Television Favourites Comic Annual [1959]

[1958] Annual. Original price 7/6.
96 pages. Full colour & tone contents.
World Distributors (Manchester) Ltd.

Cover by Walt Howarth (uncredited).

Contents:

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

 4 Indicia

 5 Television Favourites Comic Annual title page; illustrated by Walt Howarth (uncredited).

 6 Contents illustrated by Walt Howarth (uncredited).

 7 Gunsmoke Freight War w: Eric Freiwald & Robert Schaefer (uncredited); a: Jim McDonald (uncredited), lettering by Ben Oda.

r: Four Color (Dell) #797 [Gunsmoke] (May 1957).

23 M-G-M's Lassie The Hunter's Prey w: UNKNOWN (uncredited); a: Ralph Mayo (uncredited).

r: M-G-M's Lassie (Dell) #25 (Nov 1955 - Dec 1955).

33 The Lone Ranger Old Cheyenne w: Paul S. Newman (uncredited); a: Tom Gill (uncredited).

r: The Lone Ranger (Dell) #50 (Aug 1952).

43 Silver Silver and the Wings of the Wind w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: The Lone Ranger's Famous Horse Hi-Yo Silver (Dell) #18 (Apr 1956 - Jun 1956).

53 Roy Rogers and Trigger Double Danger w: UNKNOWN (uncredited); a: Dan Spiegle (uncredited).

r: Roy Rogers and Trigger (Dell) #122 (Feb 1958).

65 Rex Allen The Threat w: UNKNOWN (uncredited); a: Bill Ziegler (uncredited).

r: Rex Allen (Dell) #25 (Jun 1957 - Aug 1957).

80 Rin Tin Tin Ramrod w: UNKNOWN (uncredited); a: Sparky Moore (uncredited).

r: Rin Tin Tin (Dell) #18 (Apr 1957 - May 1957).

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

The World annuals with black backgrounds somehow look better for being so moody and dramatic - while it doesn't entirely jive with the Lone Ranger's depiction as a bright and breezy series with an instantly-hummable theme tune, it lends a certain gravitas to the character. I'm not sure anything could lend gravitas to Lassie, however, but anything is worth a shot...

This also has, at least for me, the single best title page image of the series, with a selection of items from featured characters taking the spotlight. For readers with a certain sensibility, the image can easily become a minor puzzle in and of itself, working out who each of the items belongs to - I'm still not entirely sure who the elaborate boots belong to, but I can imagine them to be something which Roy Rogers would wear.

A passing coach loses a wheel, and Matt Dillon rushes to save the rider - who pins the blame for his misfortune on a man attempting to put all small shippers out of business so that his company can take the work. Matt approaches Mr. Curry, who insists his freight handling company is legitimate, and nothing to do with the misfortunes of smaller outfits, and is bossed around by the man's associates. Not taking kindly to such treatment, he keeps lookout for further odd incidents. When he catches two men sabotaging another coach, it seems Charlie Barker's accusations were well-founded.

He loses the men, though manages to save the coach from disaster. When Curry announces that he has the lowest freight rates in town, Dillon manages to start a bidding war for business, and when another freight hauler gets picks up business instead, Matt makes sure Curry is there to witness events unfold.

While the main plot point - of a saboteur being placed in harms way by the hero, in an attempt to get a confession from them - has been played out so often as to be almost a cliché, the handling is remarkably fresh. Aided by lively artwork, and with a solid notion of frontier problems, Freight War has a lot going for it. Unfortunately there are also a host of problems which impinge on the strip's enjoyment, not least of which is the simple rendering of some stagecoach images. It is annoying that otherwise brilliant renditions of the transport are accompanied by two-dimensional variations.

The other puzzlement is why the townsfolk appear to be shadow people. I don't remember all-black spectral figures lingering in the background of the television series.

And then there is Lassie, which finds the plucky Collie stepping in when it appears a jaguar cub might attack a herd of cattle.

Suuure. As if Lassie stands a chance against a big cat, should it choose to decide in favour of a meal over friendship with the dog.

Lassie then spends time keeping a hunter from killing Cheena and her cub.

I really do want to get on board with the character, but there are so many leaps of logic required to buy into the concept that it is simply too much of a stretch. If Lassie has a problem with Cheena eating cattle, what, I have to ask, does she feel comfortable with the cub feeding on? It has been established that horses, other dogs, along with critters of various descriptions, are capable of understanding her intentions, so what constitutes an acceptable meal for the large carnivores? It would be embarrassing if they chewed down on one of Lassie's casual acquaintances.

Yes, I've spent far too long thinking about this.

