Bell, Steve

STEVE BELL (b. 26 February 1951) is one of Britain’s sharpest political cartoonists. His best known work are the satirical comics ‘Maggie’s Farm’ (1979) and the more long-running ‘If…’ (1981). As of the 2010s the controversial cartoonist has brutally depicted both British and international politics for almost four decades now. His work has often been victim of censorship and occasionally irritated thin-skinned politicians.

He was born in 1951 in Walthamstow and studied art at the Teesside College of Art, graduating in this discipline and film making at Leeds University in 1974.
Among his influences are Leslie Illingworth, Trog (Wally Fawkes), James Gillray, William Hogarth, George Cruikshank, David Low, Ronald Searle, E.C. Segar, Leo Baxendale and Robert Crumb.
Three years after his graduation, he became an art teacher in Birmingham, but quit after only a year because the job was not what he expected from it.
Encouraged by his girlfriend, he tried out cartooning. He was rejected by The Beano, but still impressed enough to preserve their rejection letter.
His first comic strip, ‘Maxwell the Mutant: Marauding the Midlands’ was published in the alternative paper Birmingham Broadside in 1977. It featured a story about a man able to mutate in whoever he wanted. His rival, Neville Worthyboss, was a thinly veiled caricature of the head of the local city council, Neville Bosworth.

Thanks to a cartoonist friend, Kipper Williams, Bell found work at the magazine WHOOPEE!, where he published the short-lived comic strip ‘Dick Doobie the Back to Front Man’ (1978). His strip ‘Gremlins’ appeared in the first issue of the magazine JACKPOT. While he enjoyed making children’s comics he was more drawn to making political work.
With the election of Margaret Thatcher as Prime Minister in 1979, he had more than enough reasons to become more socially conscious. When Time Out looked for a cartoonist who could attack Thatcher’s administration, Bell gave them the satirical comic strip ‘Maggie’s Farm’ (1979), whose title was both a nod to Thatcher as well as the Bob Dylan song of the same name. The strip meant his breakthrough and was later transferred to City Limits magazine.
Other projects he made around 1980 were the comic strip ‘Lord God Almighty’ for The Leveller and a cartoony adaptation of the song ‘Ivan Meets G.I. Joe’ by The Clash, which can be read inside the sleeve of their album ‘Sandinista!’. Another graphic artist who once collaborated with The Clash was Derek Boshier.

Bell’s best-known comic strip is ‘If…’, which has been running in The Guardian since 2 November 1981 and was named after Rudyard Kipling’s iconic poem. The satirical gag strip only took off during the Falklands War (1982), when Bell got the idea to move the action of his stories to the Falkland Islands. Most episodes center around a socialist marine officer, Reginald Kipling, and a talking penguin who shares more conservative and capitalist ideas. Over the course of decades, storylines mirrored current events and had frequent unflattering cameos of real-life politicians, such as Thatcher, Ronald Reagan, Khomeini, Henry Kissinger and George Bush Sr. and Jr.
Apart from ‘If…’ Bell also publishes one-panel cartoons, which forces him to reach two deadlines a day. His interest in politics is such that he often visits political party conferences to see his targets in real life. He claims it often inspired him spotting small details in their features which he didn’t notice in photographs or news footage, such as “Prime Minister Tony Blair’s psychotic glint in his eye”. He also enjoys referencing famous classical paintings in his cartoons.
Bell has also published in CHEEKY, Private Eye, New Society, Leveller, Social Work Today, NME, The Journalist and The New Statesman. The latter magazine fired him in 1999 after handing in a cover drawing depicting Tony Blair’s brain in a food-processor.
Steve Bell was voted Humorous Strip Cartoonist of the Year 1984 and was honored with the same title by the British Press Awards in 2003. Together with Bob Godfrey, he made the animated cartoon series, ‘Margaret Thatcher – Where Am I Now?’ (1999) for Channel 4.

Burgon, Sidney William

SIDNEY WILLIAM BURGON learned the elements of sketching from his mother. Burgon became a mechanic, while continuing to draw. It were his cowerkers in a local garage who finally pushed him to further exploit his artistic talent. After some first cartoons for The Weekly News (published under the pseudonym Swab), Burgon gave up his dayjob and began freelancing as a cartoonist in 1963. His cartoons appeared in several dailies and weeklies.

It was 1970 when Burgon sent his first comic to the editor of Whizzer & Chips. Burgon stayed briefly at Whizzer: a year later he went to Knockout, for which he created the successful ‘Joker’ feature. In his later series, he brought forth several monster characters, such as ‘The Invisible Monster’ and ‘The Little Monsters’. Burgon also worked on ‘The Toffs and the Toughs’ (in Whizzer), ”Milly O’Nare and the Penny Less’ (in Jackpot), ‘Ivor Lott and Tony Broke’ (in Buster) and ‘Lolly Pop’ (in Whoopee), among others.

Goodall, Scott

SCOTT GOODALL was born in Aberdeen in 1935. After returning from the far east where he was sent after being called up for National Service, Goodall joined DC Thompson where he worked on a romantic girl’s magazine that was never published.

Moving to London in the 1960’s (where he initially worked on another romance magazine called Mirabelle), Goodall joined IPC, and ended up writing some of the most popular strips, including Captain Hurraine, Kelly’s Eye, Cursitor Doom, The Steel Claw in Valiant and Thunderbirds, Lady Penelope and Captain Scarlet strips in TV Century 21.

His other notable strips include Kid Chameleon which was illustrated by Joe Colquhoun, Fishboy and Marney the Fox which he co-created with John Stokes for Buster and Goodall’s favourite, Rat Trap in Cor!

Moving to France in 1981, Goodall helped created an annual pilgrimage through an old WWII escape route known as the Chemin De La Liberte.

In 2005 he was awarded an MBE.

Mitchell, Roy

ROY MITCHELL was a prolific cartoonist and comic strip artist since the 1970s. He contributed his work to the Express Newspapers, Mirror Group, TV Times, Chat, Take a Break and CPS News. Mitchell, who signed with Mitch, drew strips for several IPC titles, including ‘Rambling Rhymes’ (Whoopee, 1982), ‘Freddy 3-D’ (Whizzer & Chips, 1983), ‘Micro Mates’ (Whizzer & Chips, 1984), ‘Animalad’ (Whoopee, 1984 and Whizzer & Chips, 1985) and ‘Paper Boy’ (Buster, 1992-94). He also made the strip ‘Project Pete’ for Project magazine. He was a longtime artist for the Salvation Army’s magazine The War Cry. He did the ‘God Is…’ cartoon and the ‘The Chalks and the Cheeses’ strip that appeared on the back page for over 20 years.

He has done cartoons for commercial clients like United Greeting Card Company, HM Treasurey, British Rail, the Ministry of Defence, British Gas, BP, Peugot, Kodak, etc. His cartoons have been collected in several cartoon and humour books.

Turner, Ron

RON TURNER’s artwork emerged in the independent comic books of 1949. His first color work, like ‘Giants of the Second World’ and ‘Terror of Titan’, appeared in Tit-Bits Science Fiction Comix in 1953. That same year, he was offered a regular commission on a self-penned strip called ‘Space Ace’, published in the monthly Lone Star comic book. ‘Rick Random, Space Detective’ followed a year later.

When the Tit-Bits series closed, Turner moved to the Amalgamated Press and drew many stories for their ‘Library’ series. In 1969, after illustrating television sci-fi series, Turner did ‘The Space Accident’ and ‘Wonder Car’ for Whizzer & Chips. He then returned to more adult strips like ‘Judge Dredd’ and ‘Spinball’ and in 1985, Turner took on his fabled rival Frank Hampson and revived ‘Dan Dare’ for the new series of Eagle. Ron Turner died at the age of 76 on 19 December 1998.

Nixon, Robert

ROBERT NIXON: Long associated with the Beano, the British children’s comics illustrator and cartoonist Robert Nixon has died, aged 63. During his lengthy career, he drew Roger the Dodger and many more of D.C . Thomson’s famous characters, as well as contributing for 12 years to the weekly comics of rival publishers IPC. His editor at the Beano said that Nixon would have been able to illustrate a note to the milkman and “make it look appealing”.

Nixon was born in Southbank, near Middlesbrough, where his father worked in the steel industry. One of six children, he was educated at the Central secondary modern school in Southbank, where his artistic talents were recognised early. He won several art competitions and a scholarship to Middlesbrough Art College, but he was forced to leave because of his father’s death.

In 1955 he got a job in the art department at a printing factory, where he served an apprenticeship as a lithographic artist. He started submitting work to the Beano in 1964 and had his first set of pictures published in April that year in an episode of Little Plum, Your Redskin Chum, first drawn by Leo Baxendale.

Later that year, following the departure of the original artist, Ken Reid, Nixon took over Roger the Dodger. By 1965 he had enough assignments to go freelance full time. Nixon proved especially skilled at “ghosting” various styles, while adding his own distinctive cuteness. He inherited Lord Snooty and His Pals in 1968 from Dudley Watkins and revived Grandpa in 1971, as well as drawing Esky Mo and Captain Cutler for Sparky.

In late 1972, he left Thomson’s to join IPC. Nixon proved invaluable, taking over successful series and originating bizarre characters of his own. He enjoyed drawing mildly macabre horror humour, an IPC speciality inspired by the Addams Family and the Munsters television shows, in new titles like Monster Fun and Shiver and Shake. Nixon continued such regulars as Hire A Horror, about a mad monster agency, and the bolt-necked buffoon Frankie Stein.

Other fondly remembered series include his lavish medieval romp King Arthur and His Frights of the Round Table, which helped launch the comic Whoopee in 1974, and the surreal eco-comedy Family Trees, about a gang of trees always on the run from humans.

Shortly after Euan Kerr became editor of the Beano in November 1984, he persuaded Nixon to return to the comic – and to Roger the Dodger – in January 1985. On May 4th, 1985, Nixon created the look of the “enfant terrible” Ivy the Terrible, his favourite character. In the 1990s, he also drew Korky the Cat in the Dandy and illustrated merchandise from jigsaw puzzles to Easter egg boxes.

Nixon also drew the newspaper strips, The Gems, about a gang of children (from 1977) and Parkie the park keeper (from 1982) in the Middlesbrough Evening Gazette.

For his own pleasure, he painted in oils, watercolours and pastels. He is survived by his wife Rita, and children Paul, Tony, Wendy and Catherine.

Robert Nixon:born July 7th 1939; died October 22nd 2002

Parlett, Reginald Edward

REGINALD EDWARD PARLETT (2 August 1904 – 18 November 1991) was an artist from England who had a career of drawing for comic books that lasted for 66 years.
Born in London, his father Harry Parlett (1881–1971) was also a prolific artist whose work appeared in many publications, often anonymously, as well as on many picture postcards, which he signed as ‘Comicus’. Reg Parlett’s older brother George (1902–1981) also later became an artist. On leaving school Parlett became a clerk at Thomas Cook.
Realising that he was ill-suited to working for a travel agent, he was encouraged to draw by his father, who submitted his son’s cartoons to Amalgamated Press (AP); such was his success that he left Thomas Cook and in 1923 became a permanent member of staff for AP. His work appeared in the Merry and Bright comic in 1926, and he would later go on to do comic strips for comics such as Funny Wonder, Radio Fun, Film Fun, Knockout, Buster, Whizzer and Chips, Cor!!, Whoopee!, ”Jackpot and Wow!. He became one of the top artists for Amalgamated Press in the second half of the 1930s, and stayed with the company until his death in 1991.

Parlett served in the R.A.F. during World War II drawing maps, and in the late 1940s he became a writer and artist for J. Arthur Rank’s GB Animation ‘Animaland’ cartoons. He contributed to the 1954 animated film Animal Farm. In the 1960s Parlett worked on his first newspaper strip, when he took over ‘Just Jake’ in the Daily Mirror.

On the death of Frank Minnitt in 1958 he became one of the artists who took over the drawing of the Billy Bunter comic strip in Knockout. Such was his popularity that the 2 August 1984 issue of Buster celebrated his 80th birthday, and a 1989 issue of Big Comic Fortnightly celebrated his 85th.
Parlett married in 1928, and with his wife Mary (née Carter), whom he had first met at a dance in 1921, had two sons, Malcolm and Grahame Parlett.
A book titled The Comic Art of Reg Parlett (ISBN 0-9511214-0-5) written by Alan Clark was released on 10 November 1986.

Gascoine, Phil

PHIL GASCOINE (8 June 1934 – August 2007) was a British comics artist, best known for his work in comics such as Jinty, Bunty, and Battle Action, for which he drew The Sarge.

On leaving school at the age of 15, Phil Gascoine worked in various London art studios until leaving to do his National Service. On his return, his first comic book work was on a series of pocket-sized comics based on TV medical drama Emergency Ward Ten.

His comics career covered 45 years of work on varied titles as a freelancer, in the British, American, and European comics markets.

He died in August 2007 after a short illness.

Sutherland, Peter

PETER SUTHERLAND (11 August 1921 – 1977) was born in the Leicestershire village of Somerby. After serving in the REME during World War II, he became a staff artist at D.C. Thomson in Dundee. He made illustrations for the company’s story papers. Throughout the 1950s he was working for Amalgamated Press on the Super Detective Library, Thriller Picture Library and the Cowboy Comics Library, illustrating among others ‘Battler Britton’, ‘Spy 13’ and ‘Kit Carson’ stories.

In the 1960s and 1970s he was mainly drawing for D.C. Thomson’s The Victor and The Hornet. He illustrated many serials, such as ‘The Big Palooka’ and ‘Mike Fink’ for The Hornet. He was best known for his work on ‘Alf Tupper’ in The Victor, which he did from the early 1960s until shortly before his death in 1977.

Parkinson, Nigel

NIGEL PARKINSON is a regular artist for the D.C. Thomson magazines The Beano and The Dandy, as well as the companion title BeanoMAX. During the 1980s and 1990s, he drew such comics as ‘Thunderbirds TV Show’, ‘Stingray’ and ‘Scouse Mouse’ for Fleetway, and comics based on ‘Baywatch’ and ‘Grange Hill’ for BBC Magazines. He has been working for The Dandy since 1982 and The Beano since 1997.

