Friday, 29 June 2012


One tends to think of memory's magical kingdom as having
fixed boundaries.  Only shadows of the past are allowed residence and
interlopers are strictly forbidden.  However, the sentries can be fooled
and intruders may sneak in under the cloak of familiarity if they bear a
close enough resemblance to a recognised inhabitant.

"Okay, Gordie, you've
lost the plot.  What are
you blathering on about
now?" you may well be
thinking.  Simply this.  If
you're around the same
age as me, you may well
remember the CAPTAIN
SCARLET merchandise
that was available back in
the '60s, particularly the
DINKY diecast vehicles
like the SPV, MSV, and
SPC.  (Although, now-
adays, it's usually re-
ferred to as the SSC.)

I had all of them - and still retain the set I acquired many years ago
as replacements for my originals.  I've had them for far longer than I ever
owned their predecessors, although it doesn't actually feel like it.  It's almost
as if there's never been a period in my life when I was without them, and that
the ones I have today are the very ones I had as a kid;  hidden in a cupboard
somewhere for all those years 'til I rediscovered them after a long period
of neglect.  That's not the case of course, it just seems that way.

However, there are other ways to fool the mind, and here's what I
hope is an interesting example of such an instance.  Back in the early
'90s, THUNDERBIRDS enjoyed a huge resurgence in popularity when
the BBC broadcast all 32 episodes on network TV for the very first time.
Previously, back in the '60s (and with most subsequent repeats), they were
shown in various TV regions on different days and times.  Amazingly, the
'90s screenings were a huge success, spawning a level of merchandise
to rival that which was available during the show's heyday.

The BBC tried again with STINGRAY and CAPTAIN SCARLET, but
met with a more muted response from viewers.  However, having anticipated
the same kind of enthusiastic reaction that INTERNATIONAL RESCUE
had enjoyed, toy manufacturers launched all sorts of items to tie-in with
the expected demand for all things GERRY ANDERSON.

Such an item was the SPV 'play
pictured in this post.  Now, here's
the thing:  I obviously bought this
as a collector's piece, not to play
with - and I purchased it while
living in my present abode, with
where one would naturally assume
I would associate it.  But no, when-
ever I cast eyes on it, I seem to see
myself, as a kid, sitting on the
doorstep in the back garden of my
old house, playing with this exact
same vehicle - even 'though this
specific toy didn't exist at the time
and wasn't made until around a
 quarter of a century later.

So vivid is the image that it does indeed seem like an actual memory -
as opposed to what is obviously merely my imagination, facilitated by
the fact that I associate the familiar design of the vehicle with a particular
period from my past.  In short, it's a perfect fit - and seems more at home
in my memories of 1968 than of when I actually obtained it.

Funny how the mind can play such tricks, isn't it?  I believe it's called
'false memory syndrome', which is perhaps where 'deja vu'-type
feelings spring from.  Anyone got any similar experiences they'd care to
share?  Feel free to let loose in the comments section.



 It's no secret to those who know me that The WIND In The
WILLOWS, by KENNETH GRAHAME, is my all-time favourite
'kids' book.  I'm especially partial to the E.H. SHEPARD illustrated
edition, 'though I have quite a few other versions featuring the work of
different artists.  Apparently, ARTHUR RACKHAM was the author's
first choice to supply the visuals (if it had to have some - he actually
thought the book would be better without pictures), although the artist
didn't actually get around to the task until about 30 years later, after
Grahame's death.  However, nice as Rackham's pictures are,
it is Shepard's which remain the definitive ones.

When Ernest Shepard accepted the commission on the book,
he was following three previous artists whose illustrations were
less than satisfactory.  Shepard drew 'real' animals, whereas his pre-
decessors had drawn anthropomorphic ones.  Grahame was delighted
with Shepard's interpretation and, a few years later, the artist was called
upon by the publishers, METHUEN, to provide eight colour plates for
a special edition of the book, complementing his earlier evocative
black and white line art which had preceded them.

As a special treat, here are those eight colour pages - plus a
copy of a letter from THEODORE ROOSEVELT which, although
written 22 years before Shepard's drawings were commissioned and
became such an indispensable part of the text, reveals that even
presidents were not immune to the charms of Kenneth
Grahame's classic work of literature.