The Lone Ranger's nephew Dan Reid is picking up supplies in Old Cheyenne's general store when Peg Leg Prindle purchases three kegs of blasting powder. Telling his uncle of Prindle's offer of a job, the lawman recalls that the fugitive they are hunting was seen talking to Prindle - Dan goes to Prindle's home to take the job, and sees Larry Dirk, the man the Lone ranger is hunting for. Abducted by Dirk, Dan and Prindle are carted off to do the criminal's work, as the Sheriff tackles with the Lone Ranger, who he believes is assisting Dirk somehow.

There's a host of hoary old western elements dusted off for this tale - loot hidden behind a cave-in, shooting guns from people's hands, hostages tied up next to explosives, and the classic of a lawman misunderstanding whose side the masked man is on. One could play Lone Ranger Bingo with this strip and win with nearly any card, though silver bullets are, sadly missing from the plot.

It works, though without a sense of finesse or style. Brute force storytelling, which rolls on without regard for the characters to shine through, it nevertheless works, and surprisingly well, despite being so formulaic.

Early summer in Benton City sees the townsfolk gather for the annual fair and rodeo, and Roy Rogers takes to the rodeo on a bucking bronco - once he has set a respectable time, he sets to ride out to meet the stage on which Sarah Benton is bringing in the prize money. The stagecoach, however, is met by bandits before he can reach it, yet Roy manages to prevent the theft of the money when he catches up to the escaping bandits.

Another story relying on identical twins.

Can we call time on this plot, please? I'm exhausted reading through so many identikit tales, and this employs one of the most hackneyed, stale, over-used versions of the tale I've read in a long time. It isn't as if the setting affords a limited scope for interest, with so many strange and unusual facets on which to hang an interesting narrative. If I read one more of these things I'm likely to get a skull fracture from banging my head against the keyboard.

A really disappointing strip, with only some lively art as its saving grace.

Rex Allen is far more to my liking, with Rex riding in to Big Creek to see an old friend, Clem Miller, when he meets Bob Jones on the trail - told that Clem is now Sheriff of the town, and that the man has learned he is working for a thieving killer named Pete Rabb. Bob states that he heard Rabb plan to hold up the East-bound stage at Devil's Canyon, and Rabb's men have been ordered to shoot to kill. A trap is henceforth set to trap the thieves in the act.

After the thieves have been apprehended, Rex takes shelter in a homestead - where Bob tells him that Rabb and Bond have escaped custody.

A taut little tale which rolls out its narrative with perfect pacing, never overplaying matters. Yes, there is an easy coincidence at the heart of the story, though with the limited page-count it is an acceptable break from believability. I very much like the way that Rex isn't some credulity-stretching master of the West, and although the manner in which Rabb is recaptured requires some allowances from the reader, it isn't so great a stretch as to break from what has gone before.

Rin Tin Tin is more comedic in nature, at least to begin with, as the dog is given a bath. I know what it takes to get an unwilling dog into water, and the amusement comes from the believable nature of the incident. General Cummings imminent arrival is cause for the fort to be given a spit and polish, with the men fretting over appearance, and on his arrival things do not go well for Rusty or Rin Tin Tin.

I like this general already.

A report of bandits sees the general take men out to deal with the problem, though he selects raw recruits for the mission. When the General fails to return, the others at the fort are forced to disobey standing instructions to ride out and rescue him.

It isn't the most entertaining tale with which to close out the annual, though it does work. I still have problems with how well Rin Tin Tin obeys orders, and playing such a young character in harm's way seems to be reckless and ill-considered, but at least there is a clear structure to the storytelling. Attractive art assists greatly in selling the situation, though I could have done with less condemnation of military protocol from the storytelling, and more understanding of how difficult life in that situation must be.

Another thing which occurred to me was the nature of canyons in Dell's repertoire of western storytelling, as this is at least the fifth or sixth instance of bandits making use of topographical anomalies to stage attacks, cornering protagonists with seeming ease. Surely, if the sneaky entrances to such locations were made known, the authorities would somehow block off these passageways to prevent future incidents of the like.

A superior collection, wrapped in a gorgeous cover.

[1958]

Television Favourites Comic Annual

[1960]

Television Favourites Comic Annual [1958]

[1957] Annual. Original price 7/6.
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]

Television Favourites Comic Annual [1957]

[1956] Annual. Original price 7/6.
96 pages. Full colour & tone contents.
World Distributors (Manchester) Ltd.

Cover by Walt Howarth (uncredited).

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 Roy Rogers and Trigger Two Angry Men w: Gaylord Du Bois (uncredited); p: John Buscema (uncredited), i: Mario Aquaviva (uncredited).

r: Roy Rogers and Trigger (Dell) #97 (Jan 1956).

