Donald and Mickey (IPC Magazines Ltd.) #01 (1972).
Zzap! 64 (Newsfield Limited) #01 (1985)
Births:
Sir George Newnes, 1st Baronet (1851); Sir John Paget Mellor, 1st Baronet (Quiz; 1862); James H. Thorpe (1876); James Friell (Gabriel; 1912); Sam 'Subi' Brown (1973)
Deaths:
Isaac Robert Cruikshank (1856); Walt Howarth (2008); Jose 'Pepe' Gonzalez (2009)
Showing posts with label Walt Howarth. Show all posts
Showing posts with label Walt Howarth. Show all posts
Wednesday, March 13, 2019
Tuesday, January 1, 2019
On This Day: 01 Jan
Invasion (Rebellion; 2014)
Savage: Taking Liberties (Rebellion; 2014)
Judge Dredd - Solo by Jonathan Clements. (Big Finish Productions; 2005)
Births:
Tony Weare (1912); Walt Howarth (1928); Steve Way (1959); Lionel Hale (1977)
Notable Events:
Osbert Lancaster's 'pocket cartoon' appeared in The Daily Express in 1939 for the first time, accompanying Tom Driberg's "William Hickey" gossip column.
Ron Smith was in a car crash, which involved a highland bull, in Scotland in 1953.
Frank Brown (Eccles) became a full-time cartoonist with The Daily Worker in 1959.
The Fat Slags animated television series began on Channel 4 in 1992.
Savage: Taking Liberties (Rebellion; 2014)
Judge Dredd - Solo by Jonathan Clements. (Big Finish Productions; 2005)
Births:
Tony Weare (1912); Walt Howarth (1928); Steve Way (1959); Lionel Hale (1977)
Notable Events:
Osbert Lancaster's 'pocket cartoon' appeared in The Daily Express in 1939 for the first time, accompanying Tom Driberg's "William Hickey" gossip column.
Ron Smith was in a car crash, which involved a highland bull, in Scotland in 1953.
Frank Brown (Eccles) became a full-time cartoonist with The Daily Worker in 1959.
The Fat Slags animated television series began on Channel 4 in 1992.
Wednesday, December 19, 2018
Tales of Wells Fargo Annual [1961]
[1960] Annual. Original price 7/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring Dale Robertson.
Cover painting by Walt Howarth (uncredited).
Contents:
Continuing the thematic cover design, Tales of Wells Fargo Annual has adopted a far more fitting lettering, though loses some degree of style in the process, the letters being far too fussy. As always Howarth provides a wonderful cover, though with Hardie far more pensive and thoughtful, giving a sombre air to proceedings. Had the endpaper followed, with a suitably melancholy spread, there might have been continuity of tone throughout, but its yellow and pink colouring is uneasily at odd with its scene of a stagecoach in imminent danger of attack. Quite what we are to make of this disconnect is hard to tell.
Beautifully presented reprints of the US strip, along with Tales of the Pony Express thrown in for good measure, add up to real value for readers.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring Dale Robertson.
Cover painting by Walt Howarth (uncredited).
Contents:
2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).
4 Indicia
5 Temple Houston Annual title page; illustrated by UNKNOWN (uncredited).
6 Contents illustrated by UNKNOWN (uncredited).
7 Gunfight at Powder Creek text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
19 The Trail of "Burro Sam" w: Gaylord Du Bois (uncredited); a: Alberto Giolitti (uncredited).
r: Four Color (Dell) #1113 [Tales of Wells Fargo] (Jul 1960 - Sep 1960).
35 The Lucky Streak text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
45 Wells Fargo Facts 1852 - 1918 feature by UNKNOWN (uncredited).
46 Overland Mail board game; illustrated by UNKNOWN (uncredited).
48 Storm Rider w: UNKNOWN (uncredited); a: Dan Spiegle (uncredited).
r: Four Color (Dell) #829 [Tales of the Pony Express] (Aug 1957).
58 The Pony Express feature by UNKNOWN (uncredited).
59 The Texas Terror text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
69 Avalanche Pass w: Gaylord Du Bois (uncredited); a: Alberto Giolitti (uncredited).
r: Four Color (Dell) #1113 [Tales of Wells Fargo] (Jul 1960 - Sep 1960).
85 Johnny Jump-Up text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
93 Rogues Round-Up feature by UNKNOWN (uncredited).
94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).
Continuing the thematic cover design, Tales of Wells Fargo Annual has adopted a far more fitting lettering, though loses some degree of style in the process, the letters being far too fussy. As always Howarth provides a wonderful cover, though with Hardie far more pensive and thoughtful, giving a sombre air to proceedings. Had the endpaper followed, with a suitably melancholy spread, there might have been continuity of tone throughout, but its yellow and pink colouring is uneasily at odd with its scene of a stagecoach in imminent danger of attack. Quite what we are to make of this disconnect is hard to tell.
Beautifully presented reprints of the US strip, along with Tales of the Pony Express thrown in for good measure, add up to real value for readers.
[1960]
Tales of Wells
Fargo Annual
[1962]
Tuesday, December 18, 2018
The Dr Who Annual [1966]
[Sep 1965] Annual. Original price 9/6.
pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the BBC television series starring William Hartnell.
Cover painting by Walt Howarth (uncredited).
Contents:
The Dr Who Annual is a different experience than anything modern readers might be used to, with the title the prime indicator that details might not be observed in translating the character to the page. Howarth's take on the first Doctor is, however, a treat to behold, commanding attention against a desolate alien landscape. The contents, however, are far from what viewers would have been expecting - which might, in retrospect, not be entirely disappointing. Those predisposed to strong continuity are likely to get a nosebleed from the annual, but approached in the proper frame of mind it is a very entertaining read.
There is a strong sense of surreality to the cover, with curious aliens sharing the cover in an attempt to sell the SF angle to readers who might be unfamiliar with the television series, though the effect merely emphasises a separation from its established history. Maybe there's a convention on... Other explanations for so many species gathering here may apply.
I've never been entirely sold on the endpaper, with its jauntily-angled TARDIS, and a forties-style space-station hanging in the air - it is both too generic, and too specific, to convince as an image from the series, as if the Doctor and the TARDIS had been placed on a preexisting background.
Despite the beautiful lettering at the top of the page, the contents page illustration is, simply put, awful. The image isn't of recognisable aliens, and their gape-mouthed appearance makes the scene more comedic than dramatic. Owing more to The Outer Limits than anything, its one saving grace is the expert manner in which it draws the eye to the beginning of the first text story. Subtle it is not, yet there is great skill behind the image.
The robot Zarbi suits are a nice touch, although the Doctor's violent solution to the problems he faces is wildly out of character. Neither The Lair of the Zarbi Supremo or The Sons of the Crab, the next story, have the tone and character quite right. Trapped by alien scientists, the Doctor is subjected to a variety of tests, and faces being dissected. An entire planet of shape-shifters, desperate to discover a cure for their "affliction" is a wonderful conceit, and the sustained conversation between the Doctor and Formal gives some idea of what it must be like to live on such a planet.
The strong horror theme which arrives naturally from this set-up, and which is nudged slightly to the forefront, is a different (though not unwelcome) genre to the Doctor's normal adventures. As a story which would have been impossible to film in the mid-sixties, the appeal of this story is obvious. The Yend are one of the most imaginative species created for the annuals, and their plight lends events a rather downbeat tone.
Despite having the whole of time and space to play with, the Doctor finds himself on Vortis, apparently for the first time. Timey-wimey stuff, indeed. The absence of his companions throughout the annual, which is most noticeable whenever the Doctor is required to rescue himself, is one of the problems, taking away the ability to discuss science, history, and other subjects. Without this tether to the series emphasis on intelligent and reasoned exploration of the universe, there isn't the same educational undercurrent which the early stories did so well.
Once again the story concludes with multiple deaths.
Peril in Mechanistria stands as the most intriguing story, detailing a world run by machines - not just any machines, but ones which utilise human brains in their construction. Presaging themes which would be dealt with by the Cybermen, this is a wonderful glimpse into a more nightmarish version of what would appear on the screen. Things are, of course, kept from becoming too scary for younger readers, and the conclusion has a ray of hope which is often absent in the appearance of bio-mechanical integration throughout the series.
An odd, though fascinating, insight into how the series was perceived in the early years.
pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the BBC television series starring William Hartnell.
Cover painting by Walt Howarth (uncredited).
Contents:
2 UNTITLED endpaper; illustrated by Walt Howarth (uncredited).
4 Indicia
5 The Dr Who Annual title page; illustrated by Walt Howarth (uncredited).
6 Contents illustrated by Walt Howarth (uncredited).
7 The Lair of the Zarbi Supremo text story by David Whitaker (uncredited); illustrated by Walt Howarth (uncredited).
22 Who is Dr Who? text feature by David Whitaker (uncredited); illustrated by Walt Howarth (uncredited).
24 The Sons of the Crab text story by David Whitaker (uncredited); illustrated by Walt Howarth (uncredited).
37 The Lost Ones text story by David Whitaker (uncredited); illustrated by Walt Howarth (uncredited).
50 Journey Back to Earth board game; illustrated by Walt Howarth (uncredited).
52 The Equations of Dr Who text feature by David Whitaker (uncredited); illustrated by Walt Howarth (uncredited).
54 The Monsters from Earth text story by David Whitaker (uncredited); illustrated by Walt Howarth (uncredited).
67 Peril in Mechanistria text story by David Whitaker (uncredited); illustrated by Walt Howarth (uncredited).
81 The Fish Men of Kandalinga text story by David Whitaker (uncredited); illustrated by Walt Howarth (uncredited).
94 UNTITLED endpaper; illustrated by Walt Howarth (uncredited).
The Dr Who Annual is a different experience than anything modern readers might be used to, with the title the prime indicator that details might not be observed in translating the character to the page. Howarth's take on the first Doctor is, however, a treat to behold, commanding attention against a desolate alien landscape. The contents, however, are far from what viewers would have been expecting - which might, in retrospect, not be entirely disappointing. Those predisposed to strong continuity are likely to get a nosebleed from the annual, but approached in the proper frame of mind it is a very entertaining read.
There is a strong sense of surreality to the cover, with curious aliens sharing the cover in an attempt to sell the SF angle to readers who might be unfamiliar with the television series, though the effect merely emphasises a separation from its established history. Maybe there's a convention on... Other explanations for so many species gathering here may apply.
I've never been entirely sold on the endpaper, with its jauntily-angled TARDIS, and a forties-style space-station hanging in the air - it is both too generic, and too specific, to convince as an image from the series, as if the Doctor and the TARDIS had been placed on a preexisting background.