He has been one of the main artists of ‘Dennis the Menace’ for The Beano since 1999, and is sole artist on the title’s trademark comic since 2012. Among his other regular comics for The Beano and BeanoMAX are ‘The Bash Street Kids’ (since 1998), ‘Lord Snooty the Third’ (2008-2011), ‘Minnie the Minx’ (since 2012) and ‘Dangerous Dan’ (2011). In The Dandy, he has drawn the soccer comic ‘Owen Goal’ between 1998 and 2009, and he restyled Barrie Appleby’s ‘Cuddles and Dimples’, which he drawn on and off from 2003. Among his other Dandy comics are ‘The Banana Bunch’ (2000-2004) and ‘Marvo the Wonder Chicken’ (2008-2012). The Dandy ceased publication in 2012.

White, Mike

MIKE WHITE was a British comic artist known principally for his work on various IPC/Fleetway and DC Thomson titles.
Mike White began submitting work to comics publishers in the early 1960s, and his earliest work was for Micron’s romance titles in 1963-64.
He moved to London and His first regular strip was drawing “Jackaroo Joe”, (about the adventures of a ‘swagman’ in the Australian outback) for Valiant in 1965, written by Angus Allan, for Valiant in 1965-66 and ghosting for Mike Western on “School for Spacemen” for Champion. Other strips he drew included “The Lords of Lilliput Island”, “Cannonball Craig” for Score ‘n’ Roar, “The Team Terry Kept in a Box” (1973-4, written by Frank S. Pepper) for Lion, “Whiz-Along Wheeler” and “The Test Match Terrors”.
For Action in 1976 he drew “The Running Man”, “Hell’s Highway”, “Kids Rule OK!” The notorious Kids Rule OK strip (pictured) which led to the suspension of Action due to its violent content and “Hellman of Hammer Force”. He drew a number of “Future Shocks” and “Time Twisters”, including “The Reversible Man” and several Abelard Snazz stories written by Alan Moore, as well as “Distaster 1990” (1979) and “The Mean Arena” (1981-82), written by Tom Tully, for 2000 AD. Again with Tully, he worked on “Sintek” (1982-84) for Tiger, and drew “Wagner’s Walk” (1979) for Tornado, “Starhawk” (1979-80) for The Crunch, “Iron Barr” (1983-84) for Spike, “Deep Sea Danny’s Iron Fish” and “Raoul the Warrior” for Buddy, and “We Are United” for Champ.

After that he more or less specialised in football strips, drawing “Dexter’s Dozen” (1985-86), “Cheat” (1992-93) and “Dream Keeper” (1993) for Roy of the Rovers, as well as drawing the lead strip from 1986 to 1992. As boys’ adventure comics declined, he moved into illustration, notably a series of historical educational books, but still contributed to Sonic the Comic and DC Thomson’s Football Picture Story Monthly and Commando digests, his last story for the latter appearing in March 2011. In his last years his arthritis was so bad he had to hold his drawing hand in his other hand.
Mike White passed away in February 2012 after a long illness.

Western, Mike

Widely regarded as one of the best artists to ever grace the British comic industry,
MIKE WESTERN, began his career on Knockout, having already spent time working for GB Animation.

During the fifties he shared art chores with Eric Bradbury on the popular western strip Lucky Logan.

In 1960 he moved onto TV Express where he drew No Hiding Place and Biggles.

Buster and Valiant followed and Mike found himself drawing long-running strips such as Wild Wonders.

In the seventies he had been even more prolific, illustrating Buster’s The Leopard from Lime Street, and the gritty Battle stories Darkie’s Mob and HMS Nightshade.

Returning to the new Eagle in the eighties, Mike also made an impact with the sport story Billy’s Boots (Tiger) and with his nineties Roy of the Rovers Daily Star newspaper strip.

Lacey, Mike

MIKE LACEY is a productive artist whose work has appeared in nearly all Fleetway/IPC funnies since the 1970s. For many years, he drew ‘X-Ray Specs’ for Monster Fun and Buster (1975-2000). His many features for Whoopee! include ‘Blinketty Blink’, ‘Bumpkin Billionaires’ (1974-2000), ‘Jimmy Fix-it’, ‘Chip’, ‘Kid’s Court’, and ‘Scared Stiff-Sam’. For Whizzer and Chips, he made ‘Boy Butler’, ‘Pete’s Pocket’, ‘Phil Fitt’, ‘Sid’s Snake’ (1969-2000), ‘Shiner’ (1969-1976) and ‘Slow Coach’.

He also made many features for Jackpot (‘Cry Baby’, ‘Ritchie Wraggs’, ‘Snap Happy’), Shiver and Shake (‘Match of the Week’), Monster Fun (‘Art’s Gallery’), Buster (‘Nightmare on Erm Street’, ‘Strongarm’), Cor!! (‘Wacky’), Cheeky (‘Speed Squad’), Wow (‘Ship-wreck School’) and Knockout (‘The Super Seven’). He eventually turned to commercial artwork. He is the son of artist Bill Lacey.

Hubbard, Mike

MIKE HUBBARD (2 April 1902, Ireland – 25 June 1976) was born ERNEST ALFRED HUBBARD in Dublin, Ireland. He came to London after World War I and there he attended art school and joined Dean’s Studio as an illustrator. He started out as an illustrator on the British story papers of the Amalgamated Press in the 1930s, including The Thriller and Detective Weekly.

Hubbard moved into comics after the Second World War. He continued to work for AP, making adaptations of ‘Treasure Island’, ‘The Coral Island’, ‘The Adventurs of Robin Hood’, ‘Sinbad the Sailor’, ‘The Adventures of Marco Polo’ and ‘Red River’ for Knockout in the second half of the 1940s.

He additionally was Norman Pett’s assistant on the daily ‘Jane’ comic strip for the Daily Mail, starting in 1946. Hubbard took over completely in 1948 and turned the comic into an early soap series. He kept it running until 1959, when he made Jane and her lover live happily ever after.

By the early 1960s, Hubbard started working for the Fleetway girls’ titles. He drew strips based on pop songs for Valentine, the serial ‘Nurse Angela’ in Princess and strips like ‘Annette in Wartime France’, ‘Angel of the Backstreets’ and ‘The Peewit Gang’ for Schoolgirl’s Picture Library. One of his best-known works is however ‘Jane Bond, Secret Agent’, that appeared in Tina and Princess Tina between 1967 and 1970. He then did full colour novel adaptations for Ranger, Look and Learn and Pixie in the late 1960s and early 1970s. He died on 25 June 1976.

Belardinelli, Massimo

MASSIMO BELARDINELLI (5 June 1938 – 31 March 2007) was an Italian comic artist best known for his work in the British science fiction comic 2000 AD.
Belardinelli was born in Rome. His father was an amateur oil painter. Inspired by the Disney film Fantasia, Belardinelli went into animation in the 1960s, painting backgrounds for films produced by the Sergio Rosi studio. He then moved into comics, again through the Rosi studio, drawing backgrounds for “The Steel Claw” in the British weekly Valiant in a team which also included Giorgio Cambiotti on pencils and Sergio Rosi himself on inks. In 1969 he moved to the Giolitti Studio, which got him work in Italy, Germany, the UK and the USA. He collaborated with Alberto Giolitti on Gold Key Comics’ Star Trek series in the USA, with Giolitti drawing the characters and Belardinelli the spaceships. In the UK in the mid-70s he drew “Rat Pack” for Battle Picture Weekly and “Death Game 1999” and “Green’s Grudge War” for Action.

When 2000 AD was in preparation in 1977, an artist was needed for the revamped “Dan Dare”, and Belardinelli tried out for no pay and got the job, and the rare honour of a byline, despite editor Pat Mills’ reservations: although he excelled at visualising aliens, alien technology and alien landscapes, Mills thought “the hero looked awful”. Belardinelli’s work on the strip was not popular, and after a year he was switched to future sports series “Inferno”, the sequel to the popular “Harlem Heroes”, while former “Harlem Heroes” artist Dave Gibbons took over “Dan Dare”.
Belardinelli then drew the second series of “Flesh”, in which the time-travelling meat-farmers moved into the prehistoric oceans, in 1978-9. He also drew “The Angry Planet”, a sci-fi serial set on colonised Mars, written by Alan Hebden, for Tornado in 1979, and then took over “Blackhawk”, Gerry Finley-Day’s strip about a Nubian slave who became a Roman centurion, when Tornado merged into 2000 AD later in the year. The strip was given a sci-fi twist by new writers Alan Grant and Kelvin Gosnell, with the hero being abducted by aliens and forced to fight in a galactic arena. Grant believes the strip’s popularity was down to Belardinelli’s art.

“Meltdown Man”, a year-long cliffhanger serial written by Alen Hebden, followed in 1980-81, in which an SAS officer was caught in a nuclear explosion and blasted into a future where humans have enslaved genetically-engineered humanoid animals, and leads the fight for their liberation. In 1981 writers John Wagner and Alan Grant created a new series for him, space haulage comedy “Ace Trucking Co.”. Grant says they wanted to exploit Belardinelli’s “fevered imagination” and wrote a series which featured “as few actual human beings as possible” – almost all the characters were aliens.
Belardinelli also drew several storylines of the Celtic barbarian strip “Sláine” in 1983-84, whose writer, Pat Mills, selected him to visualise the hero’s body-distorting “warp spasm”. Although his strips were popular with the general readership, the fan audience never really took to him, and his “Sláine” stories were not collected by Titan Books.

His last major 2000 AD strips were “The Dead”, written by Peter Milligan (1987) – a philosophical yet psychedelic series set in a future where an evolved human race thinks it has conquered death, until demons start erupting from their bodies, and the hero, Fludd, has to travel to the land of the dead to save mankind – violent future sport series “Mean Team” (1985, 1987), and space opera “Moonrunners” (1988–89). He also drew “Joe Alien” for short-lived younger-readers sci-fi comic Wildcat, in 1988. Among his last comic work in the UK was for Fleetway’s Teenage Mutant Hero Turtles comic in the early 1990s.
He stopped working in British comics in 1993 when his agent, Alberto Giolitti, died. Having suffered from heart problems, Belardinelli died on 31 March 2007.

Stringer, Lew

LEW STRINGER (born 22 March 1959 in England) is a freelance comic artist and scriptwriter.
Stringer began his career from the late 1970s with a series of fanzines, many featuring his popular Brickman character; these were read by several professional creators (including Kevin O’Neill, Alan Moore and Dave Gibbons) who encouraged Stringer to try comics as a profession and Stringer recalls that “Alan Moore actually introduced me to one of the editors at Marvel UK – Bernie Jaye who was editor on The Daredevils”.

He sold his first professional cartoon to Marvel UK (the British branch of Marvel Comics) in 1983 where it appeared in The Daredevils comic, after which he worked for a short time as art assistant to the cartoonist Mike Higgs (creator of Moonbird and The Cloak). Since then Stringer has freelanced for numerous British comics for various companies and audiences.
His best remembered creations are Tom Thug and Pete and His Pimple for Oink! comic (1986), which outlasted that comic and continued into Buster comic, and Combat Colin the halfwit hero who featured in Action Force and The Transformers comics. Prior to Colin joining Transformers, Stringer had written another, similarly slapstick, strip Robo-Capers for that title. Robo-Capers was replaced by Combat Colin when the reprints of American G.I. Joe strips were added to the Transformers comic. Robo-Capers returned for a single story, which featured Colin and his sidekick, in Issue No. 200. After a change of editorial direction in 1991, Marvel UK handed the rights of Combat Colin to Stringer and he has used him in small-press titles, such as the Combat Colin Special and Yampy Tales. On 30 September 2012, Combat Colin returned in an all-new story for the launch of new David Lloyd’s new online comic Aces Weekly and two other new stories featuring the character have appeared there since.
Stringer has also worked as a writer on CiTV Tellytots; was one of the main writers on Sonic the Comic, where he created several fan-favourite characters and stories; and has been a long time artist/writer for Viz and many other publications. He has written Toxic!’s Team TOXIC! strip since the first issue (and drawn it since issue 15); this proved popular enough with the readers to gain two pages an issue and lead to other comic strips being brought in.
In October 2012 reprints of Team Toxic began to appear in the magazine but brand new stories Started to appear from January 2014.

He broke into the international market in 1997 creating the Suburban Satanists for the Norwegian comic Geek. From 1999 to 2007 those characters appeared in the Swedish comic book Herman Hedning.
In April 2005, Active Images published a collection – Brickman Begins – of all of Stringer’s Brickman strips since 1979. In 2006, a brand new Brickman series began in the American comic book Elephantmen, published by Image Comics, and in 2007, Combat Colin became a guest star in the strip. Brickman seems to be Stringer’s most enduring character. The series concluded in Elephantmen No.24 in 2009. In September 2015 Stringer reprinted all 20 episodes in a self-published comic entitled Brickman Returns.
He began freelancing for The Beano in 2007, drawing a Fred’s Bed story for the Christmas issue and a one-off Ivy the Terrible strip for an issue in 2008. In October 2008 Stringer became the artist on a new strip, Super School which is about five superhero children and their non-superpowered teacher. He started drawing for The Dandy after its revamp in October 2010, providing the illustrations for Postman Prat and Kid Cops and writing and drawing The Dark Newt.
In 2014 Lew announced that he would be contributing a regular new cartoon strip to Doctor Who Magazine.
In recent years Lew has scripted and illustrated Rasher and Joe King (The Beano) for The Beano and in 2018 began work on a revival of Big Eggo for that comic.

Sullivan, Lee

LEE SULLIVAN trained as a wildlife and technical illustrator at Barnfield College, then spent five years as a graphic artist for British Aerospace in Stevenage, England. He then became a freelance artist for advertising agencies and magazines, before entering the comics field in 1988.

