Danger Man Annual [1967]

[1966] Annual. Original price 10/6.
96 pages. Full colour contents.
World Distributors (Manchester) Ltd.

Based on the television series starring Patrick McGoohan.

Painted cover by UNKNOWN (uncredited).

Contents:

 2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited)

 4 Indicia

 5 Danger Man Annual title page; illustrated by UNKNOWN (uncredited).

 6 Contents; illustrated by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

 7 The Big Splash text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

17 No Medals for the General text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

24 The Silver Ring text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

38 Smugglers' Cove text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

51 Countdown text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

60 Dead on Nine text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

68 Payoff on the frontier text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

80 Moses Was the 1st Spy King! text feature UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

85 Playback! text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited)

With a far better cover, casting Drake in an appropriately moody light, the second annual is a slightly more refined example of the tie-in annual. The endpaper, alas, falls down when attempting to capture McGoohan's likeness, which will be a recurring problem throughout - so distinctive is his appearance that the illustrations struggle to match what we see on screen. A valiant attempt at bringing the character we know and love to the title page begins to claw back a degree of visual harmony with the series, but there's still a significant disparity in appearance.

It was the hottest night of the summer and Drake was sitting at a sidewalk table on the brilliantly lit Via Veneto in the teeming heart of Rome.
   The broad carriageway was agog with every kind of vehicle, from sumptuous Rolls-Bentleys through gleaming Alfa-Romeos and mass-produced Fiats to ancient horse-drawn carroze.
   The pavements of the famous gilded strip were agog with every kind of character, from international film stars through millionaire playboys to gaping tourists and shifty-eyed crooks on the make.
   But none of these received more than a passing show of interest from the Danger Man as he sat sipping black coffee at a table almost directly outside the entrance to the Café Royal.

One of the strengths of this annual in relation to the previous one is its sense of scope - no longer content with a few days in Wales, the reach is greater. As the character was soaked in the Spy-Fi tradition, I would have expected nothing less than a globe-trotting adventure. It is a great story, which even manages to include a spattering of Italian phrases as it races to a conclusion, and it nods towards the James Bond franchise with a pretty face concealing hidden dangers for Drake to counter.

The next stop on Drake's international jaunt is Rio, where he has been chosen by a joint British Intelligence-CIA task force to retrieve a sensitive plan for maintaining order in a troubled naval zone in which San Miguel is a major factor. His task is complicated when Juan Mizol, a man working for the San Miguel Secret Police, sees Drake talking to Jennings, a man known to them. As matters necessitate, Drake kidnaps the officer so that his cover isn't blown...

The humour which closes out the story feels desperately forced, although there are some brilliantly observed moments prior to this. Capturing, in small ways, some of the style of the series, there is much to enjoy in No Medals for the General. Off to Switzerland next, and he is tasked with preventing the kidnap of Abdul Hassan Bey, the Sheik of Menjpore, who is stopping at Zurich overnight before heading on to London, where he will sign an oil deal of significance to Anglo-American interests.

In isolation, calling Drake 'the Danger Man' isn't too noticeable, but when the phrase appears again and again it becomes slightly irritating. Having him referred to exclusively as Drake would have felt less juvenile, though it isn't a major problem.

Smoked Out takes Drake back to London. Smugglers' Cove - which sees Drake in Cornwall - is adorned with the fantastic visual of a Mini driving along a twisting road, and has him investigating people who are meant to be loyal to Britain. It vaguely prefigures some of the themes in The Prisoner, which is often viewed as McGoohan reprising Drake, though the surreality of that series is absent here.

Far classier, yet strangely lacking in a certain fidelity.

[1966]

Danger Man Annual

Temple Houston Annual [1966]

[1965] Annual. Original price 9/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.

Based on the US television series starring Jeffrey Hunter.

Cover photograph (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 The Road to Valhalla text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

19 Boots & Saddles feature by UNKNOWN (uncredited).

20 The Civil War feature by UNKNOWN (uncredited).

21 Justice Before Breakfast text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

33 The Judgment of Houston text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

47 The Sheriff Who Rode Alone feature by UNKNOWN (uncredited).

48 The Battle board game; illustrated by UNKNOWN (uncredited).

50 Nobody's Children text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

61 Paleface - Go Home! text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

75 Headgear feature by UNKNOWN (uncredited).

76 War Clubs feature by UNKNOWN (uncredited).

77 The Picture that Lied text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

87 Sleeping Dogs Tell No Lies text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

It is something of a minor miracle that the Temple Houston television series was as entertaining as it managed to be, given numerous obstacles which it had to overcome in getting to the screen, but - as both history and a western - it lacks a certain something. The sole annual based on the series is similarly constrained by a host of problems, most of which are inherited from the show. The production was rushed, inconsistent in tone, and contained numerous historical inaccuracies, and its annual is (comparatively) leisurely, uneven... and filled with more historically inaccuracies than an average Blackadder episode.

