire dragon of Kemodo" it may be, but no amount of rationalisation can justify its appearance in the jungle. In Pellucidar, sure, but in a location which is so distant from the hunting grounds of such beasts?

The illustrations accompanying Rogue Ape bring to mind Mytek the Mighty, which further removes any sense of realism. It isn't the fault of the story, nor the artist, but the lingering doubts as to the seriousness of the title's intentions cannot be easily dismissed.

There are also problems with the strips, especially noticeable in The Demon Elephant, with loose and cartoonish artwork, often neglecting to provide backgrounds to scenes. Such a slapdash approach to the character doesn't provide the best means with which to tell a dramatic story (in which Jane is kidnapped), and whatever tension is washed away with a clumsily-handled and truncated battle.

The Guardians of the Caves is presented slightly better, though The Cannibals is less attractive. By not picking out outstanding strips to represent the character's best appearances, no sense of importance is imparted to readers. It is difficult to see how this would appeal to an audience which had been exposed to far better representations in other titles, especially as no effort seems to have been made to adhere to consistency.

1973

Tarzan Annual

1975

Lancer Annual 1970

[1969] Annual. Original price NA.
96 pages. Colour & tone art.
World Distributors Ltd.

Based on the US television series starring Andrew Duggan, James Stacy, Wayne Maunder, Elizabeth Baur and Paul Brinegar.

Painted cover by Edgar Hodges.

SBN: 723500509

Contents:

 2 Endpaper (uncredited).

 4 Contents Page uncredited illustration.

 6 Circumstantial Evidence part one, w: UNKNOWN (uncredited); a: Luis Dominguez.

r: Lancer (Gold Key) #01 (Feb 1969).

20 Move 'Em Out Illustrated text feature by UNKNOWN (uncredited).

22 Circumstantial Evidence part two, w: UNKNOWN (uncredited); a: Luis Dominguez.

r: Lancer (Gold Key) #01 (Feb 1969).

34 Bank Raid snakes and ladders board game by UNKNOWN (uncredited).

36 The Diamond Studded Steer part one, w: UNKNOWN (uncredited); a: Luis Dominguez.

r: Lancer (Gold Key) #02 (Jun 1969).

50 Revenge of the Lancers snakes and ladders board game by UNKNOWN (uncredited).

52 The Diamond Studded Steer part two, w: UNKNOWN (uncredited); a: Luis Dominguez.

r: Lancer (Gold Key) #02 (Jun 1969).

64 Dressed for the Range Illustrated text feature by UNKNOWN (uncredited).

66 The Water Rustlers part one, w: UNKNOWN (uncredited); a: Luis Dominguez.

r: Lancer (Gold Key) #03 (Sep 1969).

80 Women of the West Illustrated text feature by UNKNOWN (uncredited).

82 The Water Rustlers part two, w: UNKNOWN (uncredited); a: Luis Dominguez.

r: Lancer (Gold Key) #03 (Sep 1969).

Collecting the entire Gold Key series in one handy volume, this is a really attractive annual.

HHaving seen a few copies, it is an annual which suffers slightly in that the pages aren't as secure as they could be, though having two board games and a few text features works in its' favor – the beautiful cover artwork surrounds a wonderful package of entertainment from the tail end of the western craze. It isn't stated in print, but the endpaper is most likely the work of Hodges as well as the cover.

The Flintstones Annual [1965]

[1964] Annual. Original price 8/6.
96 pages. Full colour contents.
World Distributors (Manchester) Ltd.

Painted cover by UNKNOWN (uncredited).

Contents:

 2 UNTITLED endpaper; a: UNKNOWN (uncredited).

 4 Indicia

 5 Hanna-Barbera's The Flintstones Annual title page; illustrated by UNKNOWN (uncredited).

 6 Contents illustrated by UNKNOWN (uncredited).

 7 The Too Old Cowhand w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #12 (Jul 1963).

15 Hitting the Thumb on the Nail w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #13 (Sep 1963).

21 In There Pitching w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #12 (Jul 1963).

29 The Day Pebbles Talked w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: Pebbles Flintstone (Gold Key) #01 (Sep 1963).