Despite the beautiful lettering at the top of the page, the contents page illustration is, simply put, awful. The image isn't of recognisable aliens, and their gape-mouthed appearance makes the scene more comedic than dramatic. Owing more to The Outer Limits than anything, its one saving grace is the expert manner in which it draws the eye to the beginning of the first text story. Subtle it is not, yet there is great skill behind the image.
The shock of hearing the voice was so great that Dr Who had barely time to complete the materialisation process. But old habit was strong, and smoothly and efficiently the Tardis slid in through the transdimensional flux and fitted its rearranged atoms into the new sphere. By all the doctor's co-ordinates and calculations this world should be the planet Vortis but just where on the planet, or when in the time-scale of that world, he could not as yet know. He drove home the last lever and, with hands on the edges of the control panel, panted with excitement. The voice through his radio had been talking in modern English!His name may not be right, the TARDIS isn't treated as an acronym, and - because it is so apparent here - the first Doctor panting with excitement is so out of character everything which follows is cast into a strange light. Clad in an Atmospheric Density Jacket, the Doctor sets out to investigate where (and when) he has landed. Finally locating the source of the message - a recording from a crashed ship, Solar Queen, the only inhabitants being a young boy named Gordon Hamilton and his injured, and comatose, father. Convincing the boy to help his fetch the other survivors - now missing - the Doctor and Gordon explore the Zarbi dwellings...
The robot Zarbi suits are a nice touch, although the Doctor's violent solution to the problems he faces is wildly out of character. Neither The Lair of the Zarbi Supremo or The Sons of the Crab, the next story, have the tone and character quite right. Trapped by alien scientists, the Doctor is subjected to a variety of tests, and faces being dissected. An entire planet of shape-shifters, desperate to discover a cure for their "affliction" is a wonderful conceit, and the sustained conversation between the Doctor and Formal gives some idea of what it must be like to live on such a planet.
The strong horror theme which arrives naturally from this set-up, and which is nudged slightly to the forefront, is a different (though not unwelcome) genre to the Doctor's normal adventures. As a story which would have been impossible to film in the mid-sixties, the appeal of this story is obvious. The Yend are one of the most imaginative species created for the annuals, and their plight lends events a rather downbeat tone.
Despite having the whole of time and space to play with, the Doctor finds himself on Vortis, apparently for the first time. Timey-wimey stuff, indeed. The absence of his companions throughout the annual, which is most noticeable whenever the Doctor is required to rescue himself, is one of the problems, taking away the ability to discuss science, history, and other subjects. Without this tether to the series emphasis on intelligent and reasoned exploration of the universe, there isn't the same educational undercurrent which the early stories did so well.
Once again the story concludes with multiple deaths.
Peril in Mechanistria stands as the most intriguing story, detailing a world run by machines - not just any machines, but ones which utilise human brains in their construction. Presaging themes which would be dealt with by the Cybermen, this is a wonderful glimpse into a more nightmarish version of what would appear on the screen. Things are, of course, kept from becoming too scary for younger readers, and the conclusion has a ray of hope which is often absent in the appearance of bio-mechanical integration throughout the series.
An odd, though fascinating, insight into how the series was perceived in the early years.
Doctor Who Annual
[1967]
Tales of Wells Fargo Annual [1960]
[1959] Annual. Original price 7/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring Dale Robertson.
Cover painting by Walt Howarth (signed).
Contents:
There are few cover artists able to so perfectly capture an actor's personality, and Howarth's depiction of Dale Robertson is among the best images of its kind. A stark and dramatic cover, perhaps, but with such a powerful image tying the design together it doesn't call out for further elaboration - a detailed background would have diminished the sense of immediacy we get, and (gun in hand) the character of Jim Hardie welcomes us in to the world of the series with a facial expression which cries out for explanation. What, we have to ask, is he looking at?
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring Dale Robertson.
Cover painting by Walt Howarth (signed).
Contents:
2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).
4 Indicia
5 Temple Houston Annual title page; illustrated by UNKNOWN (uncredited).
6 Contents illustrated by UNKNOWN (uncredited).
7 Pay-Off in Ghost Town text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
21 The Man They Couldn't Drown w: Gaylord Du Bois (uncredited); a: Alerto Giolitti (uncredited).
r: Four Color (Dell) #1023 [Tales of Wells Fargo] (Aug 1959 - Oct 1959).
37 The Kentucky Kid text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
47 The Last Stage from Gunsight text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
53 Faro Billy's Surprise Packet text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
61 The Skeleton Cave w: Gaylord Du Bois (uncredited); a: Alerto Giolitti (uncredited).
r: Four Color (Dell) #1023 [Tales of Wells Fargo] (Aug 1959 - Oct 1959).
77 Black Gold text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
87 Sundown text story by Douglas Enefer; illustrated by UNKNOWN (uncredited).
94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).
There are few cover artists able to so perfectly capture an actor's personality, and Howarth's depiction of Dale Robertson is among the best images of its kind. A stark and dramatic cover, perhaps, but with such a powerful image tying the design together it doesn't call out for further elaboration - a detailed background would have diminished the sense of immediacy we get, and (gun in hand) the character of Jim Hardie welcomes us in to the world of the series with a facial expression which cries out for explanation. What, we have to ask, is he looking at?
Tales of Wells
Fargo Annual
[1961]
Monday, December 17, 2018
Billy the Kid Western Annual [1961]
[1960] Annual. Original price 7/6.
96 pages. Tone art contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth (signed)
Contents:
Going out on a high, Walt Howarth's cover for the final edition of Billy the Kid Western Annual is a masterful, luxurious, and perfectly executed example of cover art. Capturing the essential elements of the character, and imbuing Billy with a handsome charm, it ranks as one of the finest covers to appear on a World annual - which points to the problems the title had experienced having been noted and acted on.
Far superior to most of the stories which have featured in the title, The Drummer Boy and the Blackfeet shows that courage, a cool head, and ingenuity can often be better than combat to rectify a problem, and gets things off to a fine start. With events of the story taking place farther in the past than the Billy the Kid strips, it is difficult to justify its inclusion, though it is a welcome addition nevertheless.
There were likely a list of laws which would have prevented such an action, and the means by which Billy saves the day seems to be far too extreme to hold credibility. The sound of the explosion would, surely, have a serious effect on the cattle - if the goal was to prevent a stampede, making such a racket would likely have precisely the opposite conclusion to the one desired.
The other strip, The Wreckers finds Billy two miles outside of Newtown, where the train tracks have been deliberately sabotaged - he manages to save the train, and its cargo, though is shot at for his trouble by those responsible. A rather pedestrian tale, told with slightly unattractive artwork, fails to live up to the earlier annuals' tales. Once again the strip introduces an old friend, never before seen, who has gotten into trouble. It is an annoying trend, and one which adds to the background of the character without clearing up his history.
The Last Great Scout, a text feature on William F. "Buffalo Bill" Cody, written with authority by A.W. Dalby-Phillips, might be a last throw of the dice, but it hits its mark with perfection. With a mere eight pages in which to cram as much information as possible, the economy of detail isn't particularly noticeable, minor incident given as much consideration as monumental event, and the sum total of the feature amounts to a fantastic insight into an amazing life.
Which begs the question - why couldn't this have been attempted throughout the title from the start?
The final strip, Ransom on the River opens with a dramatic image which is far more accomplished than most of the strip art in the issue.
An improvement, with very impressive steps towards the sort of material it ought to have been containing, though constrained by having to maintain the stories which had been appearing in the title. More non-fiction features, and far better strips, could have improved the appearance of the annual to a greater degree.
96 pages. Tone art contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth (signed)
Contents:
2 UNTITLED endpaper; illustrated by Walt Howarth (signed).
4 Indicia
5 Billy the Kid Western Annual title page; illustrated by UNKNOWN (uncredited).
6 Contents illustrated by UNKNOWN (uncredited).
7 The Drummer Boy and the Blackfeet text story by Hart Cooper; illustrated by UNKNOWN (uncredited).
17 Dynamite Pass w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
27 The Adventure of Running Deer text story by Richard Armstrong; illustrated by UNKNOWN (uncredited).
35 The Mystery of Mandrake's Mine text story by Geoff Williamson; illustrated by UNKNOWN (uncredited).
45 The Wreckers w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
55 Outlaw Canyon text story by T.A. Cooper; illustrated by UNKNOWN (uncredited).
65 The Last Great Scout text feature by A.W. Dalby-Phillips; illustrated by UNKNOWN (uncredited).
73 Ransom on the River! w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
83 Renegades of Fort Laramie text story by Hart Cooper; illustrated by UNKNOWN (uncredited).
94 UNTITLED endpaper; illustrated by Walt Howarth (signed).
Going out on a high, Walt Howarth's cover for the final edition of Billy the Kid Western Annual is a masterful, luxurious, and perfectly executed example of cover art. Capturing the essential elements of the character, and imbuing Billy with a handsome charm, it ranks as one of the finest covers to appear on a World annual - which points to the problems the title had experienced having been noted and acted on.
Jim Osborne shivered. And if there had been anyone about to confide in he would have been the first to admit that the spasm was as much fear as from the biting cold. If this was the New World, more and more he bitterly regretted having left the old.Having left England with the 4th Regiment of Foot to drive the French from Canada, his troop was making its way slowly over a mountain when attacked, and as one of the few survivors he is desperately cold, lonely, and hungry, though thankful for being alive - as he attempts to keep warm, pondering the circumstances of his survival, he encounters a man named Mitch. Offered somewhere to keep warm, and a meal, he quickly succumbs to sleep. On waking he is surprised to witness two Indians walk up to the cave and enter, relaxing by the fire with cups of coffee. Walt returns, and informs Jim that they must travel to the Indian chiefs over the mountain to pass on news about Canada having yielded to the British crown, to cease lingering hostilities.
Far superior to most of the stories which have featured in the title, The Drummer Boy and the Blackfeet shows that courage, a cool head, and ingenuity can often be better than combat to rectify a problem, and gets things off to a fine start. With events of the story taking place farther in the past than the Billy the Kid strips, it is difficult to justify its inclusion, though it is a welcome addition nevertheless.
Wyoming - a young hard-working and fertile territory whose lush valleys attracted the returning gold-miners and captured them so much that they never returned to the thickly populated east from which they had come with such high hopes. And it was here that Billy the Kid came - to find himself caught up in the fierce wrangle between cattlemen and farmers that the new settlements had brought about.When Billy happens upon a new town being constructed, and is surprised to see Lem Dacy - inveterate gambler, with a reputation as a gunman - has settled down to a life of farming. All seems peaceful in the town until cattle drivers arrive, informing the inhabitants that a herd of cattle are going to move through the valley, destroying everything in their way.