Ignoring facts isn't entirely a bad thing, giving creators the opportunity to elaborate and heighten known events for dramatic purposes. Unfortunately the author(s) don't stretch their meagre facts quite enough to create a sense that real-life circuit-lawyer Temple Houston, Jeffrey Hunter's character, is the cultured badass with a silver tongue he is meant to be. It is the minor, and unexplained, alterations which are the most telling - Temple isn't married, while the real Houston was married by the age of 23. An acceptable break, perhaps, as it gives the series room to explore romantic entanglements, but not addressing the fact is a point of contention.

Characters based on people of note should be presented with their life story intact, and not a shadowy semblance of their history. By depriving the character of aspects which were present in Houston's life, we are deprived of seeing the manner in which he approached different situations. The more facets present, the greater an understanding we can have of his assumed roles. Large additions and subtractions to his story reinforce the feeling that something is wrong. A reader could end up looking for cracks in the story rather than admiring the surface varnish.

It was probably the snazziest piece of gentlemen's haberdashery that had ever been paraded on the dirt streets of Lindley, Texas, and Temple Houston felt that by wearing it that bright morning he was raising the social tone of his adopted town several degrees. Always a sharp dresser, Houston's taste might have been considered on the flamboyant side, but then the Houstons were flamboyant stock, as the history of Texas showed. The fancy, brocaded silk waistcoat had set him back many good dollars. But every cent had been worth it, he decided, as he strolled along the boardwalk acknowledging with a flourish of his stetson the envious glances of the men and admiring ogles of the ladies. If you intended to be the town's best lawyer, Temple chuckled to himself, you have to advertise. The waistcoat, which put all other waistcoats in the shade, was a mighty good billboard of his qualities.

Straight from the start of The Road to Valhalla, the sense of playfulness which marked the second half of the series is brought to the fore, with the strutting peacock aspect of the character being highlighted. There is ample evidence of his propensity for what might be considered garish clothes, and this is actually a boon to the depiction here.

The major problem with the series - and, by extension, the annual - is that there is no sense Houston is a multi-lingual, extremely erudite, well-read walking legal encyclopedia. We instead get stories of a sickly horse which an entire town is wagering its financial future on, in what must be one of the dumbest stories to appear in a western context. By not depicting how sharp, and how fast, Houston's mind is, we are kept at arm's length from him, and distanced from anything resembling drama.

It is truly disappointing that so little is accomplished with so much material available.

Super Thriller Annual [1959]

[1958] Annual. Original price 6/.
130 pages. Full colour & B&W contents.
World Distributors (Manchester) Limited.

Painted cover by Edgar Hodges (signed).

Contents:

  2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

  4 Indicia

  6 "Danger in the Deep colour plate; illustrated by Ronald W. Smethurst (signed).

  7 Super Thriller Annual title page; illustrated by UNKNOWN (uncredited).

  8 Contents; illustrated by UNKNOWN (uncredited).

  9 The Mystery of the Mary Celeste text feature by A.W. Dalby-Phillips; illustrated by UNKNOWN (uncredited).

 17 Menace from Space text story by Derek Somers; illustrated by UNKNOWN (uncredited).

 29 Midget Submarine Adventure text story by David Reynolds; illustrated by UNKNOWN (uncredited).

 43 Atomic Pile-Up w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

 49 Black Frost text story by Capt. H.H. Swift; illustrated by UNKNOWN (uncredited).

 63 The Time Jumpers text story by Joseph Morrissey; illustrated by UNKNOWN (uncredited).

 75 Ace Hart Earth at Bay text story by Bryn Cullen; illustrated by UNKNOWN (uncredited).

 89 Highwayman's Hideout w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

 95 The Tulip Mystery text story by Guy Deakin; illustrated by Edgar Hodges (signed).

109 Thunder Flash text story by Edwin Dale; illustrated by UNKNOWN (uncredited).

119 The Legendary Lawrence text feature by Arthur Winsford; illustrated by UNKNOWN (uncredited).

128 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

Opening with a colour plate of a diver surrounded by sharks isn't the best start. A far better use of the sole full-colour page would have been to include an Ace Hart image, though underplaying the role of the character does have the (likely unintended) consequence of making his later appearance more special - it was almost a hidden treat within the pages, for readers to stumble upon unexpectedly.