Thursday, 28 June 2012


I've only met ALAN MOORE twice.  The first time was in 1984 at a
comic mart in the MOIR HALL in Glasgow's MITCHELL LIBRARY,
and the second was in 1985 in the 2000 A.D. offices in KING'S REACH
TOWER in London.  On that first occasion STEVE MacMANUS gave me
my break into the comics industry and, afterwards, the 2000 A.D. team,
Alan Moore, BERNIE JAYE, various other comics people and myself,
 invaded the CENTRAL HOTEL for a chat and a little light libation.

On the second occasion, Mr. Moore brought his daughter up to
the twentieth floor of KRT to meet THARG THE MIGHTY.  In both
instances, the writer was polite, affable and soft-spoken - seemed like a
perfectly nice guy in fact.  I very much doubt he'd remember meeting me
- or, in fact, even know who I am.  No surprise - there are many millions
who qualify in the latter category so you'll understand when I say that
it's not something I'll lose any sleep over.

I only mention this so
that you don't think I've
any cause to hold a grudge
against the man.  He wasn't
rude to me, he didn't laugh
at my accent, nor did he do
or say anything to which I
could take exception.  As I
said - a perfectly nice guy.
When it comes to his writing,
I've quite liked some of it
and either not liked or been
indifferent to what I've seen
of the rest.  I'm of the opinion
that when Mr. Moore works
within 'Comic Code' guide-
lines, he turns out a nice little
tale or two;  however, when
he's given the freedom to
indulge himself, I find that I
have little interest in what he
has to say.  He can certainly write, but that doesn't mean that everything
he writes (I'm talking subject, not prose) is worth reading.  (A charge
that can no doubt be levelled at myself when it comes to this blog.)

Which brings me to the point of this post.  I recently watched Mr.
Moore's HARDtalk interview, in which, affable as ever, he came across
as - it pains me to say it - a bit of a tit.  A charming, eccentric tit, true -
but still a tit.  (I say that in the full knowledge that if ever someone stuck a
camera in my face and asked me a few questions, I'd more than likely make
a tit of myself too.)  Surely he must have friends - good friends - whose opin-
ion he trusts - who can be relied upon to stop him making a public spectacle
of himself whenever a microphone is waved in front of his heavily-bearded
gob?  You know, the sort of friends who'll watch 'his' movies for him and
then tell him how bad they are, to spare him the ordeal of doing the
groundwork when it comes to forming an opinion for himself.

Have none of those friends got the spuds to tell him that he's severely
damaged his credibility as a 'principled' individual by claiming, on air, that
he accepted dosh for movie options on his works only because he believed
they would never be produced?  Prepared to take money for nothing in other
words, and seemingly without a shred of embarrassment about publicly ad-
mitting it.  (One would think he'd have realised that, after the first movie
was made, the chances of the others similarly seeing fruition were
distinct possibilities.)   

And what about his self-
indulgent whinging about
DC COMICS using his
WATCHMEN characters in
new stories?  It may have
escaped his notice, but he's
made a fairly good living
from doing exactly the same
thing for years, with the likes
a whole host of other heroes
he didn't create.  There's
absolutely no difference
between him writing tales
for these characters and
other writers crafting new
stories for his creations.
In fact, as the Watchmen
heroes were thinly-disguised reworkings of former CHARLTON properties, he can't even lay a firm claim
to them to begin with.  And don't get me started on what he's done to the
iconic literary creations of famous, long-dead authors who'd doubtless
be incensed by what he's done with them.

As I said, Alan Moore appears to be a likeable-enough bloke.
(Although, by all accounts, that LOST GIRLS stuff is decidedly dodgy.
Isn't it a crime to possess or make such pictures of minors?  I'm surprised
that him and his missus haven't had their collars felt by the local constabu-
lary yet.)  I'm sure you'd all hate to see 'Affable Al' opening his mouth and
putting his foot in it yet again as much as I would, so - if you're a pal of his,
do him a favour.  Next time you hear he's about to make a pronounce-
ment on some subject or other - tell him to stick a sock in it.  Or bet-
ter yet, stick one in for him.  You know it's for his own good.

(And in case any nasty spells are going to be coming my way, I
should warn any angry wizards who may be reading that I'm protected
by the Mystic Mirror of Moogamoto - it reflects spells and curses
right back at where they came from.  So there!)