Since, he has worked on such titles as ‘Transformers’ (UK run), ‘Thundercats’, ‘Deathshead’, ‘RoboCop’, ‘Blacknight’ and ‘Doctor Who’ for both the British and the American market. Sullivan is also active as an illustrator for educational publications and as a storyboard artist for the BBC.

Reid, Ken

Often cited as one of Britain’s greatest comic book illustrators, KEN REID was born in Manchester in 1919.

An avis artist from an early age, Ken was constantly drawing, even when confined to bed for six months after developing a tubercular hip at the age of nine.

After leaving school at the age of thirteen, he won a scholarship to Salfod Art School.

His father, who had always offered Ken a tremendous amount of encouragement, became his agent and got his son an interview over at the Manchester Evening News.

Ken submitted several strip ideas for the children’s section of the newspaper, which led to them commissioning The Adventures of Fudge the Elf.

Originally appearing in 1938, Fudge’s adventures were published right the way through to 1962, only stopping in 1941 during WWII until 1946 when Reid was de-mobbed.

In the 1950’s, Ken was courted by Scottish publishers D.C.Thomson (his brother-in-law, Bill Holroyd was already working for them), where he starting working on a new strip for The Beano called Roger the Dodger.

Grandpa, Jonah and other strips followed in The Dandy.

Then in the 1960’s, Ken and another member of the British comics royalty – Leo Baxendale, left the company to work for Odhams Press on the new titles Smash and Wham!

A major draw for Ken was that he was being allowed to both write and illustrate for these titles.

It was at Odhams on such strips as Frankie Stein, The Nervs and Dare-a-Day Davy that Ken really got to show off his skill at drawing the beautifully grotesque that he would later become synonymous with.

Dare-a-Day Davy was particularly great. About a schoolboy who couls never say no to a challenge, readers were encouraged to send in a dare and if selected would be paid a pound for their contribution. This led to 86 strips including a Marvel crossover (of sorts) with Nick Fury and an unpublished episode featuring Frankiestein that ended up in the pages of Weird Fantasy magazine.

In the 1970’s, Ken created his most popular character working for IPC. First published in the pages of Jet, Faceache became an instant fan favourite. The adventures of Ricky Rubberneck and his malleable mush ran through Jet and into Buster when the two titles merged. Faceache (Ricky Rubberneck) was a strip that Ken both wrote and illustrated (though Ian Mennell wrote two of the early instalments).

In 1978, Ken’s brilliance was recognised when he was presented with two awards by the Society of Strip Illustration – Cartoonist of the Year and Humorous Script Writer of the Year.

His great work continued through to the next decade where he worked on strips such as Robot Smith, Martha’s Monster Make-Up and Tom Horror’s World.

He passed away on 2nd February 1987 whilst working on a page of Faceache.

Baxendale, Joseph Leo

JOSEPH LEO BAXENDALE (27 October 1930 – 23 April 2017) was an English cartoonist and publisher.

Baxendale wrote and drew several titles. Among his best known creations are the Beano strips Little Plum, Minnie the Minx, The Bash Street Kids, and The Three Bears.

Baxendale was born in Whittle-le-Woods, Lancashire, and was educated at Preston Catholic College.

After serving in the RAF, he took his first job as an artist for the local Lancashire Evening Post drawing adverts and cartoons.

In 1952, he began freelance work for the children’s comic publishers DC Thomson, creating several highly popular new strips for The Beano including Little Plum, Minnie the Minx (started in 1953, taken over by Jim Petrie in 1961), The Three Bears, and The Bash Street Kids (initially called When the Bell Rings).

Baxendale also co-operated on the launch of D.C. Thomson’s The Beezer comic in 1956.

Baxendale’s time with D.C. Thomson came to an abrupt end in 1962 when, overburdened with work he, in his own words, “just blew up like an old boiler” and left.

In 1964, Baxendale began work for Odhams Press as they set up a new children’s comic Wham! and, two years later, its sister comic Smash!

Beginning in 1966 Baxendale worked for Fleetway (IPC Magazines), creating Clever Dick and Sweeny Toddler.

Baxendale left the world of mainstream British children’s comics in 1975, creating the more adult-orientated Willy the Kid series, published by Duckworths.

In the 1980s he fought a seven-year legal battle with D.C. Thomson for the rights to his Beano creations, which was eventually settled out of court.

His earnings from that settlement allowed Baxendale to found the publishing house Reaper Books in the late 80s. In the same year he brought out THRRP!, an adult comic book.

For a year before he fully retired from cartooning to focus on publishing in 1992, Baxendale drew I Love You Baby Basil! for The Guardian.

Baxendale was the second person inducted into the British Comic Awards Hall of Fame, in 2013.

He was described as having created “a lifetime of original, anarchic, hilarious and revolutionary comics” and having had an “incalculable” influence on children and comic artists, while his work was lauded for being “an integral and inseparable part of the history of British children’s comics.”

The BBC said that he was “regarded by aficionados as one of Britain’s greatest and most influential cartoonists” and quoted the British cartoonist Lew Stringer as saying that Baxendale was “quite simply the most influential artist in UK humour comics”.

In the mid-1960s, Baxendale published a weekly anti-war newsletter the Strategic Commentary.

Though it had some paying subscribers, including fellow Vietnam War opponent Noam Chomsky, Baxendale made a considerable loss from sending hundreds of free weekly copies to Labour MPs.

Leo Baxendale and his wife Peggy had five children including Martin Baxendale who also became a cartoonist and worked on some of his father’s strips.

Leo Baxendale died on 23 April 2017 of cancer at the age of 86.

Andy Fanton, who at the time of Baxendale’s death was the Beano’s writer for several Baxendale-created strips, lauded his predecessor as “the godfather of so much of what we do”.

Over the course his career, Baxendale worked for a number of different publishers, writing and drawing many different strips in several different comics.

As well as creating new strips, Baxendale also worked on pre-existing properties, such as Lord Snooty in Beano issues 691–718.

Stokes, John

Discovering his love of comics through reading The Eagle, JOHN STOKES would later join his brother George at IPC, where he worked on several strips for Buster including, Maxwell Hawke, Lennie the loner and no less than three strips that were written by Scott Goodall – The War Children, Fishboy and Marney the Fox.

In the seventies he moved to Marvel UK and worked on The House of Hammer, Black Knight in Hulk Weekly, Doctor Who Monthly and Star Wars amongst others (he collaborated with Alan Moore several times in the latter two titles).

As well as illustrating several Future Shocks in 2000 AD, Stokes has worked on many US comics, including L.E.G.I.O.N., Aliens: Havoc, Randy Bowen’s Decapitator and The Invisibles.

Geering, John Keith

John K. Geering (9 March 1941 – 13 August 1999)

JOHN KEITH GEERING was one of the notable artists for British children’s comic magazines during the 1970s and 1980s. He has worked extensively for the DC Thomson magazines Sparky, The Topper, Cracker, Plug, Nutty, The Beano and The Dandy, for which he created features like ‘Puss ‘n’ Boots’, ‘Smudge’ and ‘Bananaman’. The latter gained such popularity that it was turned into an animated TV series. He also drew the Robert Nixon creation ‘Gums’ for Buster magazine by Fleetway, and was a topical and political cartoonist for British newspapers. Geering, who lived in Comberbach, passed away in 1999 at the age of 58. His last new creation was ‘Dean’s Dino’ for The Beano.

Oliver, John Edward

JOHN EDWARD OLIVER (19 June 1942 – 26 May 2007) was a British cartoonist. He is more usually known as J. Edward Oliver or JEO, and to his friends he was Jack.

He originally achieved fame in late 1970 with a long-running strip in the UK music paper Disc (and Music Echo), later Record Mirror. The strip had many fans including John Lennon and Yoko Ono. It included characters from TV, film and music, with a large section for readers’ contributions (Win a Plastic Warthog). Jack provided other material, including a pop-based strip called The Nose, stories and numerous graphics.

One character proved particularly enduring, a dinosaur called Fresco-Le-Raye. Up to his death, J Edward Oliver continued to create Fresco strips which can be seen on his official website. (The site also features other strips, such as The Invisible Man, a staple of his Record Mirror years, with Young Julie, The Invisible Woman and more.)

In November 1977, the Record Mirror strip was deemed not contemporary enough and was ended. Oliver went to work for IPC Magazines Ltd, creating comic strips including Buster’s Master Mind (1980-1983), Cliff Hanger (1983-1987) and Vid Kid, as well as drawing The Champ in Whizzer and Chips from 1979 to 1981. Many of his strips included puzzles and games. In 1984, Oliver also wrote the words for a musical called Swan Esther which was performed at London’s Young Vic and on BBC radio.

When Buster ceased publication at the beginning of 2000, Oliver was the last artist left, and drew the only non-reprint material in the comic’s final issue (“How It All Ends”, which looked back at how all the Buster characters ended). With Buster gone, Oliver investigated other work, including newspaper strips and first day covers. In 2000, with his cousin [Steve Oliver], and together they created Phil Stamp Covers for stamp collectors. Other work included promotional art for a single by Terry Dactyl and the Dinosaurs.

Among Oliver’s trademarks in his strips were little signs reading “Abolish Tuesdays” and regular sightings of a tiny cube with a crank handle attached. The latter was never explained. Oliver also had something of an obsession with the British actress Madeline Smith, drawing several appearances by her into his work, which she later complained about. Oliver reacted characteristically, producing a strip about her complaint.

In 2000, a website about Oliver’s work revived interest in it. The site was originally created as a celebration of JEO’s work in Disc and Record Mirror but JEO contributed new material, as well as obscure historical stuff and a new, e-mailed (and free) weekly strip involving Fresco-Le-Raye, which eventually had hundreds of subscribers and ran for several hundred episodes, eventually developing from black-and-white to colour.

In 2007 Oliver announced he was suffering from cancer, but he continued to create new material. In March 2007 he married his girlfriend of many years, Liz Hales. He died peacefully on 26 May 2007.

JEO’s website continues, with much unpublished material finally seeing the light of day.

A rare collection of early Middle Bronze Age (c. 13th century B.C.) tools and weapons was discovered by John Oliver whilst digging the footings of an extension to his home in Tredegar Road, Dartford, in 1986. The four implements comprised two axe-heads, a knife and a tanged shaving razor and are known as the Leyton Cross Bronzes. The items were purchased by and are on display in Dartford Museum.

Petrie, Jim

JIM PETRIE was born in Dundee, Scotland, and worked for DC Thomson and its magazine The Beano for forty years.
He was an art teacher at Dundee’s Kirkton High School when he took over the ‘Minnie the Minx’ comic from its creator Leo Baxendale in June 1961.
Petrie drew over 2000 stories with this rebellious girl until his retirement in January 2001, and thus defined the character for generations of readers. ‘Minnie the Minx’ is currently continued by other artists.

Crocker, Jim

JAMES “JIM” CROCKER is a prolific artist whose work has appeared in many IPC funnies since the 1970s. He created among others the two neighbors ‘Smarty Pants and Tatty Ed’ for Whizzer & Chips in 1974.
Crocker has also drawn ‘Ivor Lot and Tony Broke’ (created by Reg Parlett), ‘Ad Lad’ and ‘Sweet Tooth’ (both created by Trevor Metcalfe), as well as ‘Jack Pott’ in Buster.

Hansen, James

I’m very sorry to hear of the passing of the artist JAMES HANSEN (often known as Jimmy Hansen) who died on Tuesday 19th June 2018.

In a career spanning more than 40 years, Jimmy Hansen drew thousands of pages for British comics, working on strips such as The Bumpkin Billionaires, Ricky Rainbow, P5, a stint on Dennis the Menace, and Buster amongst others. He was the cover artist on Buster for the last several years of the comic, bringing a great sense of energy and fun to the strip, as he did with all his pages.
Some of his early work was The Winners…Crybaby Jackpot… the Skateboard squad Cheeky comic
He said his first comic work was for whizzer and chips Hot Rod the dragon…must of been for a summer special… my guess he started mid 70’s at Fleetway..
Apparently he was only in his late 60s. Gone far too soon.

Clayton, Jack

Jack Clayton drew for Cheeky, Jackpot and Buster comic.

He did the wonderful joke page Hit the Jackpot!

Where so much detail was put in the backgrounds…that sometimes the backgrounds were funnier than the jokes.

He liked drawing little mice (Mickey types), cats, dogs and snails …small animals.

He was also great at drawing the over reaction the groan from a character. Almost falling backwards. Paddywack had this effect a lot.

His first work was in Cheeky late 70’s where the kids recreate a scene for there home video.

You can see how the kids did it with home made props and costumes. Again lots of funny details.

Paddywack came later in Cheeky and even became when the comics merged the cover star of Whoopee!!.

Jack Clayton is an artist from East London who has spent the last four years travelling.

His inspiration for his art work is drawn from his experiences around the world and a representation of his environment.

Jack Clayton was the artist of Paddywack. Irish cartoon character that was supposed to be drawn by Doodle Doug that use to bribe Cheeky to see his work or tell his Dad about his comics.

Knox, Ian

IAN KNOX (born 4 May 1943, Belfast, Northern Ireland) is a political cartoonist for the Irish News, and also drew cartoons for the BBC Northern Ireland political show Hearts and Minds.
Knox trained as an architect at Edinburgh College of Art (1963–67) and Heriot-Watt University (1967-68), and worked as an architect before establishing himself as a cartoonist. He worked in animation from 1970 to 1975 for Halas & Batchelor in London, Potterton Productions in Montreal, and Kotopoulis Productions in Toronto. He then joined Red Weekly and Socialist Challenge as a political cartoonist, as well as contributing to various children’s comics for IPC from 1975-88.
In the 1970s and 80s he drew various humour strips for IPC comics, including “Dreamy Den”, “Strawbelly” and “Terror TV” for Buster, “Major Jump, Horror Hunter” for Monster Fun, “The Krazy Gang” and “Pongalongapongo” for Krazy, “Funtastic Journey” and “6 Million Dollar Gran” for Cheeky, “Lucky Dick”, “Winnie the Royal Nag”, “Starr’s Wars” and “Grim Gym” for Whizzer and Chips, “Gran’s Gang” for Whoopee!, and “Exercises” and “Roger Rental” for Oink.
He signed much of his political work “Blotski”, and he and Republican News cartoonist Cormac worked together as “Kormski”, drawing the anti-clerical strip “Dog Collars” for Fortnight Magazine. Since 1989 he has been the editorial cartoonist for The Irish News, a nationalist newspaper based in Belfast. Since 1996 he has contributed the “As I See It” feature to Hearts and Minds on BBC2 Northern Ireland. From 1997-98 he was political cartoonist for Ireland on Sunday.
Knox has cited Ronald Searle, Low, John Glashan, Vicky, Steve Bell, Pat Oliphant and Charles Addams among those who have influenced him.