It is a shame, therefore, that Ace's appearance on the title page is so poor - looking substantially older than his regular depictions, it is an image which calls out for explanation - has he, one wonders, been hit with an ageing ray by some diabolical mastermind? Is he really much older than he has let on, utilising rejuvenation creams to appear more vital? Or is this, as I suspect, some crafty imposter, using the costume to go about his nefarious business?

Although there is little to add after so many years of rumination and speculation, The Mystery of the Mary Celeste covers the (altogether far too familiar) events with skill and clarity, laying out the facts as known, and ensuring that the separation between historical fact and lurid fiction is kept suitable clear. I do so enjoy seeing A.W. Dalby-Phillips here, as he never seems to give in to easy options, turning anything he touches into gripping and interesting prose, filled with detail.

The space-ship came at dawn on a bright summer day in 1992, and at that moment Earth's isolation in the Universe was ended. Mankind did not yet know, of course, that the ship was from the stars, but in a very short space of time he was to know that no longer was he alone in space.
   It chose a most unfortunate time to pass over Binstead, for on the previous night there had taken place the annual party in which both the Experimental Station and its attached R.A.F depot pooled resources in making whoopee for all personnel of both establishments in the officers' mess. Harry Morse and Tom Berry, being invited to stay the night, were asleep in two bunks in the sergeants' mess when they were awakened at 5 a.m. by the most awful concert of sirens, klaxons, bells, and whistles, and, scrambling from their bunks, they rushed to the window and stared out.

Displaying how dangerous it is to date events in stories, the first piece of fiction could hardly be more anachronistic now, though looking thirty years into the future was probably far enough for most readers to grasp when this was published. Somers provides a very engaging style here, and the realisation that there is other life in the galaxy is treated intelligently, with enough consideration to keep it from becoming juvenile. It is always appreciated when there is scientific thinking incorporated into such tales, no matter how small the inclusion is.

It is a real shame that Atomic Pile-Up is so dated in appearance. The strip has a strange - though not entirely unappreciated - forties feel to it, and the conceit of a resourceful child outsmarting kidnappers isn't so over-played that it becomes annoying. That the police are involved is a great boon to the story's credibility, as similar narratives in which the child comes to the rescue unaided are always too optimistic regarding the outcome. Can't have readers getting upset when a sprog takes a .45 in the chest, can we...

The Time Jumpers explicitly references H.G. Wells in its introduction, although Morrissey is no Wells, as can be deduced from the story itself. Lance Everett and Bob Wells make in the direction of an abandoned house when they are caught in a thunderstorm, lightning striking the ground all around. Soaked through, they take shelter, and are astonished to hear the sound of a gunshot from within the building. They investigate where the sound came from, tackling two armed men.

What was I just saying about the possibilities of children getting shot in stories...

They are soon transported through time thanks to Professor Wilde's time machine, launched in to all manner of fun and games. It is really difficult to get excited about such stories, with the ever-present "get out of jail free card" hanging over the plot - if something goes wrong, a time machine can deposit the characters back in time just long enough to correct what once went wrong. Or not, for dramatic purposes. Either way, the possibilities have been thoroughly explored in both long and short-form, leaving little room to strike out in an vaguely original manner.

Ace Hart picked his way along the dark gallery formed by fallen masonry. Behind him echoed the footsteps and voices of the other members of the Department of Space Defence - what remained of them. The tortuous passage widened out into a sort of high-roofed chamber.

A disappointing tale, albeit with many interesting moments, regarding an attack by Sylvanus on Earth - which likely makes much more sense with the rest of Ace Hart's adventures to hand.

The closing feature on Lawrence of Arabia is not, as to be expected, a warts and all account, with the usual press-friendly statements repeated. His life has been pored over so relentlessly that what we are presented with is quite slight in comparison. With a few informative books already available in the late fifties, this stands out as a needless excursion. The mix of elements in the annual is appreciated, no matter how often the non-fiction portions have been recounted, and it would likely have been the first time some readers had cause to consider the life of the explorer.

Although extremely dated in places, this retains an appeal. There are, of course, aspects which do not immediately smack of real inspiration, though enough is done to set the work apart from similar publications. Even Ace Hart is provided with a story most unlike the regular superhero fare, which is remarkably brave given the period in which the annual was published.

An absolute gem, although not as finely polished as one might hope.

