Red Dwarf Magazine (Fleetway Editions Ltd.) vol.1 #01 (Mar 1992)
The Blob Books:
Ghostly White Inky Black Poppy Red
Puppy Purple Rainbow Blob Sailor Blue
(D.C. Thomson & Co., Ltd.; 1981)
Anderson, PSI Division: Sins of the Father by Mitchel Scanlon. (Black Library; Feb 2007) ISBN-10: 1 84416 456 X.
Fiends of the Rising Sun by David Bishop. (Black Flame; Feb 2007) ISBN-10: 1 84416 455 1
Births:
Elliott O'Donnell (1872); Harry Banger (1897); Dudley D. Watkins (1907); Helen McCarthy (1951)
Deaths:
John Arbuthnot (1735); Dennis Castle (1993)
Notable Events:
The Flutters newspaper strip ended in 1947.
Fleetway Editions celebrated 2000 A.D.'s 15th anniversary with Panic in the Year Zero: Dancing Towards the Apocalypse (which began at 10pm, running until 3am) at The Camden Palace, London, in 1992. Chris Coco, Crusher, Mark Moore and Roxilla provided the music, while art and script droids provided the Thrill-Power. All proceeds of the event were donated to Great Ormond Street Children's Hospital.
Showing posts with label Dudley D. Watkins. Show all posts
Showing posts with label Dudley D. Watkins. Show all posts
Wednesday, February 27, 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
Saturday, October 6, 2018
100 Items
One of the things I've been doing while offline is reading. A lot of reading. Aside from tackling the classics, with one eye on picking out titles which had been out of print for far too long, I also delved into the murky world of populist science titles and entry-level history books. In truth, I didn't have much expectation for the majority of the books, but one (unexpectedly, and beautifully) caught me off guard. 
A History of the World in 100 Objects by Neil MacGregor.1
It got me thinking of the items which tell the history of British comics. It ties in with what I have been saying here, about the history needing preservation, and runs through some of the guide (in an extremely minor way) as a frustration that more isn't being done now.
We have to have a rough idea, before considering placement in a list, so...
• Dudley D. Watkins' drawing board. There is no item which I want to see more than the board upon which so many truly great strips were created. There are artists who are, arguably, more famous, and there are artists with greater range, but few who provided consistent entertainment week after week with such subtlety. The location of the board is currently unknown.
• Tilt & Bogue printing blocks. When it comes to simply >gorgeous presentation, there are few publishers of the era who can claim to have as crisp, well-bound, and downright beautiful, editions as Tilt & Bogue. In comparison, Dalziel's methods seem relatively crude, and even Punch volumes fade into the background when placed alongside the slim, wonderfully balanced books.
• William Hogarth's pens and nibs. It is difficult to think of a British artist whose work has touched more people than Hogarth. Reprinted endlessly, his images have attention-grabbing detail which continually brings him new admirers. To see the items which played a part in the creation of such work is somehow more powerful than the items which usually garner attention - chairs and desks may be important, but the pens were held daily by the great man.
• Frank Hampson's Spaceport model for Dan Dare. His attention to detail, and insistence on craft, would likely be considered wasteful in these days of Photoshop and Wacom tablets, but there is a great deal to admire in Hampson's old-fashioned photo-reference for the Dan Dare strips. There are numerous photos of the models used, but the spaceport is, perhaps, the grandest of them all.
• The Wilfredian League of Gugnuncs badges. The lure of the fan club was never greater than with Pip, Squeak & Wilfred, and the strip's devoted following continues to provide surprising evidence in the pages of contemporary publications. The badges, with Wilfred's ears prominently displayed, are the lasting tribute to a cultural phenomenon. And who doesn't love the characters?
• From Ally Sloper Merchandise. As the first heavily-merchandised comic character there are many items which fall into this category, though the iconic Toby jug, mantelpiece ornaments, wall decorations, and even pipes. Yes, tobacco-related products. A fascinating, and oft overlooked, moment in time which gave rise to everything since. It is likely that a full collection of all the associated memorabilia could support an exhibition on their own.
• From Denis McLaughlin's Western Collection. Used extensively in the creation of his work, though it is difficult to pinpoint one item from the collection - though many of his fans will no doubt have favourite images, his deft handling of translating three-dimensional items into iconic illustrations could only have been accomplished with access to such an impressive range of items.
