96 pages. Full colour & tone contents.
World Distributors (Manchester) Ltd.
Cover by Walt Howarth (signed).
Contents:
2 UNTITLED endpaper; illustrated by Walt Howarth (signed).
4 Indicia
5 Television Favourites Comic Annual title page; illustrated by Walt Howarth (uncredited).
6 Contents
7 The Lone Ranger The Navajo Trail w: Paul S. Newman; a: Tom Gill.
r: The Lone Ranger (Dell) #50 (Aug 1952).
17 Gunsmoke The Confessed Killer w: Eric Frewald & Robert Schaefer (uncredited); a: Jim McDonald, lettering by Ben Oda.
r: Four Color (Dell) #797 [Gunsmoke] (May 1957).
33 Roy Rogers and Trigger The Clue of the Cryptic Key w: UNKNOWN (uncredited); a: Alex Toth (uncredited).
r: Roy Rogers and Trigger (Dell) #122 (Feb 1958).
43 M-G-M's Lassie Message of Mercy w: UNKNOWN (uncredited); a: Ralph Mayo (uncredited).
r: M-G-M's Lassie (Dell) #25 (Nov 1955 - Dec 1955).
50 Thoroughbred text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).
r: M-G-M's Lassie (Dell) #25 (Nov 1955 - Dec 1955).
51 Rin Tin Tin Mirage w: UNKNOWN (uncredited); a: Sparky Moore (uncredited).
r: Rin Tin Tin (Dell) #18 (Apr 1957 - May 1957).
63 Cowpuncher's Crossword (half page).
64 Rex Allen The Man Hunters w: UNKNOWN (uncredited); a: Nicholas Firfires (uncredited).
r: Rex Allen (Dell) #25 (Jun 1957 - Aug 1957).
76 The Trail of Crafty Joe text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).
r: Rin Tin Tin (Dell) #18 (Apr 1957 - May 1957).
77 The Flying A's Range Rider The Clay Horse w: UNKNOWN (uncredited); a: Bill Ziegler (uncredited).
r: The Flying A's Range Rider (Dell) #20 (Dec 1957 - Feb 1958).
87 The Telltale Roan text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).
r: Roy Rogers and Trigger (Dell) #122 (Feb 1958).
88 Silver Silver and the Wild Goose w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: The Lone Ranger's Famous Horse Hi-Yo Silver (Dell) #18 (Apr 1956 - Jun 1956).
94 UNTITLED endpaper; illustrated by Walt Howarth (signed).
A perfect depiction of the Lone Ranger, Matt Dillon, and associates, Howarth's covers continue to display uncanny likenesses. There is much within the pages of this annual to enjoy, and as it is once more a compilation of strips the sense of getting value for money remains - while it would have been nice to see some kind of crossover text piece there is enough variety to compensate for a lack of originated material. The endpaper is unusual in breaking the illusion of the western, with a scene of a film crew apparently shooting an episode of one of the featured series. Small touches such as this really keep the title from becoming stale.
A few miles south of Fort Kean, the Lone Ranger and Tonto ride in search of the raiding Apache terrorists...Having found the Apaches, the duo accidentally make their presence known, forcing them to flee from the overwhelming odds. At Fort Kean Dick Carlyle enquires as to his father, who recently moved to the area to live with the Navajo. His father, a famous and wealthy artist, is going blind, although a cure for the man's condition is available if he can be found in time. Told that it is a bad time to mount a search, as the threat of Apache hostilities is ever-present, he begins his hunt at his uncle Mort's ranch. The next morning he rides out with a scout who has informed him of the artist's location, though Mort arranges for the Apache to kill Dick so that he can claim the inheritance.
With a plot arranged slightly too neatly, things fall into place with the precision of a clock, and the story suffers from an easy resolution - the Apaches are prevented from carrying out their massacre, the artist's eyesight is restored, and Mort and his cronies are rounded up, leaving no loose ends or lingering questions to maintain an interest beyond the story's immediate concerns. Characters such as the Lone Ranger, not tied to a specific location, tend to feel as if they are isolated from the consequences of their actions, with each story starting afresh. Having at least the illusion of an ongoing narrative can mitigate some of the difficulties this can present, though no such continuity is to be found here.