[1958]

Super Thriller Annual

[1960]

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:

 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]

Voyage to the Bottom of the Sea Annual [1967]

[1966] Annual. Original price 10/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.

Based on the US television series starring Richard Basehart and David Hedison.

Cover photographs by UNKNOWN (uncredited).

Contents:

 2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

 4 Indicia

 5 Voyage to the Bottom of the Sea Annual title page; illustrated by UNKNOWN (uncredited).

 6 Contents illustrated by UNKNOWN (uncredited).

 7 The Kingdom of Davy Jones text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

23 The Statue Makers text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

31 Robinson Crusoe of the Depths w: UNKNOWN (uncredited)); a: Alberto Giolitti (uncredited).

r: Voyage to the Bottom of the Sea (Gold Key) #04 (May 1966).

60 The One That Got Away text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

71 Vanderdecken Sails Again text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

81 Trapped in Lost Atlantis text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

This is painful. With such a rich variety of unexplored locations to set stories in, and so much of the planet covered in water, it is expected that the author of these stories might have decided to have some fun, taking the vessel to uncharted depths, creating unique and interesting problems for the characters to think their way out of, but that isn't the case. Tired, worn out references are the first indication that the stories are aiming squarely for pulpy, rehashed dreck. Davy Jones? Robinson Crusoe? Atlantis? Check, check, and check.

Narratives set underwater are open to a multitude of possibilities, and yet there are no risks taken - even ardent fans of the (mediocre) television series, approaching the title with expectations of the same quality of storytelling, are likely to be underwhelmed with the contents on offer.

If the author couldn't be bothered with a simple non-fiction feature, what was the point of snagging the license?

There are hundreds of mythical sea creatures which should have been considered, some truly terrifying in concept, but the sea-life on display is hokey, unimaginative, and entirely ridiculous. A giant green beach-ball with spindly tentacles? That's as terrifying as an average episode of Rainbow. World had, elsewhere, provided some great reference on prehistoric sea-life, and I wouldn't have complained one iota had that merely been reprinted here, though even reused elements are missing.

Facts about the sea in which the story takes place is, likewise, entirely absent, even though including such detail would have raised the sense of danger in which the characters are journeying in. Had the readers been informed of decompression sickness, the temperature of the sea, or even how dark things get, a mere few metres beneath the waves, then the sense of the vessel, and its occupants, being in considerable danger every step of the way might have been presented. As it is, the adventures might as well have taken place in a yellow submarine.

I expect at the very least a feature on Athenian ships, with Thucydides mentioned one (at the bare minimum), a feature on the different kinds of ships used throughout history, different names for familiar items (Kellick being an anchor, for example), and a quick recap of great literature set on the seas. Moby Dick, the most non-fictiony fiction ever fictioned, would have slotted in perfectly had the notion to include something of merit been considered for even a minute. There isn't even a playfulness in naming ships, such as including a vessel called Acushnet. I want to hurl this annual across the room with force, so limited is its imagination.

A terrible waste, which manages, miraculously, to make the television series appear to be high quality, entertaining, lavish, and intelligent in comparison.

Praise Tangaroa that there are only two of these annuals...

Here is the rock that strands me now;
With one side or the other it must come to war.
That's as sure as a ship's hull pegged tight.
Nowhere do I see safe, untroubled harborage.
                                  Aeschylus.

"The sea can wash away all human ills."
                                  Euripides.

Voyage to the Bottom
of the Sea Annual

[1968]

The Big Battle Annual [1960]

[1959] Annual. Original price 9/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.

Stories of Action, Valour and Daring

Cover painting by UNKNOWN (uncredited).

Contents:

 2 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

 4 Indicia photograph by UNKNOWN (uncredited).

 5 Contents

 6 The German Helmet text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

11 The British Infantry Section and the Weapons Used feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

12 Desperate Decisions w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

19 Small Support Weapons of World War II feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

20 The Fighting Men text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

26 V.C.'s of World War II text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

27 Tell Us Phantom w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

35 Famous Cap Badges feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

37 The Night of the Long Knives text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

45 Tanks of World War II feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

47 They Called Him Big-Head w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

56 Colourful Generals of World War II text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

62 The Pilot from the C.I.D. text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

72 Breakout at Dawn w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).

83 Who Dares Wins... The Story of the Special Air Service text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

85 The Day the Tommies Came text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

93 V.C.'s of World War II cont.

94 UNTITLED endpaper; illustrated by UNKNOWN (uncredited).

Although the page-count isn't excessive, this is a heavy annual - in weight, as well as content. It is also very attractive. Not, you understand, a pretty annual, but quite the polished piece of work nonetheless. Anticipating Battle Picture Weekly, Warlord, Victor, and similar titles, it offers a nice variety of fiction and non-fiction, prose and strip material, and does all this with a dash of style.