34 What's the Use? text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #12 (Jul 1963).

35 Who's Zoo w: UNKNOWN (uncredited); p: Harvey Eisenberg, i: John Liggera.

r: The Flintstones (Gold Key) #13 (Sep 1963).

43 Perry Gunnite Picking the Pick-Pocket's Pocket w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #12 (Jul 1963).

47 Tenderfoot Talent Scouts w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #12 (Jul 1963).

53 Pebbles Flintstone Playmate for Pebbles w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: Pebbles Flintstone (Gold Key) #01 (Sep 1963).

58 Strictly from Hunger text story by UNKNOWN (uncredited); illustrated by Pete Alvarado (uncredited).

r: The Flintstones (Gold Key) #13 (Sep 1963).

59 Yanks for the Memory w: UNKNOWN (uncredited); p: Harvey Eisenberg (uncredited), i: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #13 (Sep 1963).

67 Pebbles Flintstone The Genius Who Wore Diapers w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: Pebbles Flintstone (Gold Key) #01 (Sep 1963).

73 Cave Kids When Help is Needed, Holler for a Hero w: UNKNOWN (uncredited); p: Harvey Eisenberg (uncredited), i: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #13 (Sep 1963).

77 Panic in the Park w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #12 (Jul 1963).

82 Model Salesman w: UNKNOWN (uncredited); a: Kay Wright (uncredited).

r: The Flintstones (Gold Key) #13 (Sep 1963).

86 Pebbles Flintstone The Girl Who Cried Mink w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: Pebbles Flintstone (Gold Key) #01 (Sep 1963).

94 UNTITLED endpaper; a: UNKNOWN (uncredited).

96 UNTITLED painting by UNKNOWN (uncredited).

A rather unusual cover, depicting Fred and Wilma Flintstone, along with Barney and Betty Rubble, aboard a boat, doesn't really jive with the television series, though the painting on the rear of the annual is perfectly in keeping with scenes shown throughout the show's run. World, adept at providing stylish packaging for their reprints, have to be applauded for the originality of the images used, and this is one of the more visually interesting examples. The endpaper is also unusual, with a makeshift cinema providing the focus.

Fred's nephew Melvin arrives for a visit, so Fred - attempting to entertain the child - tells Melvin about his days as a cowboy. Melvin, suitably impressed, enters Fred into a rodeo - for every event. His dismay at the painful experience is multiplied when the terra-steers stampede, chasing him through town.

Juxtaposing the wild west with prehistoric times is a recipe for anachronisms, which isn't assisted any by a script which is peppered with modern terms. While the series always played with the use of modern items and society in its setting, here it comes across as too acute. The western elements, especially, feel as if they have been included merely to reference then-popular westerns.

Hitting the Thumb on the Nail is a very modern story, featuring building codes being enforced, and the struggle to maintain appearances with a garage attached to the Flintstone property. While it is played for laughs, I am sure that those who have dealt with such struggles will find something of the truth in its depiction of construction woes. The final panel raises a wry smile, though makes no sense when taken in the context of the cartoon - when, I ask, was Fred without his trusty wheels?

In There Pitching, a baseball story, sees the Dinosaur Lodge Hurlers preparing for their first game, which will be pitted against the Brothers of the Brontosaurus. Fred, predictably, injures both himself and Barney the night before the game. Wilma and Betty substitute for the boys, much to the horror of the umpire. They come through for the team, with the score 9-nil by the end of play. As their strength is needed for the Hurlers, Fred finds himself taking over Wilma's role in the house.

That Wilma and Betty are so competent at sports, and far more talented than their husbands, amuses me no end. It is obvious, in retrospect, given how lazy and unprepared the pair so often are, but to have proof of their wives' superiority in print is wonderful.