 

IAN KNOX

“If you’ve got the issue right, victims don’t generally criticise you”
For 25 years he has shown that the artist’s pen can be mightier than the sword, by challenging paramilitary and state violence, while remorselessly mocking the hypocrisy and corruption of the powerful.
While the impact of Ian Knox’s penmanship may petrify even the most hardened politician, the artist himself cuts an almost shy figure.
Born in south Belfast in 1943 he quickly immersed himself in a lifelong fascination with cartoons and later satire.
“I can never remember a time when I wasn’t obsessed with drawing, particularly comics,” he said, in an interview with The Detail.
“The Beano was the one I wanted, but my mother had come home from New York and thought Disney was better, so I was the only one person who occasionally got Mickey Mouse comics.
“Everyone else wanted to read it. I wanted to read the DC Thompson comics which were far more anarchic and far more interesting I thought.
“In comics terms I was a Brit but everyone else were Americans.”
After studying architecture in Edinburgh for five years Knox started his professional career in London in 1968.

However he quickly became frustrated with the “soul destroying” monotony of life as a draftsman and eventually sought out salvation in the unlikely location of one of the capital’s more notorious hotspots.
“I went around Soho Square which I was told was the centre of the animation industry to a pub called the Dog & Duck, which is where I heard where animators hung out.
“I saw two guys that looked in my impression what animators might be and I approached them and they were.
“They told me the animation companies to try and eventually I talked my way in.”
For the next five years he worked as an animator in London and Canada but quickly realised once again that he had not yet found his artistic niche.
Throughout the late 1970s he worked for a combination of socialist magazines and children’s comics.
Knox attributes his interest in left wing politics to a Scottish history teacher, Archie Douglas.
“He didn’t actually bother much with the teaching. He just handed us out bound volumes of Punch from the 19th Century.
“It’s easier actually to get a 19th Century volume of Punch than it is to get a 20th Century volume. They are much rarer than the 1950s when Ronald Searle, Antonia Yeoman and all those fantastic artists were drawing.
“They had marvellous pen technique; there was vibrancy and malice.
“It wasn’t as wild as James Gillray and Thomas Rowlandson from the 18th Century, but it was still great stuff.”

In 1989 the Irish News’ then acting editor Terry McLaughlin agreed to allow Knox to work as a weekly cartoonist.
“I started doing cartoons for the Irish News on Saturdays and then eventually persuaded them to let me do it for the rest of the week.”
For the next 25 years Knox, adopting the pseudonym ‘Blotski’, used the power of his cartoonist’s pen to satirise the hypocrisy and double standards of countless public figures.
Ian Knox’s take on finding a replacement for Nuala O’Loan as Police Ombudsman for Northern Ireland
But how did he deal with the sensitivities of the latest atrocities and the pain of grieving families?
“It always hovering behind my shoulder. But it didn’t need to, because the kind of cartoon I did dealt with issues.
“If you’ve got the issue right, victims don’t generally criticise you. They want the truth. They did then and they still do. The truth is more important than anything else to them.
“If you’ve got it right, even if it’s horrible, the victims don’t object.
“I never shrank from any issue. The day I have to shrink from an issue I’ll pack it in.”
Through the Troubles ‘Blotski’ had one self-imposed rule which he refused to waiver or compromise on.
“The big guiding thing for me is anti-violence.
“Violence I think is the worst sin there is. I’m not religious, but nothing else comes near to violence.
“I mean fraud or anything is nothing like violence, there is no need for violence unless the only way to save your life is to use force.
“I was very suspicious of any violent action. I still am and that’s the one guiding thing for me – violence is wrong.”
He dismisses any suggestion that his role as a cartoonist was unique in that he was constantly under pressure to be topical and had to push the boundaries by challenging paramilitaries over the latest atrocity or politicians over the next political bun fight.
“Everybody in journalism was dealing with it (pressure). What I like is the realpolitik, to try and find out what is the motive of the person doing it and why are they being thoroughly dishonest and doing something atrocious for reasons which are quite false. My job is to show that up, really that’s it.”
Despite having publicly ridiculed virtually every well known Northern Ireland politician at one time or another, he says that very few of his subjects ever criticised his work.
“Hardly ever at all. I mean they may be seething quietly, but most people are far too polite to say anything, and never by victims, I’ve never been criticised by victims.
“Funnily enough all the political flack started flying after the Troubles and the atrocities stopped.
“Cartoons about financial things and such like have produced far more writs than any act of violence.”
He added: “I’ve never been to court in my life. I look forward to it when it happens.”
Knox remains his own worst critic, insisting that his early cartoons “weren’t very funny”.
“They are much better now, even if the situation is grim.
“If you can be funny about the issue the point gets over much better.
“Now, whatever the issue is, I try to make it look slightly funny.
“I think New York Jewish humour is very good like that and Glaswegian humour, grim but funny.”
Has his work become harder and issues now more difficult to find since the ceasefires and the establishment of the Stormont Assembly?
“It’s much easier, far easier. I’ve got the whole world now. I don’t have to deal with something awful. It’s 1,000 times better.
“Bread and butter politics are basically real politics.
“It’s so depressing that people, like the dissidents, want to use violence.
“They think it’s okay to use violence but inside their heads, what are they at?”
He said they should be constantly challenged: “They should be hauled before a television camera. Of course they wouldn’t come, but they should be made to justify what they’re doing or to try and explain.”
But in today’s age of wireless broadband and instant demand for news, is the cartoon still relevant in 2014?

“I think it is. It’s been going for centuries. Satire should be analytical, it’s not fiction. It should be about the truth.”
When asked if he has ever been threatened for his work he is matter of fact in his reply: “Not really.”
He remains conscious that fellow artists in other parts of the world have not been so fortunate.
“In 1993 as the Soviet Regime was collapsing in Russia, the creators of Spitting Image, Peter Fluck and Roger Law, tried to take satire to Moscow. It was all ready to be set up but one of the directors was assassinated the night before it went out. That was a warning and it never happened.
“There are Palestinian cartoonists in Israel. People who do decide to make it truth (are at risk). I am very fortunate here. I did a series recently here about the fantastic life, about Lord Castlereagh and people who were prepared to put their necks above the parapet in those days didn’t last very long. I’m living in fortunate times comparatively.”
But is the pen mightier than sword?
“I’ve never tried the sword. Certainly it’s the sword of my choice. It certainly gets to a lot more people.”
With a wistful grin Knox admits that there is an inner devil constantly striving to challenge and subvert the accepted norm.
“I love shoving my views down other people’s throats, but it’s much better if you slip it in without people realising it.
“It’s safer for me as well.”

Ian Knox

Giorgetti, Giorgio

The artist GIORGIO GIORGETTI (1920-1982) who was the creator/artist of Catgirl and left some of his original Catgirl work..given to his son Riccardo Giorgetti by the then CEO of IPC following his death.
His dad was Italian, but moved to England in 1950. He had his art studio at his home in Margate, Kent.
Hopefully the above info helps…
email address is riccardogiorgetti454@btinternet.com if anyone would like further info!
So many of those old IPC pages were destroyed or sold off, so it’s good to know those Cat Girl pages are with someone who deserves them.

Quitely, Frank

Scottish artist FRANK QUITELY is best known for his work on such series as ‘JLA: Earth’ and ‘Authority’. He began his career drawing for the Scottish underground magazine Electric Soup. He has worked on numerous titles since 1988, starting with the self-published ‘The Greens’.
This was followed by ‘Blackheart’, ‘Missionary Man’, ‘Shimura’, ‘Inaba’, and ‘The Kingdom: Offspring’. He drew for Judge Dredd and Fleetway since 1993, and did short stories for the ‘Big Book of…’ series of graphic novels for DC’s Paradox Press.
He illustrated the graphic novel ‘Batman: the Scottish Connection’, as well as several stories for DC’s Vertigo imprint, including Neil Gaiman’s ‘The Sandman’ and Grant Morrison’s ‘Flex Mentallo’. Marvel credits include ‘Captain America’ and ‘New X-Men’.

Minnitt, Frank

FRANK MINNITT (3 September 1894 – 12 May 1958) was a comic artist for the publications of D.C. Thomson and Amalgamated Press, and is best known for his work on the ‘Billly Bunter’ comic. During World War I, Minnitt served in the Coldstream Guards in France, where he suffered injuries from mustard gas. After the war, he held several jobs, before turning to an artistic profession. A completely self-taught cartoonist, Minnitt began to freelance joke drawings to newspapers. By 1927 he had successfully taken over several other artists’ strips, and his work was published in AP comics like Butterfly, Comic Life, Joker, Merry & Bright, Jolly and Sparkler.

In 1930, Minnitt tried his luck with DC Thomson, drawing ‘Peter Pranky’, ‘Smiler Smutt’ and ‘Jimmy and Jumbo’ for Adventure Comics. He also drew for the Fun Section of the Sunday Post, and The Dandy. At AP, he contributed ‘Stainless Stephen’ and ‘Will Hay’ to Pilot. He later drew among others ‘Kiddo the Boy King’, ‘Bob’s Your Uncle’ and ‘Merry Margie the Invisible Mender’.

These strips became so popular that Minnitt was asked to take over the ‘Billy Bunter’ strip the Knockout comic in 1939. This strip made Minnitt’s reputation, and was drawn by him until shortly before his death in 1958. His other serials for Knockout included ‘Merry Marjie’, ‘Kiddo the Boy King’ and ‘Ali Barber’. After World War II, he worked for several publishers on short-lived titles like Comicolour, Jingo Comic, Swell Comic and Big Laugh. In the final years of his career, several AP editors didn’t care for Minnitt’s old-fashioned style, and he found himself out of work, except for the ‘Billy Bunter’ comic.

McDiarmid, Frank

FRANK McDIARMID was a British, originally from Glasgow, comics artist best known for his work on Roger the Dodger in the Beano and on IPC humour titles such as Whizzer and Chips, Cheeky Weekly, Krazy Comic, Whoopee!, Wow! and Monster Fun. Strips he drew include Cheeky (for which he created an extensive supporting cast including Lily Pop, Yikky Boo!, Baker’s Boy and Constable Chuckle), Kid Kong, Boy Boss, Frankie Stein and Willie Bunk. He has since moved into the field of fine art.

I worked first of Dc Thomsons, who were responsible for the Beano and Dandy, they were masive. They had some great talent working there. I spent my time from 1955-1966 working for them. The first strip of any consequence I worked on was following on from Ken Reid at the Dandy, it was a story called ‘Big Head and Thick Head’, from 1962-1966. I followed in the footsteps of many well known artists Douglas Phillips, who drew ‘I flew with Braddock’ and Fred Sturrock who was well known for his Illustrations.
At the same time as working on Comic Characters back then, I also managed to get into the straight art market, in titles such as Rover, Hotspur, Wizard and Adventure, spy stories for Thomsons then… in those days there was a block illustration followed by two or three pages of prose. I did quite a few covers in those Boys papers.

Working at Thomsons the mentality was that it a job for life, and if you stayed with them you’d never need to work for anyone else. But I had to spread my wings, I knew there was so much more I could do…
So after eleven years I got a bit restless, and asked if I could work at home, which quite a few artists did. They gave me that short shrift, and said they prefer the idea to come from them.
I decided to go to London with some samples in my Spring holiday, just to see what the response was. In those days, Fleetway were just taking off with a whole stable of comics, and they loved what they saw. They gave me every encouragement and they had a lots of work for me.
The fleetway comics covered all sorts of titles … Lion, Tiger, Valiant, and the funnies such as Wham, Pow, Buster and eventually Whoopee and Whizzer and Chips…
I became a freelance artist, and in 1973 did Roger the Dodger. I worked on a lot of Characters through the years. I did four years of Texas Kid in TV Comic and a year and a half on Eagle in the early 1970’s. I worked on Boy Boss, Mustapha Million, Chruncher, The Gasworks Gang, Frankie Stein, and war comics such as Battle and many others.
But I am best remembered for Cheeky. I came on the scene when Cheeky was singled out for stardom. Bob Paynter, fleetway’s Group Editor asked me to do it. Bob’s idea when Cheeky emerged was that they’d use as much as my stuff as they could, seven pages a week.
Bob said I should drop Roger and concentrate on working for them. I said no. I had worked hard and I didn’t have to put all my eggs in one basket. This overlapped the Cheeky period, and occasionally artists would stand in for me. At least two thirds of Cheeky was drawn by me.
It was hard to have a favourite character. There was Posh Claude, Lilly Pop. They were all dear to me. My favourite strip was Cheeky by a mile, we were encouraged to be anarchic and mild. I still can draw most of the characters from memory … and there was a lot of them!
There also was the Snail. That was my idea. I was given a free hand – in fact was encouraged to come up with this stuff. Those characters Bubble Gum Boy, Libby, Disco Kid, Auntie Daisy and Walter Wurx. They were all good fun!
Who came up with the Jokes? In the strips he was referred to as Willie Cook, but in fact he was a character from Thomsons – full name of Gordon Cook – he came up with all the bad bones. I was in charge of coming up with all the scenes and things that were going on, the rubbish written in between-anything that would make it look different.
The pages were one and half sizes bigger than the comic, and was mechanically reduced down in London. The strips were drawn in pencil and then inked – but given the pressure of the work I was given a free hand and to go straight ahead, there was no requirement to show them. The Captions and Speech Bubbles was done down there by whoever. I never really did find out who did them. it was weird drawing a strip without seeing the text Bubbles! But what is weirder: I only met Bob Paynter about three times in my life. And yet he was the fountain head for all this nonsense that I was producing and having a great time!
I felt gloriously happy at the time seeing my work on display in newsagents up and down the country!
Ha Ha! Cheeky was my favourite to work on – a particular pleasure to draw because of the freedom I was given, I still have a slim volume of fan mail from back then.
I had my own art gallery in Arbroath when I started to work from home until 2000.