1942. Truck and jeep borne patrols of the long range desert group ranged far across the wastes of the western desert, striking terror in the rear of the enemy lines. Car and aircraft parks were attacked, petrol dumps set on fire, ammunition dumps blown up, roads mined and trucks ambushed.

Privates Tod Sloane and Ron Blake of the special patrol, B Squadron, L.R.D.G. were both fighting for promotion until a desperate action brought their rivalry to a climax.

The first strip is the kind of thing which could have appeared in any military title, with no distinguishing style to mark out the story. There are, however, a number of minor its of dialogue which makes me think that someone with experience in the armed forces was behind the script.

Instituted by Queen Victoria in 1856, the Victoria Cross is the supreme British award for gallantry in the field of battle.

• Captain B.A.W. Warburton Lee, R.N.
• Second Lieutenant Richard Wallace Annand
• Flight-Lieutenant D.J. Nicholson, R.A.F.
• Corporal J.H. Edmondson, Australian Military Forces
• Second Lieutenant Premindra Singh Bagat, Corps of Indian Engineers
• Second Lieutenant C.H. Upham, N.Z. Military Forces
• Flying-Officer L.A. Trigg, D.F.C., R.N.Z.A.F.
• Lieutenant-Colonel C.C.I. Merritt
• Second Lieutenant K. Ngarimu, N.Z. Military Forces
• Subadar Lalbahadur Thapa, 2nd King Edward VII's Own Gurkha Rifles
• Lieutenant-Commander Wanklyn, D.S.O., R.N.

Although the selected V.C. winners are given brief biographies, they don't manage to truly capture the tremendous acts of bravery for which the individuals were honoured. It would have been better to source photographs (where possible) and reprint the Times notices. With so many great stories, it is a wonder that more wasn't made of the real-life material.

Up to the minute battle information, vital to the Allied cause, was collected by Phantom, code name for the General Headquarters liason signal regiment. Highly specialised mobile groups of men, expert in signals and reporting battle conditions, scouted between the gaps in the advancing Allied armies, moving like phantoms even behind the enemy lines. They had access to each and every H.Q., gathering top secret information and advising battle commanders on future tactics.

March, 1945. The Germans were still fighting fanatically for the Rhineland. Tension mounted as the British 90th Infantry Division prepared to attackthe key centre of Delfhausen across the River Molde. Phantom signal officer Lieutenant Harvey Wilson called on one of the Brigade Headquarters.

While somewhat stereotypical in its depiction of green officers being dismissive of specialised officers from lower ranks, the story folds out with a remarkable sense of combat conditions. The colouring is abysmal, and there are a few panels which lack backgrounds, both of which are my bête noires, but the wonderful manner in which things conclude make me look upon the strip with more affection than I normally would.

Burma, 1944. The Japanese Colonel Tanahashi struck against the British advance guard in the Kaladan Valley, scattering the British troops and laying bare their flank...

Cut off, a small British patrol fought its way back out of the trap with its leader, Lieutenant Rand, and his sergeant, 'Bighead' Colson, arguing all the way...

As much tension as personal conflicts can generate, there's simply too little room for They Called Him Big-Head to develop into something more than a passing moment in the midst of a battle. Despite that, these are interesting characters who have a wonderful story, and the lack of background to their bickering could have presented an interesting look at life in the centre of the conflict - that we don't get to see how things got to the stage where the story begins is a frustrating omission created by the necessity to wrap things up in a timely manner. A more luxurious pacing is sorely needed in tales such as this.

December, 1941. After a siege lasting 242 days, the heroic defenders of Tobruk had been relieved. In June, 1942, Rommel's troops again surrounded the fortress, but this time the defence by Imperial troops was to collapse in a matter of a few days.

News that Tobruk was being surrendered came to Corporal Caswell and the survivors of his section. When they were fully engaged with the enemy in a place called Kings Cross.

I want Breakout at Dawn to be true. There's no reason, mind you, that this tale has any relation to history, but it is such a great little narrative that it manages to draw attention away from the poor colouring completely.

A history of the SAS, no matter how concise, is going to have gaps, and, with barely a page and a half in which to lay out the background, the feature on its formation is riddled with tantalising hints of a greater narrative lurking under the surface. Events are rushed through, with no room to explain the source of some of the techniques, or tell the circumstances of how certain key aspects of the group was arrived at. There are fantastic books about the subject which struggle to find room for the great stories, and this is merely a taster.