There were likely a list of laws which would have prevented such an action, and the means by which Billy saves the day seems to be far too extreme to hold credibility. The sound of the explosion would, surely, have a serious effect on the cattle - if the goal was to prevent a stampede, making such a racket would likely have precisely the opposite conclusion to the one desired.
The other strip, The Wreckers finds Billy two miles outside of Newtown, where the train tracks have been deliberately sabotaged - he manages to save the train, and its cargo, though is shot at for his trouble by those responsible. A rather pedestrian tale, told with slightly unattractive artwork, fails to live up to the earlier annuals' tales. Once again the strip introduces an old friend, never before seen, who has gotten into trouble. It is an annoying trend, and one which adds to the background of the character without clearing up his history.
The Last Great Scout, a text feature on William F. "Buffalo Bill" Cody, written with authority by A.W. Dalby-Phillips, might be a last throw of the dice, but it hits its mark with perfection. With a mere eight pages in which to cram as much information as possible, the economy of detail isn't particularly noticeable, minor incident given as much consideration as monumental event, and the sum total of the feature amounts to a fantastic insight into an amazing life.
Which begs the question - why couldn't this have been attempted throughout the title from the start?
The final strip, Ransom on the River opens with a dramatic image which is far more accomplished than most of the strip art in the issue.
When Micky O'Hearn struggles against odds too much for him, Billy the Kid happens to see the fight. Curiosity lead the Kid to follow a most unusual trail ... at one point every step along it could mean sudden death or slow drowning... but Billy corners desperate men and forces them to call off a diabolical plan to each make hundreds of dollars for themselves, at the expense of one young Irishman...
Jimmy Stewart wanted to start a new life in the West, and he got his chance when the wagon train he was travelling in was besieged by Indians...Hart Cooper's Renegades of Fort Laramie uses a famous name for one of its characters with no perceivable reason, and distracts from the narrative. It is a story which, rather cheekily, features Kit Carson in a supporting role - in a manner which can be seen as emphasising the title's success over Kit Carson's Cowboy Annual, which ceased publication the previous year.
An improvement, with very impressive steps towards the sort of material it ought to have been containing, though constrained by having to maintain the stories which had been appearing in the title. More non-fiction features, and far better strips, could have improved the appearance of the annual to a greater degree.
[1960]
Billy the Kid
Western Annual
[1960]
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:
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.
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]
Tenderfoot Annual [1963]
[1962] Annual. Original price 7/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring Will Hutchins.
Painted cover by Walt Howarth (uncredited), based on promotional photograph.
Contents:
Much changed in content, the annual also makes sure that readers are aware of its place among other titles available, playing on the Jeff Arnold strip with the name of its endpaper, displaying the clothes worn by three eras of ranchers - the Spanish vaquero, an 1830s Texas cowboy, and the modern clothing. The informative elements are continued through features of Buffalo Bill, Calamity Jane, and General George Crook, though as only a paragraph or two of text accompanies each page it is questionable if any of the title's readers learned anything new.
A lively board game, with extremely bright and attractive artwork, may feel as if it has been slipped in from another annual, but it does, at least, provide much amusement - play it with a competitive eight-year-old, and you will soon discover the appeal of these inclusions.
Tom sees a sign hanging over a shop which advertises books for sale. Told that the books come from the collection of Jud Baker, whose widow is selling them to raise money. After browsing, he purchases several titles, including one titled The History of Judicial Law in America, before riding off. Two men enter the shop looking for that specific book, and the shopkeeper informs them of the prior sale, and the direction Tom took when departing. The men chase after their quarry, and make their move when they see Tom sleeping.
Awakening, he reprimands the men for stealing, but before he can retrieve his property is knocked unconscious - deciding to retrieve his saddlebags, he trails the men...
With a rather straightforward story, only briefly touching on Tom's established personality as a student of the law, this doesn't play to the strengths of the series. Indeed, this could easily have been a tale penned for Bonanza, or Gunsmoke, or any number of series - while there is nothing wrong with generic tales (often a source of great enjoyment), it is a shame that so original a property fall so strongly to such storytelling.
The curiously-titled Strangers on the West-Bound Stage is an extremely simple story, though told well, concerning a prisoner's escape attempt. Almost a detective story dressed in western garb, it bears no relation to the series the annual ought to be covering, though is fine enough to warrant inclusion.
Newspaper impartiality, the rule of law, and wrongful sentencing are at the heart of Trail to Justice, which is the kind of story which perfectly suits Tom Brewster's character, and reminds the reader of the legal angle which has been such an integral part of the series. While there are slightly too many coincidences to make the narrative credible, the handling is intelligent and the art satisfactory,
Not as impressive as the inaugural edition, though with far more originated material to compensate for the dilution of ideas.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring Will Hutchins.
Painted cover by Walt Howarth (uncredited), based on promotional photograph.
Contents:
2 Riders of the Range endpaper; illustrated by Walt Howarth (uncredited).
4 Indicia
5 Tenderfoot Annual title page; illustrated by Walt Howarth (uncredited).
6 Contents illustrated by Walt Howarth (uncredited).
7 Gunsmoke at Ghost Cayon text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
22 Buffalo Bill illustrated feature by Walt Howarth (uncredited).
23 A Volume of Trouble w: Eric Freiwald & Robert Schaefer (uncredited); a: Nat Edson (uncredited).
r: Four Color (Dell) #1209 [Sugarfoot] (Oct 1961 - Dec 1961).
34 Guns Along the Brazos! board game; illustrated by Walt Howarth (uncredited).
36 Calamity Jane illustrated feature by Walt Howarth (uncredited).
37 Tumbleweed Terror text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
45 Strangers on the West-Bound Stage w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: Wagon Train (Dell) #12 (Jan 1962 - Mar 1962).
49 The Vanishing Twins text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
59 Trail to Justice w: Eric Freiwald & Robert Schaefer (uncredited); a: Nat Edson (uncredited).
r: Four Color (Dell) #1209 [Sugarfoot] (Oct 1961 - Dec 1961).
80 General George Crook illustrated feature by Walt Howarth (uncredited).
81 Lone Star Pay-Off text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
87 Secret of Red River Falls text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
94 Riders of the Range endpaper; illustrated by Walt Howarth (uncredited).
Much changed in content, the annual also makes sure that readers are aware of its place among other titles available, playing on the Jeff Arnold strip with the name of its endpaper, displaying the clothes worn by three eras of ranchers - the Spanish vaquero, an 1830s Texas cowboy, and the modern clothing. The informative elements are continued through features of Buffalo Bill, Calamity Jane, and General George Crook, though as only a paragraph or two of text accompanies each page it is questionable if any of the title's readers learned anything new.
A lively board game, with extremely bright and attractive artwork, may feel as if it has been slipped in from another annual, but it does, at least, provide much amusement - play it with a competitive eight-year-old, and you will soon discover the appeal of these inclusions.
Tom sees a sign hanging over a shop which advertises books for sale. Told that the books come from the collection of Jud Baker, whose widow is selling them to raise money. After browsing, he purchases several titles, including one titled The History of Judicial Law in America, before riding off. Two men enter the shop looking for that specific book, and the shopkeeper informs them of the prior sale, and the direction Tom took when departing. The men chase after their quarry, and make their move when they see Tom sleeping.
Awakening, he reprimands the men for stealing, but before he can retrieve his property is knocked unconscious - deciding to retrieve his saddlebags, he trails the men...
With a rather straightforward story, only briefly touching on Tom's established personality as a student of the law, this doesn't play to the strengths of the series. Indeed, this could easily have been a tale penned for Bonanza, or Gunsmoke, or any number of series - while there is nothing wrong with generic tales (often a source of great enjoyment), it is a shame that so original a property fall so strongly to such storytelling.
The curiously-titled Strangers on the West-Bound Stage is an extremely simple story, though told well, concerning a prisoner's escape attempt. Almost a detective story dressed in western garb, it bears no relation to the series the annual ought to be covering, though is fine enough to warrant inclusion.
Newspaper impartiality, the rule of law, and wrongful sentencing are at the heart of Trail to Justice, which is the kind of story which perfectly suits Tom Brewster's character, and reminds the reader of the legal angle which has been such an integral part of the series. While there are slightly too many coincidences to make the narrative credible, the handling is intelligent and the art satisfactory,
Not as impressive as the inaugural edition, though with far more originated material to compensate for the dilution of ideas.
[1962]
Tenderfoot Annual
Sunday, December 16, 2018
Gunsmoke Annual [1964]
[1963] Annual. Original price 8/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring James Arness.
Painted cover by Walt Howarth (uncredited).
Contents:
The moody, dramatic cover, with brooding skies overhead, and Matt Dillon ready with his firearm, really sells the annual. A few gorgeous feature pages, along with a board game, allow some degree of originality to be displayed, and Howarth really comes through with memorable imagery. The endpaper, featuring a stagecoach robbery, is one of the best examples of the type, with superb balance in framing and execution.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring James Arness.
Painted cover by Walt Howarth (uncredited).
Contents:
2 UNTITLED endpaper; illustrated by Walt Howarth (uncredited).
4 Indicia
5 Gunsmoke Annual title page; illustrated by Walt Howarth (uncredited).
6 Contents
7 The Silver Arrow text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
19 The Train Robbery w: Paul S. Newman (uncredited); a: Alberto Giolitti (uncredited), assisted by Giovanni Ticci (uncredited).
r: Gunsmoke (Dell) #19 (Feb 1960 - Mar 1960).
33 The Bounty Hunters text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
38 Bounty Hunter illustrated feature by Walt Howarth (uncredited).
39 Skulduggery w: Paul S. Newman (uncredited); a: Alberto Giolitti (uncredited).
r: Gunsmoke (Dell) #19 (Feb 1960 - Mar 1960).
43 Kitty Kidnapped text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
57 Spurs! illustrated feature by Walt Howarth (uncredited).
58 Gunsmoke Showdown board game; illustrated by Walt Howarth (uncredited).
60 Stirrups! illustrated feature by Walt Howarth (uncredited).
61 The Perilous Patient w: Paul S. Newman (uncredited); a: Alberto Giolitti (uncredited), assisted by Giovanni Ticci (uncredited).
r: Gunsmoke (Dell) #19 (Feb 1960 - Mar 1960).