• From the Police Raids on Savoy Books. There hasn't been a more sustained attack on a publisher by authorities before or since, and while I'm at a loss to pick one definitive item, the moment needs to be noted in any collection of items which tell the story of British comics history. The paperwork authorising the raid, perhaps?
• The Judge Dredd Promotional Costume. Seen throughout the nineties, the costume - which perfectly captured the style of the comic - made numerous appearances at shops and conventions. There are, perhaps, more unique and tactile items which would resonate with fans of the title, but the costume brings back fond memories.
• Arnaldo Putzu Painting. The covers of 1970s issues of Look-In are spectacular when seen en mass, and the title wouldn't have been half as impressive without his artistic talent. It is extremely difficult to pick one of the paintings out in particular, but the Six Million Dollar Man cover is a favourite.
Ten items is a good place to leave this, or we could be at this forevermore. Suggestions for items which speak to the rich history of British comics can be left below...
1. The British Museum maintains a page for the exhibition.
A History of the World in 100 Objects by Neil MacGregor.1
It got me thinking of the items which tell the history of British comics. It ties in with what I have been saying here, about the history needing preservation, and runs through some of the guide (in an extremely minor way) as a frustration that more isn't being done now.
We have to have a rough idea, before considering placement in a list, so...
• Dudley D. Watkins' drawing board. There is no item which I want to see more than the board upon which so many truly great strips were created. There are artists who are, arguably, more famous, and there are artists with greater range, but few who provided consistent entertainment week after week with such subtlety. The location of the board is currently unknown.
• Tilt & Bogue printing blocks. When it comes to simply >gorgeous presentation, there are few publishers of the era who can claim to have as crisp, well-bound, and downright beautiful, editions as Tilt & Bogue. In comparison, Dalziel's methods seem relatively crude, and even Punch volumes fade into the background when placed alongside the slim, wonderfully balanced books.
• William Hogarth's pens and nibs. It is difficult to think of a British artist whose work has touched more people than Hogarth. Reprinted endlessly, his images have attention-grabbing detail which continually brings him new admirers. To see the items which played a part in the creation of such work is somehow more powerful than the items which usually garner attention - chairs and desks may be important, but the pens were held daily by the great man.
• Frank Hampson's Spaceport model for Dan Dare. His attention to detail, and insistence on craft, would likely be considered wasteful in these days of Photoshop and Wacom tablets, but there is a great deal to admire in Hampson's old-fashioned photo-reference for the Dan Dare strips. There are numerous photos of the models used, but the spaceport is, perhaps, the grandest of them all.
• The Wilfredian League of Gugnuncs badges. The lure of the fan club was never greater than with Pip, Squeak & Wilfred, and the strip's devoted following continues to provide surprising evidence in the pages of contemporary publications. The badges, with Wilfred's ears prominently displayed, are the lasting tribute to a cultural phenomenon. And who doesn't love the characters?
• From Ally Sloper Merchandise. As the first heavily-merchandised comic character there are many items which fall into this category, though the iconic Toby jug, mantelpiece ornaments, wall decorations, and even pipes. Yes, tobacco-related products. A fascinating, and oft overlooked, moment in time which gave rise to everything since. It is likely that a full collection of all the associated memorabilia could support an exhibition on their own.
• From Denis McLaughlin's Western Collection. Used extensively in the creation of his work, though it is difficult to pinpoint one item from the collection - though many of his fans will no doubt have favourite images, his deft handling of translating three-dimensional items into iconic illustrations could only have been accomplished with access to such an impressive range of items.
• From the Police Raids on Savoy Books. There hasn't been a more sustained attack on a publisher by authorities before or since, and while I'm at a loss to pick one definitive item, the moment needs to be noted in any collection of items which tell the story of British comics history. The paperwork authorising the raid, perhaps?
• The Judge Dredd Promotional Costume. Seen throughout the nineties, the costume - which perfectly captured the style of the comic - made numerous appearances at shops and conventions. There are, perhaps, more unique and tactile items which would resonate with fans of the title, but the costume brings back fond memories.
• Arnaldo Putzu Painting. The covers of 1970s issues of Look-In are spectacular when seen en mass, and the title wouldn't have been half as impressive without his artistic talent. It is extremely difficult to pick one of the paintings out in particular, but the Six Million Dollar Man cover is a favourite.
Ten items is a good place to leave this, or we could be at this forevermore. Suggestions for items which speak to the rich history of British comics can be left below...
1. The British Museum maintains a page for the exhibition.
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