Frank McDiarmid

Solano Lopez, Francisco

FRANCISCO S0LANO LOPEZ (26th October 1928-12th August 2011) was a comics artist from Buenos Aires, Argentina, who entered the field in 1953 with the series Perico Guillerma. Acknowledged as one of the most influential Argentinian comic artists (at one point, he had to flee to Spain in order to avoid arrest, as his series El Eternauta touched on Argentina’s volatile political situation), he also worked extensively for Britain’s Fleetway comics such as Valiant, Buster, Smash!, Knockout (IPC), Score ‘n’ Roar, New Eagle and Lion, on strips including Adam Eterno, Kelly’s Eye, Janus Stark, Master of the Marsh, Nipper, Pete’s Pocket Army, Jet-Ace Logan, The Drowned World, Battler Britton and Galaxus: The Thing from Outer Space. In the 1990s he branched out into the field of erotic comics, proving that his range really was pretty much unlimited.

Bradbury, Eric

The great ERIC BRADBURY began his comic career at Knockout, working on such humour strips as Blossom and Our Ernie.

He moved onto the adventure western Lucky Logan, sharing art chores with Mike Western (Bradbury would go on to ink Western’s pencils on The Leopard from Lime Street).

High profile work on Mytek the Mighty (Valiant & Vulcan), the House of Dolmann (Valiant), Von Hoffman’s Invasion (Jet!), Death Squad (Battle), Hook Jaw (Action) and Doomlord (The Eagle) followed.

Bradbury has been described as an ‘unsung hero’ of 2000 AD, having contributed to many popular strips in the long-running sci-fi comic. His credits in the ‘Galaxy’s Greatest comic’ include Rogue Trooper, Tharg the Mighty, Invasion and The Mean Arena.

Dexter Watkins, Dudley

DUDLEY DEXTER WATKINS (27 February 1907 – 20 August 1969) was an English cartoonist and illustrator. He is best known for his characters Oor Wullie and The Broons; comic strips featuring them have appeared in Scottish newspaper The Sunday Post since 1936, along with annual compilations. Watkins also illustrated for comics such as The Beano, The Dandy, The Beezer and Topper, and provided illustrations for Christian stories.
Watkins was born in Prestwich, Lancashire, England, although the family moved to Nottingham while he was still a baby. His father was a lithographic print artist who noted the boy’s early artistic talent and ensured that he received extra art classes at the Nottingham School of Art. By the age of 10 the local newspaper declared him a “schoolboy genius.” He studied at Nottingham School of Art, and while working for Boots Pure Drug company in the early 1920s, Watkins’ first published artwork appeared in Boots’ staff magazine, The Beacon.

In 1924 Watkins entered the Glasgow School of Art. In 1925 the school principal recommended Watkins to the thriving publisher D.C. Thomson, based in Dundee. Watkins was offered a six-months employment with D. C. Thomson, so he moved to their Dundee base and began providing illustrations for Thomson’s “Big Five” story papers for boys (Adventure, Rover, Wizard, and later Skipper and Hotspur). The temporary employment turned into a full-time career; for several years he was just another illustrator, supplementing his small salary by teaching life drawing at Dundee Art School. In 1933 Watkins turned his hand to comic strip work, and soon his editor noticed that Watkins had a special talent as a cartoonist. In 1933 he drew The Rover Midget Comic and in 1934 he drew The Skipper Midget Comic. In 1935 Watkins’ first regular comic strip, Percy Vere and His Trying Tricks appeared; the titular character was an inept magician whose tricks usually backfired on him. The strip ran for nearly two years, finally being replaced with another Watkins creation, Wandering Willie The Wily Explorer (Willie’s hard-boiled characteristics would later re-appear in the form of Desperate Dan). While Percy was still appearing in Adventure, Watkins co-created, with writer/editor R. D. Low, what would become his most famous characters, Oor Wullie and The Broons. They were part of the first issue (8 March 1936) of a weekly eight-page pull-out ‘Fun Section’ of The Sunday Post. He was soon illustrating the Desperate Dan strip for The Dandy comic, launched in December 1937.

His workload was further increased when D.C. Thomson created The Beano, an eight-page comic booklet, with Watkins being responsible for drawing the Lord Snooty strip. The Beano’s first edition was dated 30 July 1938. When the Beezer and Topper were launched in the 1950s, Watkins was responsible for illustrating the Ginger strip (based largely on Oor Wullie, but unlike that strip the text was written in standard English and not in Scots vernacular) and the Mickey the Monkey strip for the two comics.
Watkins’ most enduring adventure strip was Jimmy and his Magic Patch, which debuted in the 1 January 1944 issue of The Beano and ran for 18 years.
Watkins was one of only two D. C. Thomson cartoonists who signed their work (beginning in June 1946), which was known for its intricate detail and unique style. The other brilliant cartoonist to sign his work was Allan Morley and he was the first to do so.
Watkins and his wife built a substantial house in Broughty Ferry, which he named Winsterly. He continued working with D. C. Thomson for the rest of his life. On 20 August 1969 he was found dead at his drawing board, victim of a heart attack.
It is a testament to Watkins’ work that D. C. Thomson continued to reprint Oor Wullie and Broons strips in The Sunday Post for seven years before a replacement was found. Watkins’ Desperate Dan strips were reprinted in The Dandy for fourteen years.
In a 2006 BBC documentary marking 70 years of Oor Wullie, it was claimed that, due to his frequent mocking of Axis leaders in his comics before and during World War II, Watkins’ name was on a list of enemies of the Third Reich.

Millington, Dick

DICK MILLINGTON is best known for his Fleetway comics in the 1960s and 1970s and for the comic strip ‘Mighty Moth’ in TV Comic. He attended St. Martin’s School of Art and began his career in 1947 as a letterer for the Daily Mirror. He became a freelance cartoonist for the United Feature Syndicate in the US in 1963. For Fleetway, he created many comics during the 1960s and 1970s, including ‘Ray Presto’ (for Krazy), ‘Happy Families’ (for Whizzer & Chips’), ‘Jolly Roger’ and ‘Hover Boots’.

In 1966, he became editor of children’s comics like TV Comic, Pippin and Playland. One of his best known creations is ‘Mighty Moth’, that ran in TV Comic from 1959 to 1984. He also scripted ‘The Telegoons’ (art by Bill Titcombe, 1963-67) and ‘Barney Bear’. Other comics he drew for the magazines he edited were ‘Basil Brush’ (TV Comic) and ‘The Moonbeams’ (Pippin, 1967-84). In later years, Millington has been working on ‘The Guinness Book of Records’ for the Mail on Sunday and on the ‘I Don’t Believe It’ strip cartoon in the Daily Mail. He passed away at the age of 81 at his home in Kent after an illness on 4 February 2015.

Gifford, Denis

DENIS GIFFORD (26 December 1927 – 18 May 2000) was a British writer, broadcaster, journalist, comic artist and historian of film, comics, television and radio. In his lengthy career, he wrote and drew for British comics; wrote more than fifty books on the creators, performers, characters and history of popular media; devised, compiled and contributed to popular programmes for radio and television; and directed several short films. Gifford was also a major comics collector, owning what was perhaps the largest collection of British comics in the world.

Gifford’s work in the history of film and comics, particularly in Britain, provided an account of the work in those media of previously unattempted scope, discovering countless lost films and titles and identifying numerous uncredited creators. He was particularly interested in the early stages in film and comics history, for which records were scarce and unreliable, and his own vast collection was an invaluable source. Gifford produced detailed filmographies of every traceable fiction, non-fiction and animated film ever released in the UK, and of early animated films in the US.
He compiled the first comics catalogue attempting to list every comic ever published in the UK, as well as the first price guide for British comics. His research into the early development of comics and cinema laid the groundwork for their academic study, and his reference works remain key texts in the fields.

Gifford was also a cartoonist and comic artist who worked for numerous titles, mostly for British comics in the 1940s, 50s and 60s. Although these were largely humour strips, he worked in a range of genres including superhero, Western, science fiction and adventure.
Gifford was born in Forest Hill, London, the only son of William Gifford, a printer, and Amelia née Hutchings. He grew up in the prosperous South London suburb of Sydenham, but was evacuated during the war to Tonbridge, Kent.

Gifford attended the South London private school Dulwich College (1939–44), and while a pupil there was an avid comic collector and cartoonist. He produced a comic, The Junior, using heated gelatine and hectograph ink, which he sold for 1d around the school, but had published comics art by the time he was 14 (1942).
Gifford became friends with Bob Monkhouse, a Dulwich schoolmate, fellow schoolboy cartoonist and later TV comedian and presenter, who studied in the year below and also had cartoons published while at the school. Gifford and Monkhouse collaborated on comics writing and drawing, a partnership that was to continue for many years in various forms, including as radio scriptwriters. The two toured together as a comedy act in the south east of England in the late 1940s with Ernie Lower’s West Bees Concert Party, giving charity performances with Monkhouse as the ‘straight man’. Gifford continued drawing during National Service in the Royal Air Force (1946-8), in which he served in the clerical position of ‘AC1 Clerk/Pay Accounts’, and went on to draw the Telestrip cartoon for the London Evening News.
Comic art and comic writing: 1942–82
Gifford’s prolific career as a cartoonist included both newspaper strips and comics, almost entirely for British publishers. His first published work was Magical Monty for All-Fun Comics (1942) at the age of 14, with a contribution to The Dandy the same year, and briefly worked as junior cartoonist for the newspaper Reynold’s News (1944–45). He collaborated on comics writing and drawing with school friend Bob Monkhouse while they were still pupils at Dulwich College together.
After his National Service, Gifford drew the Telestrip cartoon for the London Evening News, continuing in Rex magazine (1971–72), and on bubblegum and cigarette sweet packets. Other newspaper strips were produced by Gifford for Empire State News and Sunday Dispatch.
Gifford’s early work was with D.C. Thomson and the majority of his work was for humour strips, but he went on to cover various genres and styles, including adventure, detective, science fiction, Western and superheroes.