73 A Dilemma for Dog text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
83 The Apple of His Eye text story by UNKNOWN (uncredited); illustrated by Walt Howarth (uncredited).
89 Small Bear Sign of Scorn w: UNKNOWN (uncredited); a: Rex Mason (uncredited).
r: Cheyenne (Dell) #07 (May 1958 - Jul 1958).
93 The Feud text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).
r: Gunsmoke (Dell) #19 (Feb 1960 - Mar 1960).
94 UNTITLED endpaper; illustrated by Walt Howarth (uncredited).
The moody, dramatic cover, with brooding skies overhead, and Matt Dillon ready with his firearm, really sells the annual. A few gorgeous feature pages, along with a board game, allow some degree of originality to be displayed, and Howarth really comes through with memorable imagery. The endpaper, featuring a stagecoach robbery, is one of the best examples of the type, with superb balance in framing and execution.
Gunsmoke Annual
[1965]
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:
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.
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.
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]
Tenderfoot Annual [1961]
[1960] Annual. Original price 7/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring Will Hutchins.
Painted cover by Walt Howarth (uncredited).
Contents:
There's a great look to the first Tenderfoot Annual edition, capturing the likeness of Will Hutchins wonderfully. The background is, in a nice touch, extremely detailed, proving that World Distributors could deliver with truly outstanding presentation when in possession of a property which really captured the imaginations of their artists.
Jake Perkins follows Tom out of Sand Ridge to ask him for help, giving the Tenderfoot his lucky silver dollar in exchange for getting his mine back from the men who stole it - telling Tom that he never learned to read, Jake has no idea what the men got him to sign. Agreeing to see the men, so he can understand the facts in the case, Tom returns to the Boulder Canyon mine with Jake.
Although sympathetic to Jake's plight, it seems that the men's claim to the mine is legally sound, albeit a morally dubious claim. After a scuffle with the mine's new owners, Tom and Jake leave. When they are discussing matters Tom is suddenly re-energised, and he drags Jake with him to the Carson Assay Office, in the next county, much to the surprise (and confusion) of the old miner.
A wonderfully clever story, hinging on points of law to bring its conclusion to a satisfactory resolution, A Dollar's Worth of Law is a fantastic piece of scripting, with a clear problem for Tom to solve. The art is stylish enough to compensate for the rather spartan pages - there are numerous panels devoid of background detail, differentiated by a selection of random colours. It isn't so much of a problem to detract from the sheer joy, or the audacity, of the story.
During the night Lon, who has become friends with Tom, steals the horse away from Emmett, and sells the horse to a dealer in town for two hundred dollars. Lon hands over one hundred and fifty to Tom, and tells him where to find Mr. Tate, the horse's new owner. Agreeing to work off the horse's cost, Tom begins work at Tate's ranch. The July 4th Jamboree provides the perfect opportunity to see how Diablo runs, in the Gala Horse Race. Tate asks Tom to ride for him, against Emmett Clark's horse Texas Boy.
Concluding in a bittersweet manner, which is both appropriate and rather sweet, The Stallion Trail is wonderfully detailed throughout, maintaining its sense of location in small ways. Although there are still some shortcuts taken, such as blank backgrounds, there are enough elaborately constructed scenes to make up for any of lightly fashioned pieces.
Eye Witness sees a rider named Tate Mason accompany Tom as he rides into Bonanza. Mason explains that he saw Notch Coberley kill Chips McKay, the man whose job he is assuming, and that the trial is taking place on the next day. As they continue their journey several shots ring out, and it seems Coberley's men have set to killing Mason. Tom and Tate come up with a plan to get away from the criminals, though Tate isn't as lucky as Tom...
The aspiring lawyer gets a lesson in the law, in a tale which doesn't quite manage to convince on its legal footing. If a single witness wasn't present, it seems unlikely that the entire case would be summarily dismissed, and there isn't a credible reason why Coberley's men didn't simply kill Tate rather than waylay him. More explanation of the muddied plot points could have eased any concerns about the leaps in logic which have to be vaulted.
A case of mistaken identity which doesn't hinge on lookalikes is always to be applauded, and the intelligent manner in which the case is laid forth makes for a refreshing read. It isn't perfect, with Tom's account being believed a little too readily, but for such a brief strip this manages to impress.
Annoyingly, Brannigan's Boots, the strip adaptation of the pilot episode, is the final strip to be collected here. It doesn't really make sense for such sloppy placement to go unnoticed, and one must conclude that the decision was deliberate.
The stagecoach carrying the town's mail - along with Tom's latest exam for his correspondence course - is robbed, leaving Tom with little option but to take the job. The first bit of business Tom tackles is the murder of Katie's father, the previous Sheriff, and he soon narrows the list of suspects to two men.
Exquisitely drawn, and with enough internal logic to make for a satisfying read, this is the annual's finest moment, which makes its placement at the back of the book a complete mystery. Indeed, there isn't a faltering step taken anywhere. The inclusion of Billy the Kid, as incentive for people to comply with Turlock's will, seems a tad less imaginative than other incidents, but it works to the advantage of displaying Tom's use of his brains over his fists. Or, indeed, his guns.
A brilliant collection of strips from a fantastic television series.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.
Based on the US television series starring Will Hutchins.
Painted cover by Walt Howarth (uncredited).
Contents:
2 UNTITLED endpaper; illustrated by Walt Howarth (uncredited).
4 Indicia
5 Tenderfoot Annual title page; illustrated by Walt Howarth (uncredited), based on promotional photograph.
6 Contents illustrated by Walt Howarth (uncredited).
7 A Dollar's Worth of Law w: UNKNOWN (uncredited); a: Nat Edson (uncredited).
r: Four Color (Dell) #1059 [Sugarfoot] (Nov 1959 - Jan 1960).
19 The Stallion Trail w: Eric Freiwald & Robert Schaefer (uncredited); a: Alex Toth (uncredited).
r: Four Color (Dell) #992 [Sugarfoot] (May 1959 - Jul 1959).
41 Eye Witness w: Eric Freiwald & Robert Schaefer (uncredited); a: Alex Toth (uncredited).
r: Four Color (Dell) #907 [Sugarfoot] (May 1958).
53 Delayed Justice w: UNKNOWN (uncredited); a: Nat Edson (uncredited).
r: Four Color (Dell) #1059 [Sugarfoot] (Nov 1959 - Jan 1960).
73 Brannigan's Boots w: Eric Freiwald & Robert Schaefer (uncredited), based on the teleplay by Devery Freeman, based on the teleplay by Fran Davis & Winston Miller, based on the magazine story by Michael Fessier; a: Alex Toth (uncredited).
r: Four Color (Dell) #907 [Sugarfoot] (May 1958).
93 Avalanche Trap text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).
r: Cheyenne (Dell) #11 (May 1959 - Jul 1959).
94 UNTITLED endpaper; illustrated by Walt Howarth (uncredited).
There's a great look to the first Tenderfoot Annual edition, capturing the likeness of Will Hutchins wonderfully. The background is, in a nice touch, extremely detailed, proving that World Distributors could deliver with truly outstanding presentation when in possession of a property which really captured the imaginations of their artists.
Jake Perkins follows Tom out of Sand Ridge to ask him for help, giving the Tenderfoot his lucky silver dollar in exchange for getting his mine back from the men who stole it - telling Tom that he never learned to read, Jake has no idea what the men got him to sign. Agreeing to see the men, so he can understand the facts in the case, Tom returns to the Boulder Canyon mine with Jake.
Although sympathetic to Jake's plight, it seems that the men's claim to the mine is legally sound, albeit a morally dubious claim. After a scuffle with the mine's new owners, Tom and Jake leave. When they are discussing matters Tom is suddenly re-energised, and he drags Jake with him to the Carson Assay Office, in the next county, much to the surprise (and confusion) of the old miner.
A wonderfully clever story, hinging on points of law to bring its conclusion to a satisfactory resolution, A Dollar's Worth of Law is a fantastic piece of scripting, with a clear problem for Tom to solve. The art is stylish enough to compensate for the rather spartan pages - there are numerous panels devoid of background detail, differentiated by a selection of random colours. It isn't so much of a problem to detract from the sheer joy, or the audacity, of the story.
Early one morning in the foothills of New Mexico, a group of horse hunters wait, as their leader watches a figure in the valley.Tom rides through the valley, entirely unaware of eyes on him. The men descend to greet him, and tell the Tenderfoot that the Sangre de Cristo Mountains are private property. Tom explains that he is trailing wild horses, and they invite him to work with them in tracking the herd down. Promising Tom the black stallion he has his eye on, they finally locate the herd. When Emmett Clark breaks his word about the stallion, Tom rides off.
During the night Lon, who has become friends with Tom, steals the horse away from Emmett, and sells the horse to a dealer in town for two hundred dollars. Lon hands over one hundred and fifty to Tom, and tells him where to find Mr. Tate, the horse's new owner. Agreeing to work off the horse's cost, Tom begins work at Tate's ranch. The July 4th Jamboree provides the perfect opportunity to see how Diablo runs, in the Gala Horse Race. Tate asks Tom to ride for him, against Emmett Clark's horse Texas Boy.
Concluding in a bittersweet manner, which is both appropriate and rather sweet, The Stallion Trail is wonderfully detailed throughout, maintaining its sense of location in small ways. Although there are still some shortcuts taken, such as blank backgrounds, there are enough elaborately constructed scenes to make up for any of lightly fashioned pieces.
Eye Witness sees a rider named Tate Mason accompany Tom as he rides into Bonanza. Mason explains that he saw Notch Coberley kill Chips McKay, the man whose job he is assuming, and that the trial is taking place on the next day. As they continue their journey several shots ring out, and it seems Coberley's men have set to killing Mason. Tom and Tate come up with a plan to get away from the criminals, though Tate isn't as lucky as Tom...
The aspiring lawyer gets a lesson in the law, in a tale which doesn't quite manage to convince on its legal footing. If a single witness wasn't present, it seems unlikely that the entire case would be summarily dismissed, and there isn't a credible reason why Coberley's men didn't simply kill Tate rather than waylay him. More explanation of the muddied plot points could have eased any concerns about the leaps in logic which have to be vaulted.
This is the territorial prison at Yuma, Arizona. The most notorious prison in Western history. Many of the worst desperados of the time were confined here... And many tried to escape... But few made it. This is the story of two men who did escape...Pike and Len Hobson, lifers who have ended up in the prison due to robbery and murder, manage to escape into the Colorado river where they swim for freedom. Someone fires at Tom as he rides into San Carlos, and when he informs the Sheriff about the shooting is told that the Hobson brothers robbed a bank around the time they rode with Tom. That night, when Tom is in bed, the brothers slip into his hotel room and tell Tom that he can clear their name.