This is not, despite what you may believe, a poor showing.

Yes, there is a sense of things being rushed through, and the lack of detail takes some of the sheen away, but there are still enough carefully-honed lines which have the ring of authenticity, and some of the art is truly breathtaking. That it wasn't followed by a series of annuals is a shame. It has the ring of being a Battle Picture Weekly try-out, with features on tanks and badges - pages peppered with images which are cleaner and clearer than similar features a decade later.

A fascinating little chunk of history.

Danger Man Annual 1966

[1965] Annual. Original price 9/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.

Based on the television series starring Patrick McGoohan.

Painted cover by UNKNOWN (uncredited).

Contents:

 2 Endpaper illustrated by UNKNOWN (uncredited).

 5 Title Page illustrated by UNKNOWN (uncredited).

 6 Contents Page illustrated by UNKNOWN (uncredited).

 7 The Big Catch text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

20 The Code Breakers text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

22 Beat This Danger Man Code word puzzle; illustrated by UNKNOWN (uncredited).

23 Night Train to Rome text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

38 Half a Million in a World Spy Ring text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

40 Traitor's Gate text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

51 Drake's Big Beat text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

62 The Silver Greyhounds text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

64 The House on 22nd Street text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

78 Espionage board game; illustrated by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

80 The Temple text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

With a four-day break, Drake drives to Wales for a fishing break. Staying at the Mountain View Hotel, in the heart of Snowdonia, he is enjoying the peace and quiet of a riverbank - despite not having caught any fish - when a boulder falls from the mountainside, breaking his rod. As he is dusting himself off from the near miss he encounters Frank Barton, who is out rabbit hunting. Frank informs Drake that the area is known for its loose boulders, with most locals keeping away from the area.

Later, at the hotel's bar, Drake tells the bartender about the incident, and is told that the incident is the first of its kind he has heard of. Returning to the spot where he was fishing, Drake overhears Barton and another man discussing having set the boulder, and discerns that they are operatives for the Organisation.

While I dislike characters stumbling into plots in such a haphazard manner, what follows is interesting enough. There are a few problems with the details, but it effectively sets up the protagonist as a competent secret agent. The specific focus on ICBM technology is a touch too large for the location and men protecting the secret research.

The Code Crackers is a extremely brief overview of British security measures to prevent information falling into enemy hands, though barely covers the subject of codes specifically. That it is followed by a code for the reader to break is a nice touch, yet coverage of different information concealment and transmission practices (a great deal of which had already seen print) could have elevated the piece substantially.

Nobody knows for certain exactly how many spies there are in the world.
   The nearest estimate has been reported from United States sources. This figures that there are more than half a million people actively engaged in the far-flung and complex machinery od espionage and counter-espionage.

As much an apology for the security services as a feature about them, Half a Million in a World Spy Ring does a middling job of setting the extent of the spy culture, though crucially avoids corporate espionage, criminals employing spycraft, and individuals engaged in such actions. One would expect there to be mention of the military spying efforts which were so much a part of the cold war, yet the text is careful to remain diplomatically neutral in reporting events.
Frustrating observant readers further, The Silver Greyhounds relies on several stories which are fairly well-known to fill its contents. What remains unstated is the questionable actions undertaken during the roles of these proto-spies. Several notable spies from history are, likewise, omitted entirely.

A selection of fast-paced stories, a few text features, and a rather pedestrian board game don't make up for the fact that there are no strips included in this annual. It isn't all bad, as the excellent painted cover (with a remarkable likeness of McGoohan) and the prose material more than capture the style and tone of the television series. There's very little reference material available on this, and the lack of documentation regarding World's output makes it unlikely that much more will be forthcoming.

Danger Man Annual

[1967]

Space Family Robinson Annual [1967]

[1966] Annual. Original price 10/6.
96 pages. Full colour contents.
World Distributors (Manchester) Ltd.

Lost in Space!

Painted cover by UNKNOWN (uncredited).

Contents:

 2 UNTITLED endpaper by UNKNOWN (uncredited).

 4 Indicia

 5 Space Family Robinson Annual - Lost in Space! title page; illustrated by UNKNOWN (uncredited).

 6 Contents illustrated by UNKNOWN (uncredited).

 7 Operation Rescue text story by by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

19 Prehistoric Planet text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

32 The Pit of Doom w: Gaylord Du Bois; Dan Spiegle.

r: Space Family Robinson (Gold Key) #13 (Jul 1965).