Visiting the zoo, Fred and Barney note that a cage reading 'Kangasaurus' is apparently empty, and the zookeeper informs them that it is because the zoo has been attempting to obtain once since opening. The kangasaurus used to frequent Bedrock Canyon, but have since moved elsewhere - the zoo is offering a reward of ten thousand dollars for one. With an eye on the reward money, Fred and Barney decide to see if they can catch one.

They eventually discover a kangasaurus, but it takes a shine to the unlikely pair. Who's Zoo is a perfect Flintstones story, with a logical progression, an amusing dinosaur, and a rather sweet ending.

Cave Kids return for another outing, and it is no more entertaining than the rest of the strips featuring the characters. Did anyone find them funny?

Looking around an auto show, Fred and Barney note innovations such as windshield wipers, which will come in handy when windshields are invented, and convertibles. Seeing Joe Jadeson, an old friend, working the Shoverolet stand, Fred decides to help the man make a few sales.

It was always going to be a challenge for Fred to assist in such an endeavour, and he manages to make matters worse - twice.

A quality collection of strips, besmirched only by the presence of the Cave Kids.

[1964]

The Flintstones Annual

[1966]

Tarzan Annual No.1

[1973] Annual. Original price 65p.
80 pages. Colour, tone & B&W.
Brown Watson Ltd.

Cover painting by George Wilson.
r: Tarzan (Gold Key) #144 (Aug 1964).

Contents:

 2 Dennis Miller photo (uncredited).

 3 Title Page illustrated by UNKNOWN (uncredited). / Indicia.

 4 Tarzan and the Golden God of Makulu prose story (uncredited); illustrated by UNKNOWN (uncredited).

 8 Major Disaster Untitled w: (uncredited). a: (uncredited).

10 Safari Quiz illustrated by UNKNOWN (uncredited).

12 Tarzan and the Witch-Doctor prose story (uncredited); illustrated by UNKNOWN (uncredited).

17 Lost in Pellucidar w: Gaylord Du Bois, based on the Edgar Rice Burroughs novel. a: Doug Wildey.

r: Tarzan (Gold Key) #180 (Oct 1968).

38 Turchuk the Mighty w: Gaylord Du Bois. a: Alberto Giolitti.

r: Tarzan (Gold Key) #171 (Sep 1967).

59 The Jungle Pit w: (uncredited). a: (uncredited).

r: UNKNOWN.

67 Tarzan and the Zoo Trappers prose story (uncredited).

74 Jungle Round-Up illustrated feature (uncredited).

Note: Full title given on the cover is Edgar Rice Burrough's Tarzan Annual No.1.

As nice as this is, it doesn't quite live up to the amazing painted cover. The recognition of actors other than Johnny Weissmuller is refreshing, and as we are presented with a photograph - albeit monochrome - of Dennis Miller, hopes that a feature on the lesser actors to have approached the role were understandably raised. Only to be dashed. The continued dismissal of Tarzan history, when publications featuring the character are read in volume, is a sore point that hasn't been rectified.

I want to know how, and why actors were given the roles, the unique challenges each film presented, and if questions were ever raised regarding the oft-leveled accusations of racism. Nowhere in the annuals do we get the sense that more than a moment's though is allocated to Tarzan as a cultural icon (for good or bad), flinging the reader into as many rip-roaring adventures as possible so that uncomfortable thoughts are pushed aside. This exists outside of the separate from the magazines, comics, films, and other appearances, only ever casting the briefest of glances at other representations.

The books, as you might gather, are ignored almost entirely.

Restarting the numbering is a bold move, signifying a change in direction. This is a fresh start, though without the freshness which is promised - it is a slightly cheeky declaration that all which has gone before is, somehow, not as important. It is possible to argue that younger readers might not have been aware of the prior annuals, though it smacks of a haughty attitude to the previous annuals. History, once more, being consigned to irrelevancy.