A case of mistaken identity which doesn't hinge on lookalikes is always to be applauded, and the intelligent manner in which the case is laid forth makes for a refreshing read. It isn't perfect, with Tom's account being believed a little too readily, but for such a brief strip this manages to impress.
Annoyingly, Brannigan's Boots, the strip adaptation of the pilot episode, is the final strip to be collected here. It doesn't really make sense for such sloppy placement to go unnoticed, and one must conclude that the decision was deliberate.
Tom Brewster rides into Bluerock... A small town obviously throbbing with election-day excitement...Barney Turlock, the presiding Mayor, has taken office once more, with 429 votes to Joe Downey's 201 and Paul Evans' 123, the runners-up acting as the Mayor's Aldermen. As part of the celebrations a horse race is arranged, an entry fee of five dollars bringing the winner one hundred dollars, which TOm is eager to take. Turlock waives the entry fee for Tom, and he starts strongly but is thrown at the finish line - despite this, the race is declared a tie with Katie Brannigan. As a tie-breaker, a shooting contest is prepared. Although the loser, Tom is offered the job of Sheriff of Bluerock - earning him a hundred dollars a month.
The stagecoach carrying the town's mail - along with Tom's latest exam for his correspondence course - is robbed, leaving Tom with little option but to take the job. The first bit of business Tom tackles is the murder of Katie's father, the previous Sheriff, and he soon narrows the list of suspects to two men.
Exquisitely drawn, and with enough internal logic to make for a satisfying read, this is the annual's finest moment, which makes its placement at the back of the book a complete mystery. Indeed, there isn't a faltering step taken anywhere. The inclusion of Billy the Kid, as incentive for people to comply with Turlock's will, seems a tad less imaginative than other incidents, but it works to the advantage of displaying Tom's use of his brains over his fists. Or, indeed, his guns.
A brilliant collection of strips from a fantastic television series.
Tenderfoot Annual
[1962]
Saturday, December 15, 2018
Billy the Kid Western Annual [1958]
[1957] Annual. Original price 6/.
96 pages. Tone art contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth (signed)
Contents:
Once again the cover boasts a sumptuous depiction of the west, with a confrontation between Billy the Kid and a group of natives. The matter of this engagement is unmentioned, though one can assume, given that Billy is reaching for his weapon, that things won't end well. Its interior illustration, with a Chief on horseback overseeing a passing train, isn't quite to the same standard, though gives an indication that this is attempting to show more of the west than the usual conflicts.
While nowhere near as historically accurate or precise in its approach, A Man Called Wyatt Earp shows attempts by World to bridge the gulf between Billy the Kid Western Annual, a series which has been as counter-historical as imaginable, and Boardman's Buffalo Bill Annual. It isn't, unfortunately, anywhere near classy enough to compete.
A tree set to pivot, like a prop in some ridiculous Saturday morning cartoon, is the key to the mystery, and there is little to appeal beyond Billy's sureness in his capabilities - it is the sole point which rings true, yet things are piled up in a mountain of unlikely events, so removed from intelligent and thoughtful writing, that the story simply doesn't work. A beautiful, wonderful introduction cannot match what follows.
Texas Vengeance sees a young boy heartbroken with the sale of his prized Palomino horse, and his attempt to find the money to buy it back, in a plot so overused that it can offer nothing of value to an annual already suffering from clichés and easy explanations. The cumulative effect is to make the annual feel as if it is aiming at a much younger age range than before.
This attitude is mirrored in The Saving of Little Wolf, which features a character by the name of Dull Knife. There is, thankfully, some redress in the attitudes of the native populace, with Major Stilwell explaining the change in behaviour witnessed in the Indians, though it is far from a comprehensive account of the injustices they suffered.
The Durango Kid fares a little better in this annual than in previous years, with a lively script and some attractive art. It isn't enough to stave off the title's slow decline, but any small improvement must be noted. It really is a shame that so little concern seems to have been given to the title, especially as impressive releases were sharing shelf space with this.
A shadow of its former self.
96 pages. Tone art contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth (signed)
Contents:
2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).
4 Indicia
5 Billy the Kid Western Annual title page; illustrated by UNKNOWN (uncredited).
6 Contents illustrated by UNKNOWN (uncredited).
7 A Man Called Wyatt Earp text story by Hart Cooper; illustrated by UNKNOWN (uncredited).
19 "The Mystery of Black Canyon" w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: UNKNOWN.
27 Texas Vengeance text story by J.L. Morrissey; illustrated by UNKNOWN (uncredited).
41 "Trouble at Hatteras Ferry" w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: UNKNOWN.
49 The Saving of Little Wolf text story by Hart Cooper; illustrated by UNKNOWN (uncredited).
61 "The Devil Buys Cattle" w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: UNKNOWN.
69 Bill Cody's Baptism text story by Hart Cooper; illustrated by UNKNOWN (uncredited).
80 The Durango Kid Biggest Badhat of Them All! w: UNKNOWN (uncredited); a: Fred Guardineer (signed).
r: Charles Starrett as the Durango Kid (Magazine Enterprises) #37 (Apr 1955).
86 The Hermit of Saddle Creek text story by John Barton; illustrated by UNKNOWN (uncredited).
94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).
Once again the cover boasts a sumptuous depiction of the west, with a confrontation between Billy the Kid and a group of natives. The matter of this engagement is unmentioned, though one can assume, given that Billy is reaching for his weapon, that things won't end well. Its interior illustration, with a Chief on horseback overseeing a passing train, isn't quite to the same standard, though gives an indication that this is attempting to show more of the west than the usual conflicts.
While nowhere near as historically accurate or precise in its approach, A Man Called Wyatt Earp shows attempts by World to bridge the gulf between Billy the Kid Western Annual, a series which has been as counter-historical as imaginable, and Boardman's Buffalo Bill Annual. It isn't, unfortunately, anywhere near classy enough to compete.
Brad Benton and Jim Scot paused, looked at one another, then stepped forward with long strides. Neither would admit it, but they were scared; scared stiff.One can only gripe about the liberties taken with historical incident so many times before common sense must demand that all such concerns are dispatched. Yes, this is a hokey, and somewhat unsubtle, tall tale, though maintains its internal consistency throughout. Not that it makes up for so much fluff being allowed to lead into the title.
They had done it now ... something they'd been warned against so often at home. They had crossed the Dead Line, the street that cut their home town of Dodge City in two - on one side the respectable part, on the other the wild, rip-roaring half where rarely a day passed without gunplay and shooting. But it was becoming tamed, and they wanted to see the man who was taming it - Wyatt Earp, the South-west's greatest gunfighter.
Something is terribly wrong with the Black Canyon... A mystery evil, and terrifying, surrounds the great silent cliffs... Men never return once they enter, but Billy the Kid goes in to wage a battle with unseen enemies... Because he is certain that some human forces are at work and not ghosts, Billy uses his brains and triggers to wrest the secret of... "The Mystery of the Black Canyon"One would hope that such a resonant opening text would lead to an appropriately thrilling narrative. Sheriff Denton tells Billy the Kid that the government has been forced to re-route the mail coaches from Black Canyon, and when a rider announces that another man - Jock McDurnee - has gone missing there, Billy offers to investigate. Explosions rock the area, and the sheriff's posse - set to ride in when given a signal by Billy - charge in. To be met by a hail of arrows...
A tree set to pivot, like a prop in some ridiculous Saturday morning cartoon, is the key to the mystery, and there is little to appeal beyond Billy's sureness in his capabilities - it is the sole point which rings true, yet things are piled up in a mountain of unlikely events, so removed from intelligent and thoughtful writing, that the story simply doesn't work. A beautiful, wonderful introduction cannot match what follows.
Texas Vengeance sees a young boy heartbroken with the sale of his prized Palomino horse, and his attempt to find the money to buy it back, in a plot so overused that it can offer nothing of value to an annual already suffering from clichés and easy explanations. The cumulative effect is to make the annual feel as if it is aiming at a much younger age range than before.
While the whole township of Hatteras wait for the ferry to bring over the stage coach with a shipment of gold for the bank, a band of Seminole Indians come paddling out of the swamp in war canoes which starts... "Trouble at Hatteras Ferry""Pesky redskins?" The script couldn't be more lackadaisical about dropping such epithets, and treats the Seminole as idiots prepared to listen to a voice transmission device of some sort without question. Yes, the use of such equipment is anachronistic - the telephone being patented in 1876, and Billy the Kid having died in 1881, with hardly enough time having passed for such an ingenious use of the technology to be discovered. The worrisome attitudes in the telling deserve nothing but contempt.
This attitude is mirrored in The Saving of Little Wolf, which features a character by the name of Dull Knife. There is, thankfully, some redress in the attitudes of the native populace, with Major Stilwell explaining the change in behaviour witnessed in the Indians, though it is far from a comprehensive account of the injustices they suffered.
The Durango Kid fares a little better in this annual than in previous years, with a lively script and some attractive art. It isn't enough to stave off the title's slow decline, but any small improvement must be noted. It really is a shame that so little concern seems to have been given to the title, especially as impressive releases were sharing shelf space with this.
A shadow of its former self.
[1957]
Billy the Kid
Western Annual
[1959]
Friday, December 14, 2018
Billy the Kid Western Annual [1957]
[1955] Annual. Original price 6/.
96 pages. Colour & tone art contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth (uncredited)
Contents:
The tone of the story is, sadly, very British. Those familiar with earlier boys' papers will find parallels in the text.
Railroaded! looks back to the early days of Billy the Kid, finding Billy Bonner (as he was then known) looking forward to a fishing trip with Alton 'Tall' Canlon, the sheriff of Bucktown. Before they head out, the sheriff pins a notice, from Tucson, Arizona, to the wall of his office:
An oddity, which ignores the fact that Billy's criminal career started when he was so young, this has the audacity to throw in a carnival to complicate matters, and plays out with predictable results. The end is a complete surprise, I must admit, with a conclusion which doesn't seem to have taken into account a single iota of Billy's real personality or sense of place in the world.
Six Gun Fandango!, the other Billy the Kid strip, is similarly set out, and I would hazard a guess that all three of his strips here originate from the same source, all three suffering from a lack of finesse and confidence. There were enough great strips to fill three such annuals, and falling back on these poor relations is a sign that something has gone wrong in the editing of the annual.
