The Loner (Fleetway Publications) #01 (1991)
First Appearances:
Judge Anderson in 2000 A.D. (IPC Magazines Ltd.) Prog 150 (02 Feb 1980)
Births:
Mary Tourtel (1874); Hunt Emerson (1952)
Deaths:
Jerry Siegel (1996)
Notable Events:
Rupert Murdoch tweeted an apology, for the Gerald Scarfe cartoon published the previous day, in 2013.
Showing posts with label Hunt Emerson. Show all posts
Showing posts with label Hunt Emerson. Show all posts
Monday, January 28, 2019
Saturday, November 17, 2018
Ally Sloper #1
1976. Cover price 20p.
36 pages. B&W.
Denis Gifford Creative Comics Production / Alan Class
First British Comic Hero: 1876
First British Comic Magazine: 1976
Edited by Denis Gifford.
Cover by Denis Gifford.
Contents:
There are spectacular artists within the first issue of Ally Sloper, so it is somewhat puzzling that Gifford chose to provide the art himself rather than using, for example, Frank Bellamy or Steve Dowling. Gifford's art, while often extremely effective, isn't as eye-catching as should benefit the launch of a title, especially one which sets out, as this does, to educate readers on the history of comics in Britain. Overall, this issue has so little fanfare about it, lacking riotous celebration in its existence, that there's no sense of just how important it was.
I expect a certain rambunctious pride in the creation being presented, highlighting the very best material available. Swagger, if you will, at having formed something which ought to be noticed. That egotism is lacking here, despite outside pride (a lavish launch party, details of which were featured in a following issue), diminishing the excitement of the issue.
This would also be a problem for Crikey!, and other titles of its ilk.
Quite possibly the greatest British comics magazine ever published, no-one since has managed to pull together such a wide range of top-tier creators to celebrate the medium. This title was an important step in promoting the history of comics and comic strips rather than hyping the latest non-news from superhero publishers, who (presumably) aren't well-enough served by the multitude of existing outlets for their press releases.
The mix presented is something of a problem when it comes to carefully balancing traditional material, mature readers-focused underground creators, and the then-current mainstream. Such an awkward "everything goes" mentality likely hindered uptake on readership, and it can be argued that, by not instituting clearly-demarcated segments from the outset, there was a slight confusion regarding the contents. Also of note for those who would wish to follow in the footsteps of Ally Sloper, not indicating the source of each piece of art is a bad thing.
At which point I ought to add that I have largely given up on sourcing the small illustrations accompanying the editorial. How difficult is it to note where images have been taken from? It is a problem which persists in magazines to this day.
The feature on Steve Dowling is a particular joy, though frustratingly curt. Had there been an accompanying chronology and index of work, along with personal anecdotes, this would an essential read, but I am left wanting from the brief references to other strips he contributed to.
Artwork is consistently great throughout, nowhere more pronounced than Frank Bellamy's Swade, which appears to have been influenced by Spaghetti Westerns as much as anything. Once more the abbreviated nature (a mere three pages) is a setback instead of a strength, though the title is evocative, and what story there is folds out with style.
Not that I'm able to pin a reason on it, Jarl the Northman doesn't feel as if it is a complete story. With such interesting characters, it seems to offer forth a world which is intended for further exploration, replete with a history and texture bubbling under the surface. The ending is rather too neat and clean, lacing a satisfying moment of closure. Brian White's Nipper strips, in a section dedicated to vintage material, is amusing rather than laugh-out-loud funny, and the suggestion of reviving Alfie the Space Tramp with an SF twist to the character, doesn't appeal.
Coverage of Comics 101 isn't given enough room to cover all of the happenings, and with such an impressive roster of names in attendance should have been more in-depth. What we are given, however, is a fascinating glimpse into the event.
An excellent start to a sadly short-lived title, though compromised by such a low page-count.
36 pages. B&W.
Denis Gifford Creative Comics Production / Alan Class
First British Comic Hero: 1876
First British Comic Magazine: 1976
Edited by Denis Gifford.
Cover by Denis Gifford.
Contents:
2 Ally Sloper! text introduction by Denis Gifford; border illustrations: (left) Marvelman by UNKNOWN, Nipper by Brian White, Pip, Squeak & Wilfred by UNKNOWN, Harris Tweed(?) by UNKNOWN; (right) Dan Dare by Frank Hampson, UNKNOWN by UNKNOWN, UNKNOWN by UNKNOWN, UNKNOWN by UNKNOWN.
Note: Having spent far, far too long digging through old publications in an attempt to identify the border images, I'm giving up - life is far too short to deal with this, when there are more pressing lists requiring attention. Any suggestions welcome.