55 Space Station '75 text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

r: Space Family Robinson (Gold Key) #13 (Jul 1965).

56 Star-Trapped text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

70 The Mist of Delusion text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 UNTITLED endpaper by UNKNOWN (uncredited).

Helpfully subtitled "Lost in Space!" in case prospective purchasers didn't realise the connection, its beautiful painted cover doesn't hold back in depicting threats to the titular family. I'm not entirely convinced that the rather brutal, and stark, lettering accurately captures the feel of the Gold Key comics though. The wider format used here is a real boon, allowing room for the art to breathe, and makes the title feel substantial.

The family, for those wondering, are scientists Craig and June, their son Tim, and daughter Tam, who - along with Clancy (a dog), and Yakker (a parrot) - live on Space Station One. This home-away-from-home is a remarkably versatile location, with two small ships available for transporting characters to and fro. Readers might have been familiar with the characters from the strip running in Lady Penelope, but no demands are made on readers to recall events previously seen.

Lively enough adventures, though the illustrations are slightly flat and unconvincing.

Space Family
Robinson Annual

[1968]

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:

 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:

 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]

Land of the Giants Annual [1970]

[1969] Annual. Original price 12/6.
96 pages. Full colour contents.
World Distributors (Manchester) Limited.

Based on the US television series starring Gary Conway.

Cover photos (uncredited).
r: partial cover from Land of the Giants (Gold Key) #01 (Nov 1968).

Contents:

 2 UNTITLED illustration by UNKNOWN (uncredited). / Indicia

 3 Land of the Giants Annual title page. / Contents

 4 Crash into the Unknown text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

10 The Name's the Same quiz; illustrated by UNKNOWN (uncredited).

11 The Happy Return text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

17 Giants of Earth text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

19 Other Days: Other Giants text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

23 The Bigger They Are text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

25 The Toy Trap text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

32 Star Facts text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

33 The Mini-Criminals, part one, The Power Seekers w: Dick Wood (uncredited); p: Ted Galindo (uncredited), i: Tom Gill (uncredited).

r: Land of the Giants (Gold Key) #01 (Nov 1968).

47 Barry and the Bank Robbers text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

53 The Mini-Criminals, part two, The Torch is Lit w: Dick Wood (uncredited); p: Ted Galindo (uncredited), i: Tom Gill (uncredited).

r: Land of the Giants (Gold Key) #01 (Nov 1968).

65 All About Giants quiz; illustrated by UNKNOWN (uncredited).

66 The Lost One text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

72 Man Made Monsters text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

73 The Bargain text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

80 Points of View text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

81 Nightmare in Giantland text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

86 Terror in the Woods! board game; illustrated by UNKNOWN (uncredited).

88 The Mini-Spies text story by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

94 The Giant One text feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).

Young Barry Lockridge was the first to come to his senses after that tearing shock on the edge of space, when the sun seemed to increase its size twelve times, then fade into blackness, which slid into the greyness of oblivion. Chipper, his dog, was by his side when he recovered, and the dog was whining frantically. Barry stared round the large cabin.
   Sub-orbital spaceliner Flight 703, from Los Angeles to London, would have brought tears to the eyes of her designers. In a word, she was a mess! Many of the fabulous instruments were smashed; the walnut trim of the room was ripped apart in places, and the unconscious figures of crew and passengers were sprawled in every direction. Barry scrambled to his feet in sudden panic.

Retelling the series' pilot episode in speedy fashion, Crash into the Unknown gets across the central premise without attempting to rationalise events, and it is all the better for its haste - with the television series explaining events remarkably well, there is little reason for the recap other than giving readers a reminder of what has gone before. The set-up really could have been handled with a page-long summary, but this feels as if some energy has gone into fleshing out the moments after crash.

With the Spindrift at the bottom of an ornamental pool, Steve is concerned about the cabin pressure and air purifiers, taking the ship up and out of the water and up into the night. The hopes of some that this might get them back on course is quickly refuted:

"I'm afraid we are a long, long way from London, Mark," said Steve, in a level voice. "We are not even in the same dimension! This world of the giants is in an entirely different universe from ours. We have about one chance in ten thousand million of getting back home!"

Landing the craft on a flat roof so that the crew and passengers can get outside without having to dodge over-sized wildlife, to boost morale, and while considering their options Steve decides to return to the broken window in the laboratory to get back to Earth. When the ship returns, however, the way into the room is blocked...