The Durango Kid has had a few strips which stretch credulity, and isn't a character whose adventures immediately promise much in the way of tantalising historical accuracy, but the title of his first strip in this annual - Whole Town Gone Loco - holds up the possibility that there may be reference to tainted rye bread causing hallucinations and odd behaviour. What we actually get is, sadly, more along the lines of the Avengers episode The Town of No Return, with the prospect that this strip might have played some small part in the inspiration for that script.
Black Bart's Big Plot! sees Billy the Kid going up against "Black Bart," though it isn't clear if this is, indeed, Charles Earl Boles or not. I'm tempted to chart their respective locations throughout their careers, to determine if they might have encountered each other someplace, though I fear that the results would confirm the unlikelihood of such a meeting. An extremely brief piece on which to conclude the annual, and altogether too simple a tale to hold much appeal beyond the obvious.
A real disappointment as far as the strips go, yet with its prose stories are improving year-on-year, this Billy the Kid Annual is difficult to recommend due to the unfortunate elements within certain strips.
96 pages. Colour & tone art contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth (uncredited)
Contents:
2 Fighting Men of the West endpaper; illustrated by UNKNOWN (uncredited).
4 Indicia
5 Billy the Kid Western Annual title page; illustrated by UNKNOWN (uncredited).
6 Contents illustrated by UNKNOWN (uncredited).
7 Stagecoach Showdown text story by Duke Manton; illustrated by UNKNOWN (uncredited).
21 Billy the Kid The Range Battle w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: UNKNOWN.
29 Railroaded! text story by Frank L. Lester; illustrated by UNKNOWN (uncredited).
39 Billy the Kid Ordeal by Fire w: UNKNOWN (uncredited); UNKNOWN (uncredited).
r: UNKNOWN.
47 The Secret of Rancho Randall text story by J.L. Morrissey; illustrated by UNKNOWN (uncredited).
63 The Durango Kid Whole Town Gone Loco! w: Gardner Fox (uncredited); a: Fred Guardineer (uncredited).
r: Charles Starrett as the Durango Kid (Magazine Enterprises) #39 (Jun 1955 - Jul 1955).
71 Rustlers Round-Up text story by Zed Montana; illustrated by UNKNOWN (uncredited).
83 Billy the Kid "Six Gun Fandango!" w: UNKNOWN (uncredited); UNKNOWN (uncredited).
r: UNKNOWN.
75 Black Bart's Big Plot! text story by Jay Masterson; illustrated by UNKNOWN (uncredited).
94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).
Billy the Kid had a long-standing score to settle, and it looked like he was using the overland stage route to settle it.The annual opens with a text story which, wonderfully, actually features Billy the Kid. Not that I don't appreciate the stand-alone western stories, but tying the contents to the character is what the title should have been doing all along - although it takes its sweet time getting going. Appealing to the wish-fulfillment of readers, the story opens with Bob Britton and Tom Lawless staying in Arizona, though hailing from Langdale School in Berkshire.
The tone of the story is, sadly, very British. Those familiar with earlier boys' papers will find parallels in the text.
A tall black horse with magnificently-tooled saddle and bridle was tethered against a tree. On his heels beside the stream was a man. He was not big, nor was he very old. In fact, in some ways he looked little more than a boy.It is no bad thing for culture clashes to inform narrative, as this can lead to otherwise unspoken revelations being voiced, but it is handled so politely, with so proper and cultured characters, that there is no sense of the youths relaxing into the landscape they find themselves in.
But as the chums rode up he raised his head and the eyes which looked out of the lean, tanned face were just about the coolest eyes the chums had ever seen.
He was maybe twenty years old, very slimly built and his lithe body gave an odd impression of tremendous power - almost like an animal. He was dressed entirely in black and his hair rode thickly down to the back of his neck.
The chums came to a standstill. Bob was the first to speak. "Er ... good morning ..."
A lot of rustling went on West of the Pecos, and the most vicious gang leader of the rustlers was Gringo Bengston. And when Billy the Kid caught him one day in the very act of changing the brand on a stolen steer... Six guns began... "The Range Battle"An extremely simplistic strip, which spells out every action with text boxes, leaving no room for ambiguity or subtlety, this is a frustrating story due to its opening scene - stopping a group of rustlers caught in the act, Billy sets upon them. This doesn't seem the act of an individual whose well-reported rustling exploits is an integral part of the Billy the Kid legend. Is it because he's not getting a cut? Is it because he's connected to the ranch? The prose accompaniment to the strip doesn't inform us why he intervenes so, leaving a hole at the centre of the telling.
Railroaded! looks back to the early days of Billy the Kid, finding Billy Bonner (as he was then known) looking forward to a fishing trip with Alton 'Tall' Canlon, the sheriff of Bucktown. Before they head out, the sheriff pins a notice, from Tucson, Arizona, to the wall of his office:
The trip is set aside while Tall goes out in search of Qualey, as the bandit goes out in search of Tall for plastering his image around.WANTED
$10,000 Reward will be paid for the capture, dead or alive, of Dan Qualey, alias Trigger Dan, for armed robbery, rustling and robbery with violence. Trigger Dan is wanted by the Sheriff of Tucson, is believed to have headed for Shelton County, Texas, in the company of Lefty Louie, stagecoach robber and horse-thief.
An oddity, which ignores the fact that Billy's criminal career started when he was so young, this has the audacity to throw in a carnival to complicate matters, and plays out with predictable results. The end is a complete surprise, I must admit, with a conclusion which doesn't seem to have taken into account a single iota of Billy's real personality or sense of place in the world.
The Sheriff dropped a kindly hand on Billy's shoulder.It isn't quite the slap-up feast which ended so many stories, but might as well have been. The opportunity to lay hints about the future of the character is neglected, and any sense that this is actually about William Bonney is missing. While such tales of the younger lives of characters can provide wonderful glimpses into both personality and things which occurred later in life, but without clear parallels to events which would define his activities in later years there is a chasm which cannot be surmounted by the narrative alone.
"Sump'n else, too - there's a ten thousand dollar reward for you kid for capturing this hombre!"
Billy's eyes twinkled.
"I'll give it to the new school fund, Sheriff ... on one condition."
"And what might that be, young feller?" asked the Sheriff.
"That you take me fishin' every day for the rest of the summer," said Billy.
Billy the Kid is being escorted through Indian country by a young Indian brave, Wa-Ha Jim. Wa-Ha is friendly and responsible for white man's safe conduct in his tribal territory. But a great forest fire turns the Indians hostile. The king of the west has to think fast and act even quicker, to save two strangers from a terrible... Ordeal by FireDownright ugly art, a horribly problematic story, and some of the most racist caricatures seen in the annuals, this strip is a low point in the saga of Billy the Kid's comic strip adventures. While I try to find something positive in works which appeal to me through genre or thematic elements, this strip fails in every regard, and compromises the title's otherwise entertaining stories. Regardless of the accompanying prose elements conformity to historical fact, at least they attempt to maintain an internal consistency. This strip is simply bad.
Six Gun Fandango!, the other Billy the Kid strip, is similarly set out, and I would hazard a guess that all three of his strips here originate from the same source, all three suffering from a lack of finesse and confidence. There were enough great strips to fill three such annuals, and falling back on these poor relations is a sign that something has gone wrong in the editing of the annual.
The Durango Kid has had a few strips which stretch credulity, and isn't a character whose adventures immediately promise much in the way of tantalising historical accuracy, but the title of his first strip in this annual - Whole Town Gone Loco - holds up the possibility that there may be reference to tainted rye bread causing hallucinations and odd behaviour. What we actually get is, sadly, more along the lines of the Avengers episode The Town of No Return, with the prospect that this strip might have played some small part in the inspiration for that script.
Black Bart's Big Plot! sees Billy the Kid going up against "Black Bart," though it isn't clear if this is, indeed, Charles Earl Boles or not. I'm tempted to chart their respective locations throughout their careers, to determine if they might have encountered each other someplace, though I fear that the results would confirm the unlikelihood of such a meeting. An extremely brief piece on which to conclude the annual, and altogether too simple a tale to hold much appeal beyond the obvious.
A real disappointment as far as the strips go, yet with its prose stories are improving year-on-year, this Billy the Kid Annual is difficult to recommend due to the unfortunate elements within certain strips.
[1956]
Billy the Kid
Western Annual
Western Annual
[1958]
Thursday, December 13, 2018
Billy the Kid Western Annual [1956]
[1955] Annual. Original price 5/.
96 pages. Colour & tone art contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth (uncredited)
Contents:
Despite another wonderful cover, there's an awkwardness to the endpaper and title page's art, with Billy the Kid appearing to be slightly double-jointed. As the rest of the illustrations are better, it seems to indicate a rush for the annual to be completed in time for publication - not, one has to admit, the most encouraging sign. A very strong illustration of a dreamcatcher encircling the contents is, although only barely embellished in red tone, displays what can be done with very simple graphical adornments. While not as brave or adventurous as the Buffalo Bill Wild West Annual illustrations, it is extremely effective.
And really, the Circle-O ranch? Puh-lease. It's brand would be two circles, one inside the other, and utterly useless at preventing rustling. A little more care and attention could have made this so much better.
Racing after bushwhackers, who are attempting to murder a man named Russ Clayton under orders from another man, but stops to take Clayton to someone who can provide medical assistance. When Clayton is brought to his men, Billy is informed that Beef Brent is behind the attempt on Clayton's life. A rustler, Brent has been raiding the ranch nearly to breaking point, and the ranchers aren't strong enough to drive their cattle to market while protecting their stock.
Riding into town, Billy wounds the two hired killers when they draw on him, though the sheriff is reluctant to arrest them. Preferring to stay out of trouble, the elderly lawman doesn't want to tangle with Brent's toxic influence on the area. Billy makes a deal with Brent to tae the cattle to market, and finds himself facing death from every corner.
The plates used for Outlaw's Code had seen better days, and the rough appearance of the strip, despite being in full colour, detracts slightly from the tale's appeal. There's a fine twist, and some energetic artwork, which mitigates the poor reproduction, yet there isn't enough depth to the tale - it is, for all the narrative strengths, a rather easy adventure. The Last Bullet fares slightly better in print quality, but is also lacking in crispness.
There's something to be admired in the storytelling risks taken with the conclusion, but how Mooney is able to so rapidly come to the correct conclusion is left to the reader to work out. Much better than a precis could get across, the story's charm lies in the ultimate act of humanity Billy performs, saving a child's life at the potential cost of his own.
A minor note of concern has to be raised at the description of Billy being "wanted for practically every crime in the book," although this can be squared with historical documents as being the adventures of the fictional Billy the Kid. The real Billy was hardly the compulsive breaker of laws he is presented as, and it would have been nice to have a clear distinction between the two.