3 Ally Sloper UNTITLED [Ally Sloper's Public Transport] w:/a: Walter Bell.
4 Steve Dowling: Father of Garth interview by Denis Gifford; illustrated by Steve Dowling.
7 Swade w:/a: Frank Bellamy.
10 Jarl the Northman [The Fruit of the Korvine Forest] w:/a: Keith J. Luck.
15 Nipper UNTITLED [Shoes for Balloons; Sugar Pig; Cricket Home-Made Cricket Leg Pads; Old News; Delivering Mail; All the Bottles; Trumpet Accompaniment; Chicken Run; Dinosaur Ride; Lock Ness Monster; Donkey Ride] w:/a: Brian White.
r: Daily Mail (Associated Newspapers, Ltd.) #??? (## ### 19??).
18 Nipper's Old Man: Brian White text feature by Denis Gifford; illustrated by Sid Griffiths. / Nipper Nipper Nightmare w:/a: Brian White. / Nipper Nipper Goes To It! w:/a: Brian White.
r: Daily Mail (Associated Newspapers, Ltd.) #??? (## ### 19??).
20 Nipper UNTITLED [Little Monkey; Swingball; Cat Stole; Fashionable Socks; Penguin Pool; A Cage for Pengy; Pengy's Pearls; Penguin Trap; Old Enough for the Cinema; Grumpy Snowman; Scythe; Nipper Comic] w:/a: Brian White.
r: Daily Mail (Associated Newspapers, Ltd.) #??? (## ### 19??).
23 Comic Contest / Free Gifts / Old Pals Updated Alfie the Space Tramp w:/a: Tony Glynn. / Subscribe to Sloper!! illustration by Denis Gifford.
24 The British Comic Comes of Age: The First British Comics Convention text feature by Keith Mackenzie; illustrations by Denis Gifford, Terry Wakefield, Ron Embleton, Frank Hampson.
26 Comic Q+As readers' mail. / The MS's Muse UNTITLED [Remember Boadicea] w:/a: Ann Spano.
28 Dogman Doktor Oktorpus Nonplussed w: Paul Fisher; a: Hunt Emerson.
32 Kaptain Kween The Man with the Golden Hairdryer w: Ed McHenry; a: Ray Peters.
34 Miz Liz UNTITLED w:/a: Ewan L. Masters.
35 In The Beginning #1 Dudley D. Watkins text feature.
35 Our Gymnastic Class w:/a: Dudley D. Watkins.
r: The Beacon magazine (Boots Pure Drug, Co., Ltd.) #? (Mar 1923).
36 Holy Macaroni! in-house advertisement.
There are spectacular artists within the first issue of Ally Sloper, so it is somewhat puzzling that Gifford chose to provide the art himself rather than using, for example, Frank Bellamy or Steve Dowling. Gifford's art, while often extremely effective, isn't as eye-catching as should benefit the launch of a title, especially one which sets out, as this does, to educate readers on the history of comics in Britain. Overall, this issue has so little fanfare about it, lacking riotous celebration in its existence, that there's no sense of just how important it was.
I expect a certain rambunctious pride in the creation being presented, highlighting the very best material available. Swagger, if you will, at having formed something which ought to be noticed. That egotism is lacking here, despite outside pride (a lavish launch party, details of which were featured in a following issue), diminishing the excitement of the issue.
This would also be a problem for Crikey!, and other titles of its ilk.
Quite possibly the greatest British comics magazine ever published, no-one since has managed to pull together such a wide range of top-tier creators to celebrate the medium. This title was an important step in promoting the history of comics and comic strips rather than hyping the latest non-news from superhero publishers, who (presumably) aren't well-enough served by the multitude of existing outlets for their press releases.
The mix presented is something of a problem when it comes to carefully balancing traditional material, mature readers-focused underground creators, and the then-current mainstream. Such an awkward "everything goes" mentality likely hindered uptake on readership, and it can be argued that, by not instituting clearly-demarcated segments from the outset, there was a slight confusion regarding the contents. Also of note for those who would wish to follow in the footsteps of Ally Sloper, not indicating the source of each piece of art is a bad thing.
At which point I ought to add that I have largely given up on sourcing the small illustrations accompanying the editorial. How difficult is it to note where images have been taken from? It is a problem which persists in magazines to this day.
The feature on Steve Dowling is a particular joy, though frustratingly curt. Had there been an accompanying chronology and index of work, along with personal anecdotes, this would an essential read, but I am left wanting from the brief references to other strips he contributed to.