Gifford was most productive as a comics artist in the 1940s, 50s and 60s. By the early 1970s Gifford’s writing career, mainly on the subjects of comics and film history, began to take over from his work as a cartoonist in his own right.
Gifford had a distinctive, simple drawing style with a light-heartedness evident even in more action-orientated strips. Panels were often bustling and dynamic, with individual characters vying for attention. His humours strips were dense with conspicuously labelled puns and ‘sight gags’, the “visual conventions” of comic art, informed by an intense awareness of the cultural heritage of the medium.
In the period Gifford drew for them, D.C. Thomson and most British comic publishers had a strict policy that artists could not sign their work but exceptionally, he was allowed to clearly sign his art.
Golden Age superheroes: 1945–49
Gifford created at least three of the earliest British Golden Age superheroes, Mr Muscle for Dynamic Comics (1945), Streamline, whose #1 tagline proclaimed him “The speediest fighter in the world”, co-created with Monkhouse for Streamline Comics (1947) and Tiger-Man, debuting in Ray Regan #1 (1949). Gifford himself credits “the first British superhero in the American comic book style” to Derickson Dene by Nat Brand in British anthology comic The Triumph in 1939, but both Mr Muscle and Streamline were early attempts to introduce British characters in a characteristically American genre, prompted by severely limited imports or reprints of US superhero titles due to wartime paper rationing and import restrictions. Gifford and Monkhouse set up their own publishing company, Streamline, in the early 1950s which published reprints of other Golden Age superheroes such as Captain Might and Masterman.
Only Streamline Comics #1 had story and art by Gifford, although he contributed the one-page humour strip Inky the Imp of the Inkpot and the adventure strip Search for the Secret City in #4.
Mr Muscle should not to be confused with the later DC character Mister Muscle of Hero Hotline, created by Bob Rozakis, or the Charlton Comics character Mr. Muscles, created by Jerry Siegel. Tiger-Man should not be confused with Tiger Man, the Street & Smith Golden Age hero, Tigerman, the Fiction House Golden Age hero, or Tiger-Man, the Atlas/ Seaboard character.
Gifford projects: Ray Regan, Star Comics, Panto Pranks: 1946–50s
Gifford created, wrote and edited several comics in the 1940s and 1950s. These included detective title Ray Regan (1949), with art by Ron Embleton, the pantomime-themed Panto Pranks (1949), which Gifford wrote and drew, Fizz Comics (1949) and Star Comics (1954), which he drew and edited with Monkhouse, featuring strips of contemporary entertainers Morecambe and Wise, Bob Monkhouse himself, Jill Day and movie character Tobor The Great. These titles created by Gifford often ran for just a single issue, to take advantage of a loophole in postwar paper rationing, but the succession of short projects suited Gifford’s diverse interests as it enabled him to flit from genre to genre.
Western strips: Roy Rogers and others: 1946–61
Gifford drew and often wrote a number of Western comics strips in the 1940s, 50s and 60s, including ‘Ace High’ Rogers versus Redmask (1946),[16] Bill Elliott in Republic’s Old Los Angeles in The Sheriff #3 (1948) and strips for Annie Oakley (1957–58)[18] and Gunhawks Western (1960–61).
Gifford provided art for movie adaptation strip Roy Rogers in Western comic The Sheriff Comics (no date, 1950s), signing himself ‘Gus Denis Gifford’ and offering a drawing style [in which] “[h]is likenesses could approach very close to the American ones produced by Harry Parks”, consistent with Gifford’s busy, comical style in other genres.
Humour strips: Knockout, Whizzer & Chips and magazine strips: 1946–71
Gifford and Monkhouse contributed cartoon strips to various magazines in the 1940s and 1950s, including Galaxy magazine (1946) (not to be confused with Galaxy Science Fiction).
Gifford drew the cover for Classics Illustrated #146 (British series), Adventures of Baron Munchausen (1962), a more comedic and cartoon-like rendering than was conventional for the title’s covers, which tended to be classically heroic and often painted.
Gifford went on to produce several strips for the highly popular humour comic Knockout, including Our Ernie (1950), Stoneage Kit the Ancient Brit and his own creation, the gags and puzzles strip Steadfact McStaunch. He later revived Steadfast McStaunch for a run in IPC’s new title Whizzer and Chips[22] (1969), which itself merged with Knockout in 1973.
Anglo Studios: Marvelman, Captain Miracle, Super DC, TV Tornado: 1954–71
After working with Mick Anglo on the ABC science-fiction title Space Comics (1953–54), Gifford began work for Anglo Studios when it was set up in 1954, including a long stint writing and illustrating early Marvelman, the superhero reinvented in the 1980s with a darker vision by Alan Moore. Gifford worked on a number of strips in several titles in the Marvelman stable, and created the light-hearted backup features Flip and Flop and The Friendly Soul. He also wrote an editorial piece, Founding a Family, on the history of Marvelman Family for a 1988 reprint of the strip in Miracleman Family #2.
When Anglo took on US reprint series Annie Oakley, Gifford was one of the staff of British and Spanish artists used to create new strips (1957–58). Gifford went on to provide Western strips for Anglo Features title Gunhawks Western (1960–61) and humour strip Our Lad for Anglo’s Captain Miracle (1961) contributed several humour strips for Anglo’s anthology of Silver Age DC reprints, Super DC (1969–70),[23] as well as reprints of his humour strip The Friendly Soul from Marvelman in Superman Bumper Book (1970) and Super DC Bumper Book #1 (1971). Later in the 1960s, Gifford also produced the one-off News of the Universe Television Service and regular humour strips Dan Dan the TV Man and the collection of one or two-panel gags, Jester Moment for TV Tornado (1967–68) where Mick Anglo was editor.
Although Gifford did not have an academic background, he was an acknowledged authority on film history who is respected by academics in film studies, media studies and social and cultural history. Much of his reference work is recommended reading in these disciplines. Along with several other pioneering film archivists, Gifford’s ‘encyclopaedic work’ was recognised by the Institute of Historical Research as having “provided thoroughgoing maps of British film personnel and production histories”.
Gifford compiled a comprehensive reference work of British-made films, The British Film Catalogue, 1895-1970: A Reference Guide, listing every traceable film made in the UK, including short films generally omitted by film catalogues, with detailed entries including running time, certificate, reissue date, distributor, production company, producer, director, main cast, genre and plot summary. It was a labour of many years, as Gifford tracked down retired industry professionals and researched back issues of trade publications, fanzines and directories. The Catalogue’s third (1994) edition revised all entries and was published in two volumes, The Fiction Film, 1895–1994 and The Non-Fiction Film, 1888–1994. It became a seminal work for British film historians, acclaimed by The British Film Institute (BFI)’s curator of Moving Image in a Sight & Sound magazine shortlist of the best ever film books: “The nearest we have to a British national filmography was created not by any institute or university but by one man.” Gifford’s popular work A Pictorial History of Horror also made the shortlist.
All editions of the Catalogue omitted animated films, but Gifford’s British Animated Films, 1895–1985: A Filmography provided a similarly completist approach. Over 1200 films were detailed, attempting to include every British animated film of the period with a cinema release, whether full-length feature, short, public information film or advertisement. Gifford also provides an historical overview, giving particular attention to the pre-World War II era. As he was to attempt with the history of comics, Gifford sought to correct inaccuracies in cinema history that gave undue credit to the US industry, citing Dudley Buxton “who [in 1915] first animated the sinking of the Lusitania in all its terrifying drama, three years before Winsor McCay tackled the same subject in the United states. Yet according to film history, McCay’s version was the world’s first dramatic cartoon film!”
Gifford’s writing also included biographies of cinematic figures, including Karloff: The Man, The Monster, The Movies and The Movie Makers: Chaplin, with his meticulous research and detailed knowledge well suited to the form.
Gifford was a judge at the Sitges 1977 International Festival of Fantasy and Horror.
The BFI holds an extensive archive of interviews recorded by Gifford of various figures in the film, television and comics industries. The Denis Gifford Collection is held as part of the BFI National Library. The BFI ran a Denis Gifford Tribute Evening at the National Film Theatre in January 2001 to mark his work on film history.]
As well as vintage comedy, Gifford had a particular interest in genre films, favouring the origins of those genres and the lower-budget B-movie output. He had written for science fiction fanzines since the 1950s, which he regarded as the period in which the genre gained maturity in the cinema: “it was the 1950s before sci-fi really got started, first with George Pal’s astounding semi-documentary Destination Moon pipped at cinematic post by Robert L. Lipert’s B-movie Rocketship X-M. Where the cinema led, comics followed.” He had attempted to spur early science fiction ‘fandom’ with his 1952 Space Patrol Official Handbook, an introduction to science fiction that included an index of ‘films of future fantasy’ from the 1902 French ‘trick’ film A Trip to the Moon by Georges Méliès and the 1918 Danish A Trip to Mars up to contemporary films such as the 1951 The Day the Earth Stood Still, screen shots from recent science fiction films The Man From Planet X, Rocketship X-M, The Day the Earth Stood Still and When Worlds Collide. Astronomical facts and diagrams of imagined spacecraft and spacesuit, drawn by Gifford, were also included.
Horror held a special fascination for Gifford: he was an active figure in horror fandom of the 1950s, 60s and 70s, including the Gothique Film Society, and in the 1970s he had regular columns in Dez Skinn’s House of Hammer magazine, first a serialised Golden History of Horror and later History of Hammer. However, Gifford had been deeply critical of Hammer Studios, especially the productions of its later years, preferring the more understated examples of early British and Hollywood horror. He found Hammer’s relatively explicit use of blood-letting and sexuality to be cynically exploitative, noting in his 1973 A Pictorial History of Horror that “The new age of horror was geared to a new taste. Where the old films had quickly cut away from the sight of blood, Hammer cut in for a closeup.” A Pictorial History of Horror was an influential work for a generation of film and horror enthusiasts, described in The Paris Review by author and journalist Dave Tompkins as “the most important book of my childhood”.
Gifford was a lifelong fan of Laurel and Hardy, and founded ‘Film Funsters’, the first British branch of the Laurel & Hardy Appreciation Society, as well as writing several articles on the duo. He was also a keen Sherlock Holmes enthusiast, and was a member of the Sherlock Holmes Society and wrote various reviews and articles on films featuring the detective.
Gifford wrote numerous articles on film and popular entertainment, both professionally and for fanzines.
Although a highly respected film historian, Gifford’s professional involvement in cinema was relatively limited. However, in the 1950s and 1960s he directed and photographed a number of short films, most of which were publicity and public information films commissioned by the British Government. He also produced and directed the Pathe newsreel Highlight: The Singing Cinema (1964), a compilation of extracts from British musical films from 1929–64.
While at Pathe, Gifford married Angela Kalagias, a fellow Pathé employee. The couple, who later divorced, had one daughter, Pandora Jane, born in 1965.
Gifford scripted the Space Race spoof Carry on Spaceman in 1962, but although scheduled the film was not shot.
Gifford was regarded by many as the UK’s pre-eminent comics historian, particularly of early British comics. The British Library provides catalogues and reference works written by Gifford as assistance to researchers of its British Comics Collection, and indeed most of the reference works on the subject provided by the British Library were written by Gifford.
Comics scholarship, still relatively undeveloped in comparison to other media, was almost non-existent in 1971, when Gifford published his first book on comics history, Discovering Comics. At that time, no comprehensive archive of British comics existed, no fully researched cataloguing had been attempted, the mass pulping of comics in Britain in the 1940s meant that many issues and even titles were lost without effective records, no university courses were dedicated to the study of the medium, and serious research and debate had not taken place into the origin and development of the comic as a form. Gifford was determined that the comic should gain a credibility in mainstream culture and academia which it already possessed in continental Europe, and to a lesser extent the US: “Curiously, only Great Britain, where the comic paper was born, takes its comics for what they superficially seem – ephemera to be discarded as soon as read.”Although enthusiastic about comics of every era, Gifford had a particular passion for vintage comics, “earlier in the medium’s evolution, when it was a chaos of one-offs, irregular schedules, and a comic historian’s nightmare of inept publishers operating from the back rooms of run-down bookshops on a shoe string budget.”
Gifford provided the first reliable, detailed account of early comics in works such as Victorian Comics (1976) and The British Comics Catalogue, 1874–1974 (1974), with a detailed overview in his International Book of Comics (1984). He also advanced debate on the origins of comics, including what the first comic and comic characters were, arguing that “there is no point [in the history of comics] where we can pick up a paper and declare it Comic Number One.” He identified the first comedic narrative periodical, as an antecedent to the comic as The Comick Magazine (1796) which although all text included a single William Hogarth print per issue, which Gifford suggested when combined formed a “narrative sequence … [so that] they could be described as an early form of comic strip.” Gifford identified the significant stage of “the first continuing cartoon hero” as Rowlandson’s Dr Syntax in the serial The Schoolmaster’s Tour in The Poetical Magazine (1 May 1809). He argued that “in Europe, perhaps the world” the first caricature magazine, an important prototypical form of the comic, was Hopkirk’s The Glasgow Looking Glass (11 June 1825).
Gifford located the origin of the modern graphic narrative in the late nineteenth century, tracing development through various stages that included Judy – The London Serio-Comic Journal (1 May 1867) featuring Ally Sloper, the first recurring character in a text and picture serial. He observed in Victorian Comics that Sloper “was the first to appear in comic book format … a paperback reprint collection … the first to have his own comic paper … and was the longest lived [character] in comic history.” He suggested a key contender as the first comic as being the paper Funny Folks (12 December 1874), which had an unprecedented half-picture, half-text per page layout. Sloper’s debut was certainly a series of panels, but it lacks “interdependence as a sequential narrative strategy” with images each relaying a single joke without forming a narrative with other panels, and it lacked some key features of the form, such as the speech bubble, while it had accompanying text for each image. Debate continues, but Gifford’s research and conclusions into the origins of comics as a medium have gained considerable academic acceptance.
Ally Sloper was championed by Gifford as the world’s first ever comic character, and became a totemic figure for him, being revived and sometimes drawn by him in a number of comics and other publications that sought to ensure a modern readership had an awareness of early comic history. The Ally Sloper magazine was not a commercial success and lasted only four issues, but the innovation of Gifford’s tone in the title was acknowledged by one cultural historian as “[w]ith his accurate spoof of the style of traditional British humour comics … anticipat[ing] Viz by nearly three years.” He produced artwork for advertisements for an Ally Sloper T-shirt, which was published in several Alan Class Comics titles in 1976, to promote the Ally Sloper magazine. Gifford also initiated the Ally Sloper Awards in 1976, an annual prize for veteran comic artists.
At a summit on comics history convened by the 1989 Lucca Comics Festival in Italy, Gifford was invited to be one of the eleven ‘international specialists’ to sign a declaration that The Yellow Kid was the first comic character having been first published in 1895. Gifford signed, but pointedly did so in the name of Ally Sloper, first published in 1867.
Gifford sought to draw a distinct definition for British comics history, as the Golden Age and other historical eras of comics were first defined to describe US comics history. These eras relate to UK comics only as a result of American influence on the UK market and creators, and do not acknowledge key differences in British comics of the period, notably the preponderance in Britain of humorous anthologies rather than the genre titles, most especially superheroes, that predominated in the US. Gifford observed that the “Thirties were the Golden Age of British comics” due to the profusion of successful, high quality and specifically British humour comics beginning in the 1930s, including D.C. Thomson’s The Dandy (4 December 1937), The Beano (30 July 1938) and Magic (22 July 1939) and Amalgamated Press’s Jingles (1934), Jolly (1935), Golden (23 October 1937), Radio Fun (15 October 1938), Happy Days (8 October 1938) and Knockout (4 March 1939). The start of the Second World War in 1939, and the resulting paper shortages, marked the end of many of the titles, a definable end to the era and the beginning of what Gifford termed the “Dark Age”.
Gifford’s Ally Sloper #1, his 1976 attempt to find a modern audience for the character he argued was the world’s first in comics
Gifford’s The British Comics Catalogue, 1874–1974 (1974) was the first comprehensive index of British comics, and his later British Comics, Story Papers, Picture Libraries, Girls Papers, American Reprints, Facsmilies, Giveaways Price Guide (1982) the first attempt to offer a price guide for British comics (US comic books had been covered by The Overstreet Comic Book Price Guide since 1970). It was the antecedent of works such as the Official Comic Book Price Guide for Great Britain (1989).
Gifford had a particular interest in children’s comics. Although his collection included 1960s underground comics, the alternative comics of the 1970s as well as the more experimental mainstream of comics’ Modern Age, he was not initially convinced by changing conceptions of comics as a medium suited to addressing adult themes such as sexuality, violence and storytelling techniques influenced by literary fiction, cinema and art. He recognised that the growth in adult readership of comics since the 1970s was due to nostalgia, but did not foresee the potential for a development of the medium. “And nostalgia is escape. The comics – the best of them – represent wholesome innocence, a marvelous sense of fun and a pointer to current times perhaps, the triumphant overcoming of all sorts of difficulties.” When children’s comics began to reflect changes in cinema and mass culture, he was unafraid to speak out, even where this might involve constraints on the comics industry and creators.
After media outrage at the 1976 Look Out for Lefty strip about football hooliganism in the IPC comic Action, Gifford controversially drew parallels with the Wertham censorship of the US comics industry in the 1950s, remarking that “Perhaps its time we had another outcry against products like Action. Action is a new kind of comic geared to the lowest form of behaviour in children. Just as pornography caters for a mass market for adults, stuff like this provides violence for a mass market of children. As far as the people who produce Action are concerned, the children are simply a market and moral considerations do not apply.” Despite 2000 AD (#1 published in 1977) producing iconic characters and innovative and critically acclaimed stortelling and art, Gifford had similar reservations about its violent content: “Whether children would actually enjoy living in [the future] … is another matter, for as depicted … the future is a world of unrelieved violence.” Gifford was clear that his preferences in comics writing and art were informed by his nostalgia for UK comics of the 1930s, reflecting that “I look back to the days of my youth … when comics were things of joy and pleasure, rather than blood and guts.”
However, Gifford’s concerns were limited to comics intended for children and adolescents, and he was well aware of a development of the medium for an adult audience. He collected and was able to appreciate the content of underground and Modern Age comics, offering sophisticated and sometimes sympathetic analysis. Gifford’s own Ally Sloper comic (1976) offered a combination of vintage and alternative strips for an adult audience, although the nostalgic strips were his primary interest.
Working for the Guinness Book of Records as a comics expert, Gifford had to qualify his recommendation that The Dandy be regarded as the world’s oldest comic (first issue December 1937) after the entry was challenged in 1999. The first issue of Italian comics magazine Il Giornalino was cover dated 1 October 1924, US comic book Detective Comics (March 1937) began nine months earlier, and the Belgian comic magazine Spirou had more issues. Gifford admitted that “[i]t may be that we will have to insert the word British into the Guinness Book of Records to clarify the position.”
Gifford’s work The Golden Age of Radio was the first reference guide to programmes, broadcasters and catchphrases of radio of the 1930s and 1940s, and remains an important source for researchers in radio history.
Gifford was working on a filmography and history of 1930s British television, but died before its completion.
Gifford wrote extensively for comedy and light entertainment in both television and radio, his work often reflecting his fascinations of radio and film nostalgia and cartoon art.
Gifford wrote the first television series of comedy stars Morecambe and Wise, Running Wild (1954), having been brought in with fellow cartoonist, comic enthusiast and film buff Tony Hawes to save a series which was initially panned by critics. He also provided material for the opening night of ITV (1955) and co-wrote the first comedy show to be screened by BBC2, the TV movie Alberts’ Channel Too (1964) for the launch of the channel, although the whole evening’s broadcasting was lost due to a power blackout. He wrote for Junior Showtime (1973), devised the nostalgia panel show Looks Familiar (1970–87) for Thames TV, presented by Denis Norden, its radio counterpart Sounds Familiar and the Thames quiz show Quick on the Draw (1974–1979) featuring drawings by cartoonists and celebrities, with presenters including Bob Monkhouse, Rolf Harris and Bill Tidy. He also wrote scripts for the ITV children’s puppet shows Witches’ Brew (1973) and The Laughing Policeman (1974). Gifford also designed stunts for the popular BBC1 game show The Generation Game.
The scriptwriting partnership with Hawes began in radio, for weekly BBC concert party The Light Optimists (1953) and continued with stunt devising for the US-bought game show People Are Funny for Radio Luxembourg.
A broadcaster in his own right, Gifford featured in numerous television and radio programmes as an expert in the history of film, radio and comics, as well as appearances in a variety of documentary and news magazine programmes over several decades. Appearances included editions of BBC’s On The Braden Beat (1964) commenting on comics, Granada’s Clapperboard (1974) and a review of forthcoming horror films for BBC1’s Film 1973 (1973), Goon but not Forgotten, a radio history of the Goon Show as part of the Laughter in the Air: The Story of Radio Comedy (1979) and twice as guest panellist for Radio 4 panel show Quote… Unquote (1985).
Gifford and Monkhouse reprised their partnership with BBC radio programmes on the history of the comics, Sixpence for a Superman (1999) on British comics and the two-part A Hundred Laughs for a Ha’penny (1999), a history of comic papers.
Gifford also regularly wrote obituaries of notable figures in comics, film and entertainment history for British national newspapers The Independent and The Guardian and posthumously for the Oxford Dictionary of National Biography, drawing on his specialist knowledge and often personal familiarity with the subject. His output was prolific and constant, with his own obituary in The Guardian noting that “[h]is last commission was phoned in from his home in Sydenham, south London, to his editor on Thursday, May 18; it is thought he died the same day.”
Gifford’s most valuable research resource was his own collection, as in over sixty years he had accumulated what is generally recognised as the largest comic collection in the UK and the largest collection of British comics in the world, including the only known complete runs of all comics published in the UK in the 1940s. He collected the first and last issues of all comics published in the UK, as well as Christmas issues and other special editions, and also collected first issues of US comics. To a lesser extent, first issues of comics from other countries were also collected. Gifford was also a collector of other ephemera, including pulp books, popular magazines, theatrical programmes, film and comic fanzines, original film scripts and sheet music, as well as pop culture memorabilia, describing himself as “the keeper of the nation’s nostalgia” and with a collection that included periodicals not to be found in the British Library.
It was an obsession which dominated both his life and his South London home, once described in a colour supplement interview as the den of “a boy who had run away from home” and never returned. A reliable figure was never established for the size of his collection, but its scale constrained movement throughout the house and extended into every room, even the kitchen: “There are comics on the stove, on the fridge, on the floor. Denis Gifford can still use his grill, but roasts are a memory for he can no longer open his oven. The fridge filled up years ago, for Denis is fascinated by the free gifts that come with some comics … There are lollipops in the fridge now, and Desperate Dan nougat.”
Unusually for a collector, Gifford’s interests were defined by their eclecticism, including comics, radio recordings and film from throughout the world and spanning from the origins of the media up to new releases. His own ‘biog’ for a 1975 book calculates his collection “extends to some 20,000 issues” but is careful to limit the estimate to the particularly British form of ‘comic papers’ which excluded his vast collection of American comic books, and in any case accumulated many more in the next 25 years of his life. He had certain specific interests, notably British horror films of the 1930s to the 1960s, early cinema and radio, Laurel and Hardy movies and memorabilia, British comic papers of the late nineteenth century and British and US comics of the 1920s, 1930s and 1940s, especially those which featured personalities from contemporary radio. However, the parameters of his interests and collection broadened substantially throughout his life.
Gifford’s collection had suffered an early setback, an anecdote related by Bob Monkhouse: “You cannot begin to imagine his grief when he completed his National Service to return home to find that his mother had thrown away his huge collection of Film Fun, The Joker, Merry and Bright and a dozen other titles … Denis was to spend the rest of his life trying to replace those lost copies.” Gifford’s mother was later to express deep regret at their destruction.
Despite his hopes that his vast collection might form the basis of a national museum of comics, through an archive such as the Victoria and Albert Museum National Art Library Comics and Comic Art Collection, it was broken up and auctioned off after his death, “leaving 12 tons of paper at his home to be cleared and sorted.” Monkhouse reflected in the foreword to auction catalogue of The Denis Gifford Collection on how one “whose researches were so meticulous have allowed this vast gathering of treasures to have swollen into such unruly and uncatalogued confusion”. The sale was described in the auction pamphlet as “surely the largest private collection of annuals, books, cartoons, cinema history, comics, ephemera & original artwork ever to come on the market. The collection, housed in some 600 boxes and weighing ten tons, arrived on a groaning lorry and took five men nearly three hours to unload. We expect sales to run to some 4000 lots.”
Gifford’s collection was the product of his lifelong passion for comics and popular culture, and his highly prolific research work was an attempt to provide a comprehensive history of the ephemeral. Particularly in the early decades of his writing on the subject, pop culture drew little attention from academic research and Gifford was particularly passionate about the most obscure examples of vintage comics, film, television and radio, and determined that they should be recognised, chronicled and remembered before extant copies were lost.
Gifford was a pivotal figure in the development of comics “fandom” in the UK, first through his writing and publishing of early fanzines in the 1950s. In the 1970s he helped introduce comics conventions to the UK, events where creators and industry figures could meet and respond to comics fans. It was a significant progression of the already established comics marts where comics were simply sold, and in which Gifford was a key figure, providing the introductory presentation at the Comic Mart Summer Special 1974 and other UK events.
In 1974 he was the only comics industry guest at an early meeting of Britain’s major comics convention, Comicon 74. Gifford organised Comics 101 in 1976, the first convention dedicated to British comic creators, with guests including celebrated figures in British comics including Frank Hampson, Leo Baxendale, Frank Bellamy and Ron Embleton, Marvelman creator Mick Anglo and Garth creator Steve Dowling, Gifford conducting an on-stage interview with Dowling. The name of the convention was a reference to the 101 years since the first issue of Funny Folks (1874) which Gifford regarded as the first comic.
In 1977 Gifford co-founded the Society of Strip Illustration, a network for all those involved in any stage of the creative process of comics production which later became the Comic Creators Guild. In 1978 he established the Association of Comics Enthusiasts, whose newsletter Comic Cuts ran for 14 years proper and, as a section of UK comics fanzine The Illustrated Comics Journal, until his death. Gifford also wrote extensively for comics magazines and fanzines, particularly Comic Cuts, and it was here that he wrote some of his most specialist work on comics history and criticism.
Prizegiving of the first Ally Sloper Awards for comic creators also took place at Comics 101, with Bob Monkhouse presenting.
Gifford continued to organise, guest and attend comics conventions throughout the 1970s, 80s and 90s in the UK, USA and throughout Europe, including regular guest appearances the Lucca International Comics Festival, was an official guest at the first UK Comic Art Convention (UKCAC) in 1985 and was a guest speaker at the 1st UK Paperback and Pulp Bookfair in 1991.
Gifford created the Ally Sloper Awards, a series of awards to recognise veteran British comics artists. The award was first presented in 1976, but no longer runs.