As Matt Dillon spurs south from Dodge along the deep-rutted stage road, a shot rings out. Quickly disarming the lone attacker, he learns that the man believed Dillon was after him. Greg Thorne rapidly confesses to the robbery, and is taken into custody. Kitty overhears men talking about Greg's father Ted being near Willow Falls, and as he was on the stage coach when it was robbed Dillon goes after him, despite Greg's insistence that he was operating on his own. When Dillon finds Tad, the man admits to robbing the stage, though without Greg's knowledge. Having two incompatible confessions, Dillon believes neither man to have committed the crime.
A funeral is arranged for Tad, supposedly killed in an alteration with Dillon, and rumours about the questionable nature of the funeral are leaked to ensure that the real robbers are in attendance.
A nicely-tuned little engine of a plot, with enough questions to keep things moving along in splendid fashion. While the colouring leaves something to be desired, there is detailed art to keep events grounded, and some very real moments. One might argue that having everything wrapped up so neatly, once more, is a mark against the story's credibility, but it is charming enough a tale to weather any criticism. As I've continually noted, shooting guns out of hands is ridiculous, but I'll let this instance slide.
When Roy Rogers rides into Yucca Flats to visit Bill Powers, the newly-appointed Sheriff, he comes across a robbery - Mr. Gaines, of the Express office, coming round after being knocked out by the robbers, states that the mining company's payroll has been taken. Roy and Bill ride out to pic up the trail of the fleeing thieves, though merely encounter a pair of cowhands for the Lazy Y spread. Returning to the Express office to see if there is anything they have overlooked, Roy discovers a clue which might save them a lot of work in bringing those responsible to justice.
Another frustratingly clear-cut tale, with all matters restored to rights in a brief page count, though blessed with some of the most action-packed images seen in the character's adventures, courtesy of Alex Toth. Looking far better than the story really deserves, there are numerous small details sprinkled through the adventure which add to something greater than the sum of its parts. Gaines - the name of the 'victim' - can be looked at as a dig at a certain publisher, and the date seen in the office is enough to raise a smile. Highly amusing stuff.
The problems I have with Rin Tin Tin are exaggerated, multiplied, and elaborated by Lassie, without the meagre concessions to reality which the former sometimes allows for. Can a dog really be more intelligent than the majority of humans? I'm going to come down solidly on the negative, and ignore the contents of the story. Unfortunately, the annual moves straight into a Rin Tin Tin strip.
Am I allowed to say that this is a "shaggy dog story?"
While I don't have a problem with series focusing on children, the fact that Rusty is allowed so much freedom rings slightly untrue - while the era in which the story takes place might have seen such autonomy in a young boy, his adventures would likely have had him confined to safer pursuits, or supervised so that such events don't reoccur. The plot used here is, surprisingly, intelligently handled, though one ought not to take this as meaning the story makes sense beyond the confines of the world inhabited by Rin Tin Tin.
Rex Allen discovers a man attempting to shoot Sheriff Bill Boone, and though the murder attempt is prevented the man makes his escape. The Sheriff tells Rex that he is taking Pug Blake from Arroyo Jail to Statesville Prison for safe keeping, Pug's gang having held up the overland stage two nights previous, killing the driver and Express company guard. Rex decides to ride with the Sheriff to ensure further attempts to pervert the course of justice as prevented. During the night Pug's men free him, stealing Rex's steed along with the other horses.
The Rex Allen stories are often a treat, and The Man Hunters is no exception. Even the coda, with a reprise of the story's opening, is great, and follows on from matters mentioned during the course of the story. I'm even warming to Koko, despite not being particularly fond of supernaturally-intelligent animals. That the narrative is so grounded in reality is a wonderful way to keep from falling into the traps so often stumbled into by lesser titles.
The Range Rider stories are beginning to feel like poor relations to better-known strips, and although there is some superb illustrative techniques on display, the story doesn't feel as if it is living up to its potential. I do appreciate the inclusion of geological quirks, and human error, in setting up events, though so much more could have been done to exploit the ideas raised.
A nature story, utilising Silver, concludes the annual - I have mixed feelings about this edition, with its highs and lows being so pronounced, though am likely, if challenged, to state that the benefits outweigh the negatives.
[1957]
Television Favourites Comic Annual
[1959]