Artwork is consistently great throughout, nowhere more pronounced than Frank Bellamy's Swade, which appears to have been influenced by Spaghetti Westerns as much as anything. Once more the abbreviated nature (a mere three pages) is a setback instead of a strength, though the title is evocative, and what story there is folds out with style.
Not that I'm able to pin a reason on it, Jarl the Northman doesn't feel as if it is a complete story. With such interesting characters, it seems to offer forth a world which is intended for further exploration, replete with a history and texture bubbling under the surface. The ending is rather too neat and clean, lacing a satisfying moment of closure. Brian White's Nipper strips, in a section dedicated to vintage material, is amusing rather than laugh-out-loud funny, and the suggestion of reviving Alfie the Space Tramp with an SF twist to the character, doesn't appeal.
Coverage of Comics 101 isn't given enough room to cover all of the happenings, and with such an impressive roster of names in attendance should have been more in-depth. What we are given, however, is a fascinating glimpse into the event.
An excellent start to a sadly short-lived title, though compromised by such a low page-count.
Ally Sloper
#02
Thursday, October 11, 2018
The Thing is Big Ben #1
28 Mar 1984; Cover price 18p.
32 pages. Colour, tone & B&W.
Marvel Comics Ltd.
Edited by Chris Gill.
Cover by UNKNOWN.
Free paper cap.
Contents:
What an odd cover: Ben wearing a free push-out cardboard cap, with a host of characters from Marvel Comics looking on incredulously. Much like people would stare at you if you had worn this in 1984. The sartorially-challenged Marvel Bullpen should be studiously ignored in all matters fashion related. If you didn't already know, that is.
The initial strip isn't promising - The Thing making his way through Cairo Airport after having investigated a freshly-uncovered pyramid. Internal dialogue during this opening section hints at the events of a previous adventure, where the Sphinx wrecked his Pogo Plane. I'm not sure who the Sphinx is, nor why The Thing had a plane named after an old Walt Kelly newspaper strip, but I'm sure there is an interesting story behind it.
The authorities make Ben go through a metal detector, which he wrecks, before making his way to the plane. At which point (entirely at random) a bunch of terrorists drive up, firing their rifles at security types. Ben takes them out without any trouble, then gets on the plane. Three pages of story to say, essentially, "We are starting this in the middle of a story, even though this is the first issue." A wonderful way to treat readers.
There's an interlude with a woman who shoots blasts of energy for reasons that aren't explained, before it cuts to the Fantastic Four, where Reed is working on a Beta Ray detector. Allegedly the device is to warn of any harmful radiation, but it might be to stop annoying Thor wannabes from dropping in unannounced. Alicia asks Reed why he is taking so long to cure Ben, but before he can think up a plausible excuse an alarm sounds. Reed quickly checks the monitor, and... We are back with Ben on the plane.
I have a sneaking suspicion that the script for this story was dropped, and the pages put back in the wrong order.
There's an amusing protest march outside the airport when Ben arrives in New York, with one placard reading "Bring back Stan Lee!" It is the first deliberate smile this issue has raised so far. It isn't until the eighth page of story that the mysterious woman from earlier is identified as Jocasta. There's no excuse for such flabby, incoherent storytelling, especially in a first issue of a title. If I had bought this on release I would have felt ripped off. As it is, it pains me to have handed over money for something so amateurish.
Anyway, Jocasta has a screw loose. Happens with robots all the time, but she's desperate to get fixed rather than going on a rampage. Until Reed can give Jocasta her 100,000 miles check-up and a quick service, she is placed in a spare room in the Baxter Building. One, hopefully, that contains an electrical outlet. That Reed immediately Skypes Captain America rather than doing any work raises many, many questions about the state of his marriage.
The poster, which ought to be a selling point for this issue, is one of the most disturbing images Marvel have ever published. The Thing looks like a giant, ugly baby in a blue diaper, doffing a comedy hat as if he's just stepped out of a Hal Roach comedy short. To make the image all the more horrific, his facial expression seems to be somewhere between angry and stupid. It is the kind of image I associate with Mad magazine knock-offs, and which should come with a health warning.
There's an Iron Man strip thrown in randomly, albeit one which is easily ignored.
Donald Dogfly is... a real oddity here. A Hunt Emerson strip which runs visual gag after visual gag. It is a fun strip, with a strange sense of humour, but it doesn't feel like it belongs in the same title as The Thing and other superhero types. And then there is a Captain America strip, which is a reprint of Team America's first appearance. A few changes have been made, such as the fact the cast of Cats musical aren't involved in any way, shape or form... No, wait. It is the other Team America. The pointless one.