Sutherland, David

DAVID SUTHERLAND is a prolific and longtime contributor for DC Thomson’s children’s comic The Beano. Among his early features were ‘Danny on a Dolphin’ (1960), ‘The Great Flood of London’ (1960-61), ‘The Cannonball Crackshots’ (1961) and ‘Lester’s Little Circus’ (1962-63). In 1963, Sutherland took over the ‘Bash Street Kids’ in Beano from the departing Leo Baxendale. In 1967 he additionally created the well-liked adventure strip ‘Billy the Cat’ and, following the death of Dudley D. Watkins, Sutherland took over ‘Biffo the Bear’ in 1969.

Then, in 1970, he was chosen as a permanent replacement for David Law on ‘Dennis the Menace’. He also drew the spin-off strip about Dennis’ pets Gnasher (1977-86) and Rasher (1984-95), and also from the combined strip ‘Gnasher and Gnipper’ from 1986. Sutherland retired from Dennis, after 27 years, in 1998. He continued to draw the occasional strip for the comic, as well as drawing most of Dennis’ adventures for the annuals and summer specials. Sutherland remains the main artist for the ‘Bash Street Kids’, and has worked on many more features, including ‘The Germs’ (1988-92), ‘Korky the Cat’ (1999-2000) and ‘Fred’s Bed’ (2008-2012).

Law, David

DAVID LAW worked for Scottish editor D.C.Thomson since about 1945, drawing cartoons for local papers. One of these was a young version of ‘Dennis the Menace’ entitled ‘The Wee Fella’. During the mid-1950s, David Law also drew ‘Dennis the Menace’ strips for the Weekly News and the Beano. (This strip is not to be confused with the American ‘Dennis the Menace’ by Hank Ketcham, which was independently created around the same time.

The difference between the two is that the American Dennis finds himself in trouble without meaning to, while the British Dennis voluntarily seeks out mischief). Law’s other well-known creation is ‘Beryl the Peril’, whose adventures appear weekly in the Topper. Law drew ‘Dennis the Menace’ until his death in 1971.

Sullivan, Cat

In addition to several years as a regular cartoonist for the staggeringly sophisticated British magazines Zit Comic and Spit, CAT SULLIVAN has also provided artwork for textbooks, Internet sites, T-shirts and print advertising. Cat Sullivan also draws for VIZ and 2000 AD, where he does the comic strip called ‘Droid Life’.

Walker, Brian

At the age of sixteen, BRIAN WALKER applied for an art job at the Bristol Evening World. He drew war maps and gag cartoons. After service in the Royal Air Force from 1944 to 1947, Ward returned to the College of Art. In 1967, he illustrated the humorous book ‘How To Be A Motorist And Stay Happy’. The Scottish publishing house D.C. Thomson offered Walker trial work on several strips. He drew the popular series ‘I Spy’ in Sparky for almost three years.

A friend introduced him to the Thomson rival Amalgamated Press (IPC), for which he drew ‘Three Story Stan’ in Whizzer & Chips, ‘Fun Fear’ in Whoopee!, and ‘Plane Jane’ in Buster, among others. His most popular work was ‘Sream Inn’, which he drew in Shiver & Shake for about six years. After that, Walker produced ‘Box-a-Tricks’ in Buster and ‘Ar Little Uns’ in the Bristol Evening Post. In the 1980s, he returned to the comics of D.C. Thomson.

Paynter, Bob

Cor!! was a children’s humour weekly launched by IPC (International Publishing Corporation), on 6 June 1970, their sixth new comic in just over a year. Cor!! was edited by BOB PAYNTER. It ran until 27 June 1974, when it was merged into Buster. Annuals and summer specials continued to be published intil 1986.
“Calculator Kid” was a strip that ran in Cheeky Weekly from July 1978 to February 1980 before moving to Whoopee!. It was drawn by Terry Bave.

It was originally conceived as a strip about a boy and his radio; After further consideration, this idea was changed to feature a boy and his CB radio. Fleetway’s Group Editor Bob Paynter, looked at both ideas and suggested that the strip instead showcase that quintessential seventies piece of kit: a pocket calculator.
The strip starred Charlie Counter, a boy with a talking calculator named Calc. The general formula was that Calc would make various seemingly nonsensical suggestions which would always turn out for the best – for example, throwing a pie into a man’s face, causing him to chase Charlie and thereby avoid a car that was about to hit him.
Bob Paynter, then of IPC magazines comics division, gave Nigel Parkinson his first break. So he’s the guilty man. Nigel first met him in 1978. In 1980 Bob Paynter offered him a job. After Nigel for Two years begging for work and they eventually give in.
For some reason in those days people were trying to get Nigel to do ‘adventure’ strips, or ‘half and half’, semi-straight stuff. Nigel did a couple of things for Bob but they weren’t very good.
In 1982, over lunch in the IPC canteen (it was Italian Week- they treated their staff very well at IPC in those days!) Bob Paynter eventually suggested Nigel to approach DC Thomson again, who Nigel had drawn a six week run of a girls’ comic strip for by that point.