I'm not sure if Major Disaster is an appropriate strip for a Tarzan annual, containing so slim a skeleton on which to hang a few gags, but at only two pages it isn't too intrusive. It isn't, unfortunately, very funny, which would have gone a long way to making the inclusion make sense. A Safari Quiz suffers greatly from being overwhelmingly pink - possibly from having ran out of green ink - though the illustrations are nice enough.

The illustrations for Tarzan and the Witch Doctor, the second text story in the annual, features illustrations which appear to depict an older Tarzan, which don't quite work as well as they ought to. A certain vitality and aggression in his posing would have helped sell the notion better. It is a very brief story, thankfully, as it doesn't deliver enough of the central elements which makes the character appealing.

Lost in Pellucidar should be amazing. Travelling to the Earth's core (okay, not literally, but to Pellucidar regardless) is an opportunity for some amazing visuals, opening storytelling possibilities which would be limited by his regular hunting grounds. It is, therefore, something of a let-down to have so much back-and-forth on whether Tarzan should be killed, no matter how serious the dialogue. It is fortunate that the monotony is broken by the appearance of a stegosaurus. Yes, you read that right.

There are more dinosaurs to follow, and the turgid pacing which opens the story is replaced by a frenetic sequence which ends with the dramatic moment of... Well, Tarzan saying that he's going home. Really? This is the absolute best strip with which to represent the character? Turchuk the Mighty is little better, with the noble savage looking downright goofy in a parachute. Great toy opportunity there, but for storytelling it falls far short of expectations.

Closing with the rather attractive, though awfully-coloured, Animal Round-Up, the primary feeling this annual presents is one of exhaustion with the character. The short page count doesn't allow for more than a handful of features for a character whose rich history should allow for a wealth of material, and when one feature is a non-fiction wildlife one, there is little that could have been done to save this from utter mediocrity.

I like Tarzan. If you are reading this thinking otherwise, the fault lies entirely with the title. I want to be wowed, but there isn't anything here with a sense of amazement, wonder, or exuberance. I want to know what the jungle smells like, to have the heat represented, to hear what sounds are present, but the narratives are so stilted as to prevent immersion into Tarzan's world.

Aside from the photograph which opens the annual there is no further exploitation of the film incarnations of Tarzan - it is somewhat frustrating to know that there is so much more to the character than we are given, and enough people were alive at the time of publication to make interviews with those involved a very interesting proposition. What we get is less original, solid and competent enough package for those interested in Tarzan or British annuals of the seventies.

A complete let-down for those looking for classic tales though.

[1972]

Tarzan Annual

[1974]

The Flintstones Annual [1964]

[1963] Annual. Original price 8/6.
96 pages. Full colour contents.
World Distributors (Manchester) Ltd.

Painted cover by UNKNOWN (uncredited).

Contents:

 2 UNTITLED endpaper; a: UNKNOWN (uncredited).

 4 Indicia

 5 Hanna-Barbera's The Flintstones Annual title page; illustrated by UNKNOWN (uncredited).

 6 Contents illustrated by UNKNOWN (uncredited).

 7 Introducing Pebbles w: UNKNOWN, loosely adapted from the episode Blessed Event; a: Harvey Eisenberg.

r: The Flintstones (Gold Key) #11 (Jun 1963).

21 Treasure Hunters w: UNKNOWN (uncredited); p: Pete Alvarado, i: Steve Steere.

r: The Flintstones (Gold Key) #10 (Apr 1963).

29 A Star Comes to Bedrock w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #11 (Jun 1963).

36 The Beat Beat text story by UNKNOWN (uncredited); illustrated by Pete Alvarado (uncredited).

r: The Flintstones (Gold Key) #10 (Apr 1963).

37 Cave Kids Half a Hero w: Del Connell (uncredited); a: UNKNOWN (uncredited).

r: Cave Kids (Gold Key) #02 (May 1963).