This is bad. Really, really bad.
32 pages. Colour, tone & B&W.
Marvel Comics Ltd.
Edited by Chris Gill.
Cover by UNKNOWN.
Free paper cap.
Contents:
.2 Bombs Land on Britain advertisement.
.3 Fist & Foremost introduction. / Contents / Indicia
.4 The Thing "This Evil Returning..!" w: Tom DeFalco; p: Ron Wilson, lettering by Joe Rosen.
r: Marvel Two-in-One (Marvel Comics) #92 (Oct 1982).
15 Big Ben's Colouring Competition!
16 The Thing poster. a: Terry Austin.
18 Iron Man Siege!, part one, w: David Michelinie, plot co-written by Bob Layton; p: John Romita, Jr., i: Bob Layton, lettering by Joe Rosen.
r: Iron Man (Marvel Comics) #148 (Jul 1981).
23 Artists Assemble readers art.
24 Donald Dogfly UNTITLED w:/a: Hunt Emerson.
25 Captain America A Mind is a Terrible Thing to Waste! w: J.M. De Matteis; p: Mike Zeck, i: John Beatty, lettering by Jim Novak.
r: Captain America (Marvel Comics) #269 (May 1982).
31 Next Week in-house advertisement.
32 The Amazing Spider-Man record advertisement.
What an odd cover: Ben wearing a free push-out cardboard cap, with a host of characters from Marvel Comics looking on incredulously. Much like people would stare at you if you had worn this in 1984. The sartorially-challenged Marvel Bullpen should be studiously ignored in all matters fashion related. If you didn't already know, that is.
The initial strip isn't promising - The Thing making his way through Cairo Airport after having investigated a freshly-uncovered pyramid. Internal dialogue during this opening section hints at the events of a previous adventure, where the Sphinx wrecked his Pogo Plane. I'm not sure who the Sphinx is, nor why The Thing had a plane named after an old Walt Kelly newspaper strip, but I'm sure there is an interesting story behind it.
The authorities make Ben go through a metal detector, which he wrecks, before making his way to the plane. At which point (entirely at random) a bunch of terrorists drive up, firing their rifles at security types. Ben takes them out without any trouble, then gets on the plane. Three pages of story to say, essentially, "We are starting this in the middle of a story, even though this is the first issue." A wonderful way to treat readers.
There's an interlude with a woman who shoots blasts of energy for reasons that aren't explained, before it cuts to the Fantastic Four, where Reed is working on a Beta Ray detector. Allegedly the device is to warn of any harmful radiation, but it might be to stop annoying Thor wannabes from dropping in unannounced. Alicia asks Reed why he is taking so long to cure Ben, but before he can think up a plausible excuse an alarm sounds. Reed quickly checks the monitor, and... We are back with Ben on the plane.
I have a sneaking suspicion that the script for this story was dropped, and the pages put back in the wrong order.
There's an amusing protest march outside the airport when Ben arrives in New York, with one placard reading "Bring back Stan Lee!" It is the first deliberate smile this issue has raised so far. It isn't until the eighth page of story that the mysterious woman from earlier is identified as Jocasta. There's no excuse for such flabby, incoherent storytelling, especially in a first issue of a title. If I had bought this on release I would have felt ripped off. As it is, it pains me to have handed over money for something so amateurish.
Anyway, Jocasta has a screw loose. Happens with robots all the time, but she's desperate to get fixed rather than going on a rampage. Until Reed can give Jocasta her 100,000 miles check-up and a quick service, she is placed in a spare room in the Baxter Building. One, hopefully, that contains an electrical outlet. That Reed immediately Skypes Captain America rather than doing any work raises many, many questions about the state of his marriage.
The poster, which ought to be a selling point for this issue, is one of the most disturbing images Marvel have ever published. The Thing looks like a giant, ugly baby in a blue diaper, doffing a comedy hat as if he's just stepped out of a Hal Roach comedy short. To make the image all the more horrific, his facial expression seems to be somewhere between angry and stupid. It is the kind of image I associate with Mad magazine knock-offs, and which should come with a health warning.
There's an Iron Man strip thrown in randomly, albeit one which is easily ignored.
Donald Dogfly is... a real oddity here. A Hunt Emerson strip which runs visual gag after visual gag. It is a fun strip, with a strange sense of humour, but it doesn't feel like it belongs in the same title as The Thing and other superhero types. And then there is a Captain America strip, which is a reprint of Team America's first appearance. A few changes have been made, such as the fact the cast of Cats musical aren't involved in any way, shape or form... No, wait. It is the other Team America. The pointless one.
This is bad. Really, really bad.
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