Giants of Earth covers terrestrial monsters such as the Seward Glacier in Alaska, the Giant's Causeway in Ireland, Yellowstone Park, the Sahara, and Ayers Rock in Australia. While the geography lesson is handled intelligently, the sense of scale isn't as clear as it could have been - we are told that these are large, yet the immensity isn't articulated in a manner which is easy to grasp. Large numbers are thrown around - the Amazon is 3,900 miles long - but without a human-scale to compare such vast distances it loses some of the potential impact.

Accompanying this is Other Days: Other Giants, which concerns itself with dinosaurs. In specific, the Brachiosaurus, Allosaurus, Tyrannosaurus Rex, Triceratops, Titanotherium, Plesiosaurs, Ichthyosaurs, and the Mammoth. One can only wonder what the author would have made of the Alamosaurus or Argentinosaurus. Sizes are given in feet, rather than being described as X number of London buses long, which is (as any child knows) the proper way such measurements are meant to be given. When dates are presented ("one hundred million years ago") the sheer scale of the timeline is ignored.

Having some indication of humanity's existence in comparison makes timescales more impressive. Instead of presenting yet more impressive facts (going bigger, as it were), the next feature, The Bigger They Are, falls back on "David and Goliath" battles. Ho, and indeed, hum.

The Toy Trap uses toys as comparison to the stranded humans, in a plot which must have taken all of ten minutes to think up, and which doesn't fulfill anything near its potential. While using toys as a means of making the size difference concrete in readers minds, the lack of originality, combined with a sense of the story being provided merely to fill pages, makes it a difficult story to like.

Star Facts, albeit a single page, finally gets to real immensity. Although the handful of facts presented are interesting, the piecemeal manner in which the page is presented detracts from what ought to have been the real treat. There is, despite all this, a small concession to the younger readers.

Imagine an Earth forty feet in diameter. The moon would be ten feet across and a quarter of a mile away. The farthest planet, Pluto, would be only twenty feet across but would be 3,600 miles from Earth.

Oh, for the days when Pluto was still a planet...

The comic strip, reprinted from the US series, is a strangely muted affair, with artwork which doesn't capture enough drama within its images. Too bright, and with stiff poses, it is a real disappointment.

Barry goes investigating in Barry and the Bank Robbers, discovering a hatch which leads to the interior of a building. Far too relaxed in its telling, there isn't any sense that imminent death awaits the curious child, and without this tension hanging in the air there isn't much that the author can do to engage interest beyond describing the scale of the environment.

We get it. Everything is twelve times the size.

I'm impressed with the All About Giants quiz, which treats readers more intelligently than the prose thus far:

1. Who was the owner of Doubting Castle in John Bunyan's book Pilgrim's Progress?

9. Can you name the demon giant of Hindu mythology reputed to have ten faces?

Escaping from a cat, Valerie and Betty encounter Tuftian Spicer, an Earthman who is the only survivor of a team of space explorers who set out from Earth in 1954. He has been living in a rabbit hole all this time, and might know where there exists a power source capable of getting them off-planet and back to Earth, though he is hesitant to reveal the location as he might be left behind.

I know this is based on an Irwin Allen show, but there really should have been someone involved in the annual with a smidgen of knowledge about history.

Man Made Monsters, as with the other features, picks out a handful of large constructions, though the choice of items is, to say the least, eccentric.

Perhaps sensing that comparisons to Gulliver's Travels might be raised by readers regardless, Points of View tackles the novel head-on. Unfortunately the text is more interested with Land of the Giants, and most of the piece isn't actually about the novel at all. It begs the question of how this annual can simultaneously be so intelligent and so idiotic at the same time - had a little more care been taken in picking out important facts about the book, World might have pushed readers into hunting down a copy.

And there is no mention, while on the subject of literature, of Mary Norton's The Borrowers series.

Terror in the Woods is one of the poorest board games in any World annual, with wonky lettering, lurid colouring, and an unnecessarily complex layout. Some of the imagery is, as expected, rather good, though the presentation falls down when examined closely. It is a shame that something as simple as a game feature can't be delivered properly.

Closing with a feature on the blue whale, this annual presents a lingering feeling that there really wasn't a great deal of heart put into this. There are good aspects here, but so buried under the presentation that one has to work somewhat to find enjoyable material. Missing entirely are features on the cast of the series, despite cover photographs displaying the actors. While the annual is sloppy, it is also very, very close to being a great tie-in, with most of the elements in place for a top notch read. How they were fitted in remains the problem.

Disappointing.

Land of the
Giants Annual

[1971]

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:

 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:

 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:

 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