He was merely friends with the horse. Honest. Any allegations are spurious.
Sundown! - a Cal Gundon Frontier special - which stars Sal Sundown, is unfortunate that it opens with a character named Clarence Aloysius Jones, which makes me think of parody westerns published a decade or so after the release of this annual. It is refreshing that Sundown can smoke and shoot without the text making criticism of such behaviour, and the realism which manages to creep into the telling makes other elements less irritating.
You have to admire a story titled Fancy-Pants Takes a Hike, and the plot - a kitchen equipment salesman, travelling with an extensive wardrobe, is different enough to stand out among gun-slinging adventures. Of course, there is more to the telling than that, and a suitably painful punishment to conclude the tale. It raises a major problem for me, as far as suitability is concerned - this is meant to be a Billy the Kid Western Annual, not a random selection of vaguely western material brought together under a generic banner. As entertaining as such a diverting tale is, it doesn't advance anything about Billy the Kid.
Another problem with the stories is that they are so disconnected. As with all of World's prose, there is no attempt to build something greater - had the stories they commissioned taken the opportunity to mesh original characters into a shared world, showing the development of the ranches and small towns through the years, then there might have been more of an emotional connection when a random character is gunned down. As it is, whenever the stories feature a death there is no attachment, and thus no sense of loss associated with the act.
Not, by any means, a classic, though there is enough reading within its pages to make it a worthwhile purchase. If only it was slightly more polished...
96 pages. Colour & tone art contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth (uncredited)
Contents:
2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).
4 Indicia
5 Billy the Kid Western Annual title page; illustrated by UNKNOWN (uncredited).
6 Contents illustrated by UNKNOWN (uncredited).
7 The Streets of Laredo text story by Jesse Allard; illustrated by UNKNOWN (uncredited).
17 Billy the Kid Outlaw's Code w: UNKNOWN (uncredited); a: Jack Sparling (uncredited).
r: Billy the Kid Adventure Magazine (Toby Press) #02 (Dec 1950).
25 Billy the Kid The Last Bullet w: UNKNOWN (uncredited); UNKNOWN (uncredited).
r: Billy the Kid Adventure Magazine (Toby Press) #03 (Feb 1951).
33 Sundown! text story by Cal Gundon; illustrated by UNKNOWN (uncredited).
49 The Durango Kid Under the Skull and Crossbones w: UNKNOWN (uncredited); a: Joe Certa (uncredited).
r: Charles Starrett as the Durango Kid (Magazine Enterprises) #10 (Apr 1951 - May 1951).
58 The Durango Kid Blackmail Terror! w: UNKNOWN (uncredited); a: Joe Certa (uncredited).
r: Charles Starrett as the Durango Kid (Magazine Enterprises) #10 (Apr 1951 - May 1951).
65 Outlaws at the Rodeo text story by Zed Montana; illustrated by UNKNOWN (uncredited).
75 Fancy-Pants Takes a Ride text story by Clinton Stewart; illustrated by UNKNOWN (uncredited).
82 Two-Gun Promise! w: UNKNOWN (uncredited); a: Tom Gill, lettering by Ed Hamilton.
r: Billy the Kid Adventure Magazine (Toby Press) #01 (Oct 1950).
94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).
Despite another wonderful cover, there's an awkwardness to the endpaper and title page's art, with Billy the Kid appearing to be slightly double-jointed. As the rest of the illustrations are better, it seems to indicate a rush for the annual to be completed in time for publication - not, one has to admit, the most encouraging sign. A very strong illustration of a dreamcatcher encircling the contents is, although only barely embellished in red tone, displays what can be done with very simple graphical adornments. While not as brave or adventurous as the Buffalo Bill Wild West Annual illustrations, it is extremely effective.
As I was riding through the streets of Laredo,Jesse Allard knows well to use the perennially-popular traditional ballad to open his story, and it is mirrored in the plot - not especially dramatically, despite being long enough to develop events in a suitably complex way, though strongly enough to avoid accusations of being overly simplistic. There aren't enough details provided to really get a sense of the people involved. This is another story which uses sound effects in prose to create tension, and it works as well here as elsewhere - which is to say it doesn't work.
As I rode down to Laredo one day;
I saw a young cowboy all dressed in white linen,
All dressed in white linen and cold as the clay ....
And really, the Circle-O ranch? Puh-lease. It's brand would be two circles, one inside the other, and utterly useless at preventing rustling. A little more care and attention could have made this so much better.
Terror was hanging over like a threatening cloud over Red Mesa Valley, when Billy the Kid drifted into the valley! Bullets whistled through the air when he came, and bullets splattered around him when he left! But in-between, the Kid found a use for his head and his blazing guns and showed the strange workings of his "Outlaw Code"!!Splattering bullets? Are they made of Plasticine? Toby Press are usually better than this, and the use of such an incongruous word in an otherwise fine little strip really stand out as being misplaced.
Racing after bushwhackers, who are attempting to murder a man named Russ Clayton under orders from another man, but stops to take Clayton to someone who can provide medical assistance. When Clayton is brought to his men, Billy is informed that Beef Brent is behind the attempt on Clayton's life. A rustler, Brent has been raiding the ranch nearly to breaking point, and the ranchers aren't strong enough to drive their cattle to market while protecting their stock.
Riding into town, Billy wounds the two hired killers when they draw on him, though the sheriff is reluctant to arrest them. Preferring to stay out of trouble, the elderly lawman doesn't want to tangle with Brent's toxic influence on the area. Billy makes a deal with Brent to tae the cattle to market, and finds himself facing death from every corner.
The plates used for Outlaw's Code had seen better days, and the rough appearance of the strip, despite being in full colour, detracts slightly from the tale's appeal. There's a fine twist, and some energetic artwork, which mitigates the poor reproduction, yet there isn't enough depth to the tale - it is, for all the narrative strengths, a rather easy adventure. The Last Bullet fares slightly better in print quality, but is also lacking in crispness.
Wanted for murder! Wanted for robbery! Wanted for practically every crime in the book! That was Billy the Kid, king of the outlaws! Promotion and reward awaited the law officer who could bring him in dead or alive! An ambitious young deputy-sheriff, named Al Mooney was determined to use any method to get the Kid and get him - dead!When Billy rides into Rock Ridge, Mooney and the Sheriff go after him. The sheriff is wounded when he attempts to arrest Billy, and Mooney races out after the fleeing outlaw. Billy's horse dies in his race from the town, and he is forced to take shelter at a farmstead.
There's something to be admired in the storytelling risks taken with the conclusion, but how Mooney is able to so rapidly come to the correct conclusion is left to the reader to work out. Much better than a precis could get across, the story's charm lies in the ultimate act of humanity Billy performs, saving a child's life at the potential cost of his own.
A minor note of concern has to be raised at the description of Billy being "wanted for practically every crime in the book," although this can be squared with historical documents as being the adventures of the fictional Billy the Kid. The real Billy was hardly the compulsive breaker of laws he is presented as, and it would have been nice to have a clear distinction between the two.
He was merely friends with the horse. Honest. Any allegations are spurious.
Sundown! - a Cal Gundon Frontier special - which stars Sal Sundown, is unfortunate that it opens with a character named Clarence Aloysius Jones, which makes me think of parody westerns published a decade or so after the release of this annual. It is refreshing that Sundown can smoke and shoot without the text making criticism of such behaviour, and the realism which manages to creep into the telling makes other elements less irritating.
It's something different when The Durango Kid, scourging nemesis of the plains, takes to the high seas in pursuit of a band of cutthroat buccaneers! Six-gun justice takes a new and perilous turn Under the Skull and CrossbonesWestern and pirate adventures in one strip - while this might sound as if it holds potential, wrangling the Durango Kid into such a tale is a complete disappointment. The pirate, imaginatively called "One-Eye" by his men, wears standard pirate regalia, which is difficult to square with the time period of the western hero Durango Kid, and there is further problems with the ship depicted - horribly out of place, the clash of genres simply does not work here.
You have to admire a story titled Fancy-Pants Takes a Hike, and the plot - a kitchen equipment salesman, travelling with an extensive wardrobe, is different enough to stand out among gun-slinging adventures. Of course, there is more to the telling than that, and a suitably painful punishment to conclude the tale. It raises a major problem for me, as far as suitability is concerned - this is meant to be a Billy the Kid Western Annual, not a random selection of vaguely western material brought together under a generic banner. As entertaining as such a diverting tale is, it doesn't advance anything about Billy the Kid.
Another problem with the stories is that they are so disconnected. As with all of World's prose, there is no attempt to build something greater - had the stories they commissioned taken the opportunity to mesh original characters into a shared world, showing the development of the ranches and small towns through the years, then there might have been more of an emotional connection when a random character is gunned down. As it is, whenever the stories feature a death there is no attachment, and thus no sense of loss associated with the act.
Not, by any means, a classic, though there is enough reading within its pages to make it a worthwhile purchase. If only it was slightly more polished...
[1955]
Billy the Kid
Western Annual
[1957]
The Green Hornet Annual [1968]
[1967] Annual. Original price 10/6.
96 pages. Colour & B&W contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth.
Contents:
An incredibly stylish cover perfectly captures the characters of the Green Hornet and Kato, and ranks as one of the finest depictions of the Green Hornet anywhere. Being in a slightly larger format really benefits the appearance of the annual, and it is easy to imagine this being a very welcome sight under the Christmas tree on its publication. Powell's artwork isn't up to the standards set by Howarth, favouring a sketchier, more interpretative style rather than the precise and assured work Howarth brings. It isn't bad, its merely different.
A mysterious advertisement set to run in the next day's Daily Sentinel catches Brett's eye:
Before Scanlon can arrive, the Green Hornet manages to knock a lookout unconscious to obtain the keys to the cage, exiting through the door rather than by the manner in which they entered. Machine Gun Joe Gerky, the sole member of the gang to be apprehended, is taken away by a police officer at Scanlon's orders, with it made clear that the criminal is not to be ill-treated. With him safely out of earshot, the Green Hornet tells Scanlon he fears that Al Amigo is behind the criminal enterprise.
There are small details, utterly unnecessary to the plot, sprinkled throughout The Sting of the Green Hornet which add a veneer of style to the telling. Brett isn't merely working late, it is seventeen minutes to midnight, and then there's the matter of the DA ensuring that there is no police brutality when dealing with Gerky. There are, in small doses, storytelling motifs which harken back to the show's stablemate Batman, such as the chutes which deliver the Green Hornet and Kato to the cage.