43 Perry Gunnite The Inside-Out-Job w: UNKNOWN (uncredited); p: Pete Alvarado (uncredited), i: Steve Steere (uncredited).

r: The Flintstones (Gold Key) #10 (Apr 1963).

47 Too Many Bongos w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #11 (Jun 1963).

53 The Pre-Hysterical Egg w: UNKNOWN (uncredited); a: Guillermo Cardoso (uncredited).

r: The Flintstones (Gold Key) #10 (Apr 1963).

60 Prehistoric Graveyard text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: The Flintstones (Gold Key) #11 (Jun 1963).

61 Cave Kids Too Many Monsters w: Del Connell; a: UNKNOWN (uncredited).

r: Cave Kids (Gold Key) #02 (May 1963).

67 Cave Kids Flying is for the Birds w: Del Connell; a: UNKNOWN (uncredited).

r: Cave Kids (Gold Key) #02 (May 1963).

72 Ruff and Reddy The Double Ball text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: Cave Kids (Gold Key) #02 (May 1963).

73 When You Wish Upon a Fish w: UNKNOWN (uncredited); a: Fred Abranz (uncredited).

r: The Flintstones (Gold Key) #10 (Apr 1963).

79 Counter-Fit-Thrower w: UNKNOWN (uncredited); a: Harvey Eisenberg.

r: The Flintstones (Gold Key) #11 (Jun 1963).

83 Ski for Two w: Carl Fallberg; a: Kay Wright.

r: The Flintstones (Gold Key) #10 (Apr 1963).

89 Cave Kids Beastly Band w: Del Connell; a: UNKNOWN (uncredited).

r: Cave Kids (Gold Key) #02 (May 1963).

94 UNTITLED endpaper; a: UNKNOWN (uncredited).

96 UNTITLED painting by UNKNOWN (uncredited).

Being comprised almost entirely of Gold Key reprints doesn't mean that there is a lack of flair to this annual, with a superb cover painting which captures a sense of mad anarchy from the series. The endpaper and title page are slightly off-model illustrations of Fred, which lends an air of oddness to what will follow, but is easily forgivable for the era. Curiously, the contents page - cleverly designed as being written on a stone tablet - offers a much more accurate depiction of Fred and Barney.

Introducing Pebbles does exactly what the title says, and although there is no hint (as yet) of her tendency to get into mad situations, there is enough incident and activity to keep the plot moving. Seeing Barney dressed as a baby is worth the more predictable moments.

Fed up with the penny-pinching Fred displays, Wilma creates a treasure map, which she 'discovers' in an old chest, and Fred is excited to see that it leads to sacks of gold buried by Long John Cooper. It leads, of course, to Stony Springs, which Fred refused to take her to. When they get to Stony Springs Resort Hotel, Fred realises that he has been tricked, and when the opportunity arises to trick Wilma and Betty, with money made from the sale of the trunk, he takes it.

Ralphy Rockem, a television celebrity who Fred knew as Ralph Sanderstone in the army, drops by for a visit, and attempts to keep a low profile.

The set-up tells you everything you need to know, with the ever-unreliable Fred Flintstone yapping his way around town, and events escalating. It may not be the most original, or funniest, script ever written, but the tone is perfectly in keeping with the television series. Concluding with yet another undeserved win for Fred may, given his prior behaviour, seem like he gets away with more than he should, but the story doesn't labour the point.

I'm not overly fond of the Cave Kids, and Half a Hero does nothing to endear them to me - riffing on The Lone Ranger, 'Rocky Ranger' offers nothing we haven't seen before. The rest of their appearances prove to be just as leaden.

The Inside-Out-Job is slightly better, with private eye Perry Gunnite (residing at 77 Stonestep Strip, naturally) finding his stool-pigeons can't always be trusted. Basing stories on characters who are popular at the time might date the stories unnecessarily, though the plot is amusing enough to avoid too much criticism.

Too Many Bongos is one of those painfully 'hip' stories, tapping directly into pop culture of the fifties and early sixties, and was already dated when it appeared in print Stateside.