Wednesday, 27 June 2012


CONAN copyright The Estate of ROBERT E. HOWARD

Most people will be aware that, when MARVEL decided to launch
their CONAN The BARBARIAN four-colour comicbook back in 1970,
Big JOHN BUSCEMA was first choice as artist to illustrate the swarthy
Cimmerian's action-packed adventures.  Only one problem with that how-
ever - too expensive.  There was a severely limited budget for the comic and
writer ROY THOMAS was already paying more than Marvel's publisher
MARTIN GOODMAN had authorised for the rights to use ROBERT
E. HOWARD's sword and sorcery swashbuckler.

Well, the rest is history.  The less-expensive BARRY SMITH (later
WINDSOR-Smith) was assigned the task of bringing Conan's comic-
book career to life, which he did with verve and vitality as befitting the bold
barbarian's bombastic and bloodthirsty battles.  As we're well aware, John
Buscema eventually did become the series' regular artist (drawing more
issues than anyone else), but what might that first adventure have looked
like had he pencilled the premiere issue as originally planned?

Fortunately, such a possibility isn't merely confined to the realms
of speculation as, in 1994 - nearly half a century after Conan's debut
issue - Big John finally brought his artistic magic to that '70s tale from
Conan The Barbarian #1.  Personally speaking, I'd have preferred to
see the story drawn with a more traditional grid-layout without the page-
bleeds, and in colour as opposed to black and white.  The last panel in par-
ticular cries out for colour - or even some kind of shading to indicate the
moon against the night sky, as described in one of the captions.  As it
is, it's short on some sorely-needed atmosphere and lacks the
impact of Smith's earlier version.

However, despite being robbed of the opportunity to compare
'like-with-like' in the strictest sense, it's fascinating to see Big J's
take on Thomas's titanic tale, although it would have been even better
had JOE SINNOTT or TOM PALMER performed the inking chores.
Perhaps one day they'll reprint it in colour and give readers a better idea
of what could have been had "the Michelangelo of comics" (as
Smilin' STAN LEE dubbed him) drawn the Hyborian hero's
dynamic debut all those years ago.

Anyway, enjoy "The COMING Of CONAN!" from the June
'94 issue of The Savage Sword of Conan the Barbarian #222.
Take a look at Conan's first appearance here - then come back and
say which visual version of the tale you prefer - and why.

(The two pages below should be read as a double-page spread.)

Tuesday, 26 June 2012


You're looking at the covers of facsimile editions of
the first three issues of THRILLER COMICS from the
1950s.  I used to own the IPC/FLEETWAY file copies,
gifted to me by an editor in the mid-'80s, but I sold them
around 20 years later.  (Got a good price for them too,
even 'though they'd my name stamped on the back.)

Thing is, I missed having them around, so I acquired
these facsimiles from the successor to BRYON WHIT-
WORTH'little publishing 'empire' several years back.
(Bryon was the editor of the now sadly defunct The IL-
profit comics indices and facsimile issues.)

Thriller Comics was published by The AMAL-
GAMATED PRESS in 1951, but with issue # 41 the
title was renamed THRILLER COMICS LIBRARY.
This lasted until #162, whereupon, with #s 163-450
(the final issue in the series), it changed its name yet
The title finally ceased publication in 1963. 
Anyway, thought you'd like to see the covers
 of these historical publications  - so enjoy.

Sunday, 24 June 2012


Here's a tasty treat from the past - some select pages from the
WHAM! ANNUAL for 1967 (issued at the end of '66) - including
a lovely three-page colour strip of FRANKIE STEIN, by the irre-
pressible KEN REID of FUDGE The ELF and FACEACHE fame.
Strangely enough, although the POW! Annuals featured reprinted
MARVEL stories, the Wham! and SMASH! volumes didn't -
relying instead on home-grown humour and adventure strips.

Look at the first picture on the bottom tier of the above page -
I believe that's ROBERT BARTHOLOMEW (otherwise known as
BART - although perhaps it's ALBERT COSSER) who was the editor
of Wham!.  It really is a good likeness, regardless of which of the two
gentlemen it is.  How do I know?  I occasionally saw this him around the
hallways of KING'S REACH TOWER when I was down in London, and
MARC JUNG (sub-editor of BUSTER) identified him (as either Bart or
Cos, can't quite remember).  Imagine my surprise when, a few years ago,
I was leafing through some old letters and found one from the late-'70s
from LOOK & LEARN (in response to an enquiry of mine), signed by
'Robert Bartholomew', the editor.  It hadn't clicked with me at the
time, but just think - I had the autograph of an editor from one of
the favourite comics of my youth and didn't even know it!