20 Tawny text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: Roy Rogers and Trigger (Dell) #97 (Jan 1956).

21 The Lone Ranger The Grayson Trail w: Paul S. Newman (uncredited); a: Tom Gill (uncredited).

r: The Lone Ranger (Dell) #42 (Dec 1951).

39 The Cisco Kid The Double Failure w: UNKNOWN (uncredited); a: Bob Jenney (uncredited).

r: The Cisco Kid (Dell) #03 (Apr 1951).

49 Trigger Challenge of the Wolf Pack w: Eric Freiwald & Robert Schaefer (uncredited); a: Till Goodan (uncredited).

r: Roy Rogers' Trigger (Dell) #15 (Dec 1954 - Feb 1955).

65 The Flying A's Range Rider Thirst for Revenge w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

r: UNKNOWN.

82 Showdown text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: Cheyenne (Dell) #05 (Nov 1957 - Jan 1958).

83 Rin Tin Tin The Wild North w: UNKNOWN (uncredited); a: Sparky Moore (uncredited).

r: Rin Tin Tin (Dell) #05 (Jun 1954 - Aug 1954).

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

The illustration of all the western heroes together is something to admire - a crossover which was always, on screen at least, an impossibility, is given solid form by the masterful hand of Walt Howarth. It is an image which provides much enjoyment, and shows the style we could have had in original strips had he been given the opportunity.

Sue Landry informs Pat that there is going to be a range war unless action is taken quickly - Coyote Springs, a much-prized area of land, has been revealed to not belong to the Rafter M despite Boyd Mastik believing he has owned it for the past twenty years. To quell rival ownership claims, Roy decides to file on the land himself. After building himself a reinforced home, able to withstand the bullets of angry homesteaders, Roy settles in to prepare for a siege.

Sue joins Roy and Pat for breakfast, just as the first bullet hits the building...

It is interesting to see Roy get in the middle of things deliberately, and the ending - while very predictable - holds hope that its creators may be building subtle continuity for the strip. With much to admire in the artwork, especially a fair likeness of Roy Rogers, and evocative, desolate landscapes, it is no wonder that a playfulness is evident. Sue has a touch of Elizabeth Taylor about her, and Boyd Mastik also seems to be based on an actor.

The Lone Ranger gives Tonto a message to deliver to Marshal Wild Bill Holly, in Santa Fe chasing the Scar Grayson gang, informing the lawman that they have doubled back, and are now in Batesville. Noting that time is of the essence to stop the Grayson terrorists, the Lone Ranger leaves Tonto to get the message through, but when Tonto discovers a man impersonating Holly - and gunshots ring out - he is forced to step in.

Chasing down the imposter, the Lone Ranger and Tonto discover the Grayson Gang, although leave for an alternate route to Batesville. Too late to stop an attack on the town, they are forced to ride out once more...

A solid, if largely uninspiring, tale, with the Lone Ranger relying too much on luck to convince of his superior abilities. Once more, in a scripting stumble, Tonto is portrayed as a second-rate sidekick, captured by the criminals. That he's meant to be an equal, despite rarely given the opportunity to really shine, really makes the plot point stick out.

The Cisco Kid, in a looser, cartoonier style, is largely unappealing, and seems to rely on a familiarity with the series to carry along its charm. With so little attention to detail displayed, it is difficult to get behind even the slightest of his adventures, and this is very slight indeed.

I'm not sure where Roy has gone off to, but Trigger's solo tale finds the horse fending off attacks on his herd from wolves and a bear. Not quite a story of identical twins, but close enough to raise my ire at the storytelling device being brought out once more. As it is a wolf whose identity is in this case mistaken, the level of irritation is diminished somewhat, though more could have been done to set up the story's twist.

Range Rider isn't a series with the largest cultural footprint, and as a strip based on the series is up next I feared that the intricacies of the source material might limit enjoyment of the story. Not so, opening as it does with a rock being thrown through a sheriff's window. Immediate and obvious, yes, though the threat is clear enough even for those unfamiliar with the characters to understand.

Moving from a jailbreak, through a chase, to a tense tale of homestead invasion, the story doesn't let up, ably accompanied by some great artwork. Packing a lot into its pages, there is still room for small character moments to shine.

And then there's the Rin Tin Tin strip.

As much as I am predisposed to sighing dramatically when the franchise is raised, this lowers my tolerance even further. Some of the artwork is really poor, and the story isn't as impressive as it should be given the snowy landscape. With little in the strip's favour, it must be congratulated for being so brief a tale, and doesn't take up too much room.

[1956]

Television Favourites Comic Annual

[1958]