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| Copyright REBELLION |
Sometimes an evil streak, residing in the innermost recesses of my soul, manifests itself in the most sadistic way imaginable. Having been asked to show more of the classic KEN REID strip, FRANKIE STEIN, I temper my acquiescence with a wanton act of perverseness, by showing you the first part of a story that continued the following week - and of which I don't have the next episode. Does that make me a cruel bastich or what? You'll just have to console yourself by enjoying the superb artwork. So, here's ol' Frankie from WHAM! #13, 1964.
UPDATE: You'll be glad to learn that I now have every episode of Frankie, so the one after the above will probably be on the blog somewhere by the time you read this.
6 comments:
Oh how could you ?!!- Actually I've not seen that strip at all before so Im pretty happy even if I have to wait for part 2 (not too long though hopefully) the art is amazing the panel with Frankie straining to "pull the plug" and that the final big panel are just amazing - great stuff - I heard a rumour somewhere of a FRANKIE strip by Ken Reid when Frankie wakes up cold so puts a kitten in each of his boots to warm them up and then puts them on is this an "urban comic myth????" thanks again - McScotty
Haven't heard the kitten story before, McScotty, but it wouldn't surprise me if it were true. Ken Reid was mental (in the nicest possible way of course) and comics were a lot less PC back then.
Legend!! (as we say here in Australia) Thanks for posting more Frankie. Plot resolutions aside, it is worth seeing these just to enjoy Ken Reid's brilliant artwork. Leo Baxendale inspired a following of look-alikes but I've not seen any other artists reach for the heights that Reid achieved. Great scan too - particularly as you zoom in and even more detail is revealed in the drawing.
Reid was definitely a one-off, Phil. His style has been imitated by other artists, but it was far too labour-intensive to do so consistently.
Nice "alteration" there kid. There's something about Ken Reid, perhaps it's the way he uses black and white. he always seems to have the perfect balance and he had an effortless mastery of the idiom, the sfx, the glug glugs, the movement lines and such. These things, together with line work, really mark him out as something special.
His pages were always a treat, DSE. It's a shame that, in later years, his figures became somewhat stiff and lacked the fluidity of his earlier work.
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