Prehistoric Graveyard, a non-fiction piece on the La Brea Tar Pits, offers a small reprieve from the comedy, though it is only the briefest of accounts.

Despite feeling packed, and this certainly has a lot of content, there is a lack of depth to much of the reprinted material. That so little original material is present is also disappointing, but the reproduction is far better than Gold Key managed - this is a very attractive book. I could, however, live without the dire Cave Kids strips.

[1963]

The Flintstones Annual

[1965]

The Beverly Hillbillies Annual 1965

[1964] Annual. Original price 8/6.
96 pages. Full colour contents.
World Distributors, Ltd.

Based on the US television series starring Buddy Ebsen, Irene Ryan and Donna Douglas.

Photo cover.
r: cover (modified) from Beverly Hillbillies (Dell) #02 (Jul 1963 - Sep 1963).

Contents:

 2 Endpapers Illustration (uncredited).

 5 Title Page Illustration (uncredited).

 6 Contents page Illustration (uncredited).

 7 Community Chaos w: (uncredited); a: Tony Tallarico (uncredited).
r: Beverly Hillbillies (Dell) #03 (Oct 1963 - Dec 1963).

35 Some Neighbourly Help w: (uncredited); a: Henry Scarpelli (uncredited).
r: Beverly Hillbillies (Dell) #01 (Apr 1963 - Jun 1963).

67 Live Elegant w: (uncredited); a: Tony Tallarico (uncredited).
r: Beverly Hillbillies (Dell) #02 (Jul 1963 - Sep 1963).

"The wacky, wacky world of the mixed up Clampetts."

It may be a straight reprint of material from the first three issues of the Dell series (albeit out of order), but it is in full color and, crucially, on better paper. Firmly in the vein of the originating series, the stories tend to be entirely disposable entertainment with no characterization shifts or lessons learned, changes to the status quo entirely absent. This is not, however, a negative - the stability of the scenario and the familiarity of the characters are perfectly suited to delivering a story; a method of storytelling much more satisfying than using the illusion of things changing while the status quo is nudged back into line every so often.

The first of the tales, Community Chaos, sees the Beverly Hills Betterment League visiting the Clampetts to see if they can improve the neighborhood with new ideas. The Clampetts take the notion that the community is desperately in need of several alterations, and begin making a host of changes which brings it more in line with what they understand as being a "perfect" place to live. Of course, their idea of making things more homely includes building a still to make moonshine, releasing wild animals to hunt, and bringing the attention of the police and fire departments upon the area. With an ending which recalls the best of the television episodes, it is a nice introduction, and there is enough minor details to keep older readers amused.

The second story, from the first issue of the comic, has an interesting recap of everything which led to the family moving to Beverly Hills, and it feels all the more noticeable for being the second story in the annual. Working their way around a film studio, they systematically ruin every production they come across - it may be a rather stale idea given the heights of ridiculous misunderstandings which epitomized the characters, but it gives a rather interesting parallel between the way the rest of their neighbors live and the way the family are trying to fit into their new location.

Naturally, with the nature of the stories, the unfortunate implications of "money fixes everything" crops up in the denouement. It isn't entirely comfortable, given how the financial situation created by the depression (and every financial crisis since) has led to a backlash against throwing money at problems. A truer moral of accepting people as they are is sidelined in favor of simplicity throughout the trio of stories, the third of which, perhaps, displays the best elements of the nature of the characters more than the preceding tales.

Live Elegant sees new neighbors move into the area, and the families - who, at first, are on less than stellar terms with each other - soon come to realize that they aren't so different after all. The Clampetts show the Von Strom's that there is more to life than stiff formality, and the Clampetts show that they can, when required, clean up and host a "respectable" dinner party. It is the best of the stories, and although the moralizing may be thicker than required to tell the story, it shows how much latitude there is in what, by other hands, could be a very limited scope for the series.

The Beverly Hillbillies Annual

1966