BIFF (below) later turned up in THUNDER as SAM, a fact
which LEO BAXENDALE wouldn't have been happy about as he
wasn't paid for the re-use of the ones he'd drawn.  It was his annoy-
ance at this that later caused him to quit U.K. comics altogether.  The
irony is, if publishers hadn't defrayed the cost of a title by reprinting a
limited number of old strips, they may not have been able to publish
the comic to begin with - or continue with it if circulation started to
fall.  Result - less work to go around for jobbing cartoonists.
(Or vastly reduced page-rates for everyone.)  Catch 22?

And now - the one you're all waiting for - FRANKIE STEIN
by Ken Reid - in colour.  Who says this blog doesn't deliver the
goods, eh?  Given the rather abrupt way the tale ends, I can't help
but feel it's a page short.  When I first read it, I turned over the last
page expecting it to continue on the following one - but nope, that's
all there was.  Ken's pages towards the end of his career lacked the
vitality and spontaneity of his earlier work, being somewhat stiff
and stilted - but here we have him at his absolute best, so be
sure to savour every brushstroke and penline.

I'd love to see all of Ken's Frankie Stein strips coloured-up
and released in a deluxe format book.  Why someone hasn't yet
done it is beyond me.  STEVE HOLLAND (of BEAR ALLEY
BOOKS) would be the man for the job - if he thought there
was an audience for it.  You'd think there would be, eh?


Like to see more from the 1967 Wham! Annual?
Well, don't be shy - say so in the comments section.


Jacket design by Stefan Dreja

I once borrowed a book from my local central library, and - against a
multicoloured panoply of flowers in a sunken roundabout - sat reading it
as a glorious mid-'70s hot summer sun shone down upon me.  The book was
two later, I was able to obtain my very own copy from GRANT'S
BOOKSHOP just outside Glasgow's Central Station.

Sean Connery as James Bond
The book was published in 1972
and covers the first seven movies in
the series, DR. NO to DIAMONDS
Are FOREVER.  It's an extremely
entertaining and engrossing read,
capturing the mood of the films
perfectly, although there are a few
minor discrepancies in the descrip-
tion of events.  However, Brosnan
originally hailed from Australia,
where Bond movies were heavily
edited in line with the country's
strict censorship laws, so that no
doubt accounts for some of the
occasional and inconsequential
(relatively speaking, of course)
inaccuracies in matters of detail.

Before the age of videos and DVDs in which a viewer could watch and
freeze-frame a movie at his leisure and to his heart's content, the only way
to 'relive' a film was to go and see it again at the cinema (this was before the
Bond back-catalogue had been sold to TV), buy the soundtrack LP - or to
immerse oneself in the pages of a book such as this devoted to the subject.
Brosnan's book is lavishly illustrated with over one hundred stills,
virtually all supplied by UNITED ARTISTS themselves.

Honor Blackman as Pussy Galore
I was so impressed by this book
that I bought another copy a few
years later direct from the publishers,
have a pristine copy, plus my well-
thumbed original which I can delve
into whenever the fancy takes me.
And, whenever I do, I'm right back
in the darkened gloom of my local
cinema (middle seat, back row) on
a Saturday afternoon in the early
'70s - where I was lucky enough to
see all six of SEAN CONNERY's
'official' EON Bond blockbusters on
the largest screen in Scotland in the
first purpose-built cinema in the
U.K. since the second world war.
Or I'm back in that sunken
roundabout on a glorious sunny
day a few years later, reading
the book for the very first time.
Little did I know then that ten
or so years afterwards, I'd be
lettering some of the author's
scripts (drawn by artist KEVIN
HOPGOOD) for 2000 A.D.  I
never got to meet John Brosnan
or to talk to him, but I remember
asking editor ALAN McKENZIE
to tell him how much I'd enjoyed
his book and some of his movie
reviews in DEZ SKINN's
STARBURST magazine. 

Sadly, although that sunken roundabout still exists, the flowers and
the wooden bench (one of several) I sat upon are now gone, and the
roundabout itself is in a delapidated condition.  However, my memories
of that day are as sharp and as clear as they ever were, and - should they
ever be in danger of fading (like the colours of those long-vanished
blooms) - John Brosnan's superb book is only an arm's reach away.

The roundabout (where I first read the book) in its glory days