WHile it is let down by the final page's revelation - amid a brief burst of excitement - which concludes matters, there is much to enjoy here. Protection Unlimited, almost channeling forties pulp comics and magazines, with a protection racket blowing up businesses who refuse to pay up, is an odd choice to follow up with, but it has its own charm. Some of the Green Hornet's behaviour seems a little light and breezy, though such levity can be explained as a consequence of the intended readers being quite young.
Ring of Terror reprinted from the Gold Key comic, looks marvelous on the sturdier paper stock, though is a slight tale. Numerous panels lack background art, the plot - though very modern in places - is rather uninspiring. It is a shame that so little style is present, as the character comes with some impressive visual elements which cry out for proper handling. There is no great, iconic imagery used, preferring to play out events with a look more appropriate for Ironside or Mission: Impossible.
Nightmare Alley and Fireball! both feature the arrival of a notorious criminal in town, and the means by which the Green Hornet evades death, or capture, and the apprehension of the criminal. Carl Jensen, in Nightmare Alley, and Judkin Beevis, in Fireball!, are both dealt with in remarkably few pages, and neither are given more than the briefest of histories - which, as we are dealing with a heightened crime thriller, isn't surprising, though does have the effect of reducing their role as credible threats to merely being part of the Green Hornet's cast of villains. As with Batman, there's no sense of them posing more than the briefest of annoyances before order is restored.
Fireball! does have the benefit of playing out the plot of 1965's The Big Job without actually referencing the film, and any resemblance to Blue Streak is, I am sure, entirely coincidental.
Beware the Claw features a criminal named the Claw, involved in the smuggling of narcotics, with connections to China. When added up, the cliches are so thick as to constitute an entirely unoriginal threat - and yet, due to the presence of Kato, the usual racist undertones in such tales are somewhat submerged in the mix. What remains explicit is the sense of steadfast moral certainty which permeates the Green Hornet's behaviour. Elsewhere in the annual we are informed that Britt Reid's journalistic ethics are second-to-none, and the possibility of real depth being added to his battle against crime is blunted.
Fallible heroes are more interesting than those who never falter, and by making certain that the reader is in no doubt to the Green Hornet's status, much tension is lost. What would bring the Green Hornet to the point of killing an enemy? We are prevented from considering such an act through repetition of the facts - the Green Hornet is a hero. Heroes do not kill. The Green Hornet, being a hero, does not kill.
Covering the history of using fingerprints to bring criminals to justice, Tell-Tale Prints follows the regular two-page World format - and manages to make a fascinating area of history rather dull. A brilliant photograph of Scotland Yard is crammed into a corner, while a staid and uninspiring photograph of a class of students looking at a projector screen is given half a page. It is a minor blemish on the overall quality of the title, and one easily passed over.
There is a sense of repetition throughout the stories, with police cars setting roadblocks at the sight of Black Beauty every few pages, and the Green Hornet gassing enemies rather too easily. There's no denying, however, that this is cooler than all of Batman's annuals put together. The Green Hornet Annual is one of the classiest annuals World published, and for that I am thankful.
96 pages. Colour & B&W contents.
World Distributors (Manchester) Ltd.
Painted cover by Walt Howarth.
Contents:
2 The Green Hornet endpaper; illustrated by Melvyn K. Powell.
4 Contents Page / Indicia
5 Title Page illustrated by Melvyn K. Powell. / Credits
6 The Sting of the Green Hornet text story by UNKNOWN (uncredited); illustrated by Melvyn K. Powell.
13 Protection Unlimited text story by UNKNOWN (uncredited); illustrated by Melvyn K. Powell.
17 The Unofficial Crime Fighters text feature on journalism in crime-fighting.
19 The Castle of Hate text story by UNKNOWN (uncredited); illustrated by Melvyn K. Powell.
24 Nightmare Alley text story by UNKNOWN (uncredited); illustrated by Melvyn K. Powell.
33 Ring of Terror w: Paul Newman. a: Dan Spiegle.
r: The Green Hornet (Gold Key) #01 (Feb 1967).
65 Fireball! text story by UNKNOWN (uncredited); illustrated by Melvyn K. Powell.
69 Beware the Claw text story by UNKNOWN (uncredited); illustrated by Melvyn K. Powell.
74 Tell-Tale Prints text feature on fingerprints by UNKNOWN (uncredited).
76 Bang Goes a Million text story by UNKNOWN (uncredited); illustrated by Melvyn K. Powell.
80 Try This! Crossword puzzle.
81 Counterfeit Crackdown text story by UNKNOWN (uncredited); illustrated by Melvyn K. Powell.
86 Kidnapped Casey Case board game; illustrated by Melvyn K. Powell.
88 True or False? quiz; illustrated by Melvyn K. Powell.
89 The Big Spring text story by UNKNOWN (uncredited); illustrated by Melvyn K. Powell.
94 The Green Hornet endpaper; a: Melvyn K. Powell.
Stories and features credited to D. Enefer, K. McGarry, M. Broadley, J.W. Elliott & L. Porter.
An incredibly stylish cover perfectly captures the characters of the Green Hornet and Kato, and ranks as one of the finest depictions of the Green Hornet anywhere. Being in a slightly larger format really benefits the appearance of the annual, and it is easy to imagine this being a very welcome sight under the Christmas tree on its publication. Powell's artwork isn't up to the standards set by Howarth, favouring a sketchier, more interpretative style rather than the precise and assured work Howarth brings. It isn't bad, its merely different.
A mysterious advertisement set to run in the next day's Daily Sentinel catches Brett's eye:
Share-out scheduled for 10 a.m. today at Western and Ninth. All interested parties will attend. Full regalia will be worn. - Secretary, Social and Benevolent Committee.Knowing that the location specified, at the intersection of Western and Ninth, is the premises of Second National Bank, the prospect that it is a coded message regarding a potential robbery is too tempting to pass up, and the Green Hornet and Kato soon find themselves investigating. Discovering a derelict warehouse with a sagging door and boarded-up windows contains a secret passage, they realise that it is a trap too late - and are stuck in a cage from which there is no apparent escape. Contacting DA Scanlon for assistance in freeing themselves, the Green Hornet and Kato wait for help to arrive.
Before Scanlon can arrive, the Green Hornet manages to knock a lookout unconscious to obtain the keys to the cage, exiting through the door rather than by the manner in which they entered. Machine Gun Joe Gerky, the sole member of the gang to be apprehended, is taken away by a police officer at Scanlon's orders, with it made clear that the criminal is not to be ill-treated. With him safely out of earshot, the Green Hornet tells Scanlon he fears that Al Amigo is behind the criminal enterprise.
There are small details, utterly unnecessary to the plot, sprinkled throughout The Sting of the Green Hornet which add a veneer of style to the telling. Brett isn't merely working late, it is seventeen minutes to midnight, and then there's the matter of the DA ensuring that there is no police brutality when dealing with Gerky. There are, in small doses, storytelling motifs which harken back to the show's stablemate Batman, such as the chutes which deliver the Green Hornet and Kato to the cage.
WHile it is let down by the final page's revelation - amid a brief burst of excitement - which concludes matters, there is much to enjoy here. Protection Unlimited, almost channeling forties pulp comics and magazines, with a protection racket blowing up businesses who refuse to pay up, is an odd choice to follow up with, but it has its own charm. Some of the Green Hornet's behaviour seems a little light and breezy, though such levity can be explained as a consequence of the intended readers being quite young.
The Green Hornet, masked and mysterious, conducts a sensational anti-crime crusade. But there are many ordinary people who, inconspicuously and unacclaimed, assist the police in their law-keeping mission.The Unofficial Crime Fighters refers to the assistance of television news and newspapers in combating crime, yet doesn't make the case clear that in 1968 there was no dedicated crime re-enactment series such as Crimewatch broadcast in the UK - it was Germany which popularised the format, ironically around the time of publication, with Aktenzeichen XY … ungelöst. The spate of prison break-outs in 1966 is mentioned, in connection with the newspaper crusade to bring the escapees to justice, though there is a conspicuous absence of 1963's "Great Train Robbery" in the text.
Ring of Terror reprinted from the Gold Key comic, looks marvelous on the sturdier paper stock, though is a slight tale. Numerous panels lack background art, the plot - though very modern in places - is rather uninspiring. It is a shame that so little style is present, as the character comes with some impressive visual elements which cry out for proper handling. There is no great, iconic imagery used, preferring to play out events with a look more appropriate for Ironside or Mission: Impossible.
Nightmare Alley and Fireball! both feature the arrival of a notorious criminal in town, and the means by which the Green Hornet evades death, or capture, and the apprehension of the criminal. Carl Jensen, in Nightmare Alley, and Judkin Beevis, in Fireball!, are both dealt with in remarkably few pages, and neither are given more than the briefest of histories - which, as we are dealing with a heightened crime thriller, isn't surprising, though does have the effect of reducing their role as credible threats to merely being part of the Green Hornet's cast of villains. As with Batman, there's no sense of them posing more than the briefest of annoyances before order is restored.
Fireball! does have the benefit of playing out the plot of 1965's The Big Job without actually referencing the film, and any resemblance to Blue Streak is, I am sure, entirely coincidental.
Beware the Claw features a criminal named the Claw, involved in the smuggling of narcotics, with connections to China. When added up, the cliches are so thick as to constitute an entirely unoriginal threat - and yet, due to the presence of Kato, the usual racist undertones in such tales are somewhat submerged in the mix. What remains explicit is the sense of steadfast moral certainty which permeates the Green Hornet's behaviour. Elsewhere in the annual we are informed that Britt Reid's journalistic ethics are second-to-none, and the possibility of real depth being added to his battle against crime is blunted.
Fallible heroes are more interesting than those who never falter, and by making certain that the reader is in no doubt to the Green Hornet's status, much tension is lost. What would bring the Green Hornet to the point of killing an enemy? We are prevented from considering such an act through repetition of the facts - the Green Hornet is a hero. Heroes do not kill. The Green Hornet, being a hero, does not kill.
Covering the history of using fingerprints to bring criminals to justice, Tell-Tale Prints follows the regular two-page World format - and manages to make a fascinating area of history rather dull. A brilliant photograph of Scotland Yard is crammed into a corner, while a staid and uninspiring photograph of a class of students looking at a projector screen is given half a page. It is a minor blemish on the overall quality of the title, and one easily passed over.
There is a sense of repetition throughout the stories, with police cars setting roadblocks at the sight of Black Beauty every few pages, and the Green Hornet gassing enemies rather too easily. There's no denying, however, that this is cooler than all of Batman's annuals put together. The Green Hornet Annual is one of the classiest annuals World published, and for that I am thankful.
Subscribe to:
Posts (Atom)