This time, Bob Paynter said, why not try Ian Gray, who was putting together a new line, ‘Comic Libraries’, and needed ‘ghost artists’. Nigel knew what a ghost writer was – someone who did all the work and got minimal recompense and zero notice, and Nigel thought “I’m not sure I want to be that sort of artist!” But needs must, as ever, and Nigel gave it a try. Turned out that wasn’t quite how a ghost artist worked. But it was Bob who Nigel on to it.
Nigel was able to thank Bob Paynter for giving him a start when he worked with him again in 1989 on Scouse Mouse comic for Fleetway, and Bob Paynter was as enthusiastic as ever. Bob Paynter has often been maligned for ‘playing safe’ and indeed was always aware of his responsibility towards young readers, but Bob Paynter managed to produce some excellent comics anyway, originating Whizzer and Chips , Cor!!, Monster Fun, Shiver and Shake and more.

In March 1997 a company called Nexus Media ventured into the traditional British humour comics market with a fortnightly called Fun and Games. It was a twist on the ‘two-in-one’ format originated by Whizzer and Chips in that Fun and Games were separate titles. In this instance, Fun was a 24 page A4 size comic and Games was a 24 page half-size A5 mag wrapped around the parent comic.
It may come as no surprise that the editor of Fun and Games was Bob Paynter, who had been the original editor of Whizzer and Chips (and the group editor of the IPC humour comics).

Lacey, Bill

BILL LACEY was with the RAF during World War II, and after the War he became a technical artist at the Ministry of Aircraft. He did his first comics work in 1951, taking over the ‘Robin Alone’ story in Mickey Mouse Weekly. While continuing this comic until 1956, he also began to work for Cowboy Comics Library and Super Detective Library. In the latter, he took over the ‘Blackshirt’ comic in 1957, followed by ‘Rick Random’, ‘Inspector Chafik’ and ‘John Steel’. He also did illustrations in Express Weekly and Valiant, as well as comics with ‘Bill Hanley and Rick Slade’ in Lion.

From 1966 to 1970, he drew ‘Mytek the Mighty’ in Valiant. Afterwards, he took on comics in Look and Learn, such as ‘Jason January, Space Cadet’, ‘The Maze Master’ and ‘Space Ranger’. His most notable work for this magazine was ‘Eagles Over the Western Front’, ‘Man Who Searched for Fear’ and ‘No. 13 Marvel Street’. In 1975 he joined Battle Picture Weekly, where he did ‘Y for Yellow Squadron’, ‘The Eagle Flies Fast’, ‘Rat Pack’ and ‘The Black Crow’. Three years later, he joined DC Thompson, illustrating the ‘Tasker’ comic in Bullet. He did his final comics work in Buddy in 1981, including ‘The Wilde Boys’ and ‘The Q-Bikes’. His son Mike is also a comic artist.

Appleby, Barry

BARRY APPLEBY (30 August 1909 – 11 March 1996) was a British cartoonist famous for creating The Gambols for the Daily Express. The strip premiered on 16 March 1950. The script was written by his wife Dobs, and was based on their own lives.
Appleby’s father, E J. Appleby, was in the 1940s the editor of Autocar, a leading British motor magazine, and one to which Appleby himself contributed his first illustration in 1931. Later Appleby also wrote for the magazine edited by his father, using the alias “Helix”.

Mitchell, Barrie

BARRIE MITCHELL is an artist of UK action, sports and adventure comics. He drew for romance titles like Bunty, Mandy and Diana, as well as action titles as Pow, Wham, Sparky and 2000 AD. He was the final artist of the soccer comic ‘Roy of the Rovers’. He drew the strip from October 1992 until its cancelalion in March 1993. Mitchell then went to work for Marvel UK. In 1997, he returned to the revived ‘Roy of the Rovers’ series. Mitchell also cooperated on the The Mirror’s ‘Scorer’ strip in 1989-1990. In the early 1990s, he was also the artist of ‘Playmaker’, another comic in the Roy of the Rovers comic book.

Appleby, Barrie

Suffolk-based artist BARRIE APPLEBY has been working for British comic books the 1970s. Coming from Barnsley, Yorkshire, he began his career at age 17, working as an art assistant for the Walt Disney Company in London. He later spent a couple of years in Canada, where he served as art director with a Toronto-based book publisher. He eventually returned to the UK and started working for comic books published by IPC Magazines, Marvel UK and especially DC Thomson.

Among his 1970s features are ‘Terror TV’, ‘Teddy Scare’ and ‘Starr Tour’ in IPC’s Monster Fun and Buster (1976-79). He is probably best-known for creating the two toddler brothers ‘Cuddles and Dimples’ in DC Thomson’s The Dandy from 1986 to 2004. The characters originated in two separate strips, with ‘Cuddles’ appearing in Nutty, Hoot and Dandy (1981-86), and ‘Dimples’ in The Dandy (1984).
He has been a regular in The Beano since the 1970s as one of the artists of ‘Dennis the Menace’ and ‘Roger the Dodger’ (both with intervals), and also with ‘Pirates of the Caribeano’ (2006), ‘London B412’ (2007), ‘Gnasher and Gnipper’ (2014) and ‘Fun Kids’ (2014). Appleby has additionally drawn several strips for Marvel’s ‘The Get Along Gang’ starting in 1985, and the ‘Bananaman’ feature in both the BEEB comic and The Dandy, succeeding John Geering. This is not the Barry Appleby who drew ‘The Gambols’ in the Daily Express.

Morley, Alan

ALLAN MORLEY (Scarborough, North Yorkshire, Great Britain, 29 April 1895 – Thanet, Kent 5 September 1960) was a British comic artist. He first worked for DC Thomson in 1925, drawing a number of comic strips for the Sunday Post and for DC Thomson’s story papers including The Wizard, where he drew Nero and Zero. He also drew a number of strips for both The Beano and The Dandy from the late thirties until the early fifties. He drew Keyhole Kate, Hungry Horace and Freddie the Fearless Fly, three long-running strips which first appeared in the first issue of The Dandy. He also drew a number of strips for The Beano, including Big Fat Joe, which appeared in the comic’s very first issue. The last time he drew for The Beano was the last strip of The Magic Lollipops in issue 475 (25 August 1951). Allan Morley died in Kent on 5 September 1960.

Allan Morley was held in such high regard by DC Thomson that they said the comics might close without him. Along with Dudley D. Watkins, Allan Morley was one of the first artists allowed to sign his work, which he did from January 1947. His strips even survived after his death with reprints of Waggy the Shaggy Doggy continuing in the Dandy until the 1970s.

McKenzie, Alan

ALAN McKENZIE is a British comics writer and editor known for his work at 2000 AD.
McKenzie worked for Marvel UK during the early 1980s, editing Starburst, Cinema and Doctor Who Monthly magazines. After leaving the Marvel staff in 1985, he wrote several Doctor Who comic stories for the Monthly under the pseudonym Max Stockbridge. He then wrote three non-fiction books, The Harrison Ford Story (1985), Hollywood Tricks of the Trade (1986) and How to Draw and Sell Comic Strips (1987) before contributing comic scripts to IPC’s Battle Action and later 2000AD.

In 1987, he joined the editorial team of 2000 AD as a freelancer, and from 1987–1994 he created a number of stories including Bradley, Brigand Doom and Journal of Luke Kirby. He also served in 1994 as the comic’s editor.

Fennell, Alan

ALAN FENNELL (10 December 1936 – 10 December 2001 was a British writer and editor best known for work on series produced by Gerry Anderson, and for having created the magazines TV Century 21 and Look-in.
Fennell wrote episodes of Fireball XL5 and Stingray and more than ten episodes of Thunderbirds including “30 Minutes After Noon”. He also wrote for many comic strip adaptations and was the first editor of TV Century 21. Between himself and Dennis Spooner they wrote 36 episodes of Stingray.
He also wrote a number of books, including novelisations of the TV series Freewheelers, and of the film Digby, the Biggest Dog in the World.

In 1972 he wrote two original novels based on the TV series Freewheelers, published by Piccolo/TV Times, entitled “Freewheelers – Sign Of The Beaver” and “Freewheelers – The Spy Game”.

Davis, Allan

ALAN DAVIS (born 18 June) is an English writer and artist of comic books, known for his work on titles such as Captain Britain, The Uncanny X-Men, ClanDestine, Excalibur, JLA: The Nail and JLA: Another Nail.
Davis began his career in comics on an English fanzine. His first professional work was a strip called The Crusader in Frantic Magazine for Dez Skinn’s revamped Marvel UK line.
Davis’s big break was drawing the revamped Captain Britain story in The Mighty World of Marvel. Due to his inexperience, Davis did not leave enough room for word balloons in the five-page first installment, so it had to be recut to six pages. Afterwards, Alan Moore took over writing duties on Captain Britain. He drew 14 issues of the monthly Captain Britain title, which was later reprinted in trade paperback. Davis and Moore formed a close working partnership as creators; they also created D.R. and Quinch for 2000AD. Later, Davis replaced Garry Leach on Marvelman in Warrior and yet again worked with Moore. He also drew the story “Harry Twenty on the High Rock” in 2000AD.

In 1985 Davis received his big break in the United States when he was hired by DC Comics to draw Batman and the Outsiders, written by Mike W. Barr. Davis took over from Jim Aparo, who launch the direct market version of the title. His work proved popular enough for him to be assigned artistic duties on DC’s flagship title Detective Comics in 1986, again with Barr writing. During the “Batman: Year Two” storyline, however, Davis encountered difficulties with his editor and left after the first issue of the four-issue storyline. The remaining three issues were illustrated by Todd McFarlane. In the story, which featured Joe Chill, the murderer of Batman’s parents, Barr wanted Chill to have a large gun. He asked Davis to draw him with a Mauser with an extended barrel, similar to the one used by the Paul Kirk version of Manhunter. However, after Davis rendered Chill with this firearm throughout Detective Comics #575 and on its cover, he obtained copies of the pages for Batman #404 by Frank Miller and David Mazzucchelli, which was scheduled to be released months before the “Year Two” storyline, and saw that Chill was depicted using a smaller handgun without the extended barrel. When asked by editorial to redraw the gun in his artwork, Davis refused. Dick Giordano redrew the gun in the artwork.
Davis accepted an offer by Uncanny X-Men writer Chris Claremont to work on Marvel Comics’ X-Men books. With Claremont, Davis drew two New Mutants Annuals and three issues for Uncanny X-Men. In 1987 the duo launched the monthly series Excalibur, which featured a team consisting of Captain Britain and Meggan together with former X-Men members Kitty Pryde, Nightcrawler and Rachel Summers. The stories, set in England, saw appearances by many characters from Moore’s and Davis’ Captain Britain stories of the early 1980s, including the Crazy Gang and the Technet. Davis’ pencils were inked by Paul Neary and, later, Mark Farmer. Davis left with issue 24 due to deadline pressures, but returned with issue 42, this time also as writer. During this second run, according to Davis, “[Editor] Terry Kavanagh spoiled me, gave me near total freedom, and encouraged me to experiment.” Among the new characters he created for his second run on the title were Feron, Cerise, Micromax and Kylun.

In 1994 Davis created a new series of original characters called the ClanDestine, which featured the Destines, a family of long-lived, magically-powered British superhumans. Davis wrote and penciled the title for the first eight issues. He departed after issue 8, and the series was canceled with issue 12. In 1996 Davis wrote and drew the two issue crossover miniseries X-Men and The ClanDestine.
In 1991, Davis reunited with writer Barr to draw the sequel to “Year Two”, the one-shot Batman: Full Circle. During much of the 1990s Davis drew many of Marvel and DC Comics major characters and titles, including JLA: The Nail and The Avengers. He was also commissioned to write both main X-Men series in 1999 (providing art for X-Men as well), but he left the following year.
Starting in October 2002 he wrote and drew for Marvel Killraven, a six-issues miniseries revamping the title character of the 1970s. After a return to Uncanny X-Men, working again with Claremont, Davis wrote and drew in 2006–2007 a six-issue Fantastic Four: The End limited series for Marvel (not to be confused with a similar one-shot written by Stan Lee and drawn by John Romita Jr). In February 2008, Davis wrote and pencilled a five-part ClanDestine miniseries and the one-shot Thor: Truth of History for Marvel.

Ewing, Al

AL EWING (born 12 August 1977) is a British comics writer who has mainly worked in the small press and for 2000 AD and Marvel Comics.

Al Ewing began his career writing stories in the five-page Future Shocks format for 2000 AD and eventually moved on to regular stints on Judge Dredd where he wrote a story, “Doctor What?” that marked Brendan McCarthy’s return to 2000 AD and the two would go on to work together on a new series The Zaucer of Zilk. Recent work includes Damnation Station and Zombo, illustrated by Henry Flint, which was collected in trade paperback in 2010.
He has also contributed to Solar Wind, FutureQuake, The End Is Nigh. Ewing is responsible for the mobile comic Murderdrome with P. J. Holden.
In May 2007, Ewing created the comedic blog The Diary of Ralph Dibney, in which he writes as the superhero Elongated Man, his therapist, or Richard Dragon, reacting to the events of each week’s issue of the comic book 52.

Breaking into American comic books, Ewing was also picked by Garth Ennis to provide a six-issue arc on Jennifer Blood, a comic published by Dynamite Entertainment, and a spin-off series The Ninjettes.
Ewing’s debut novel was published in 2007 by Abaddon Books. Pax Britannia: El Sombra features a mysterious Mexican hero fighting back against the menace of steam-powered Nazis. It is set in the same Steampunk alternate history as the other novels from the Pax Britannia series. Three other novels have been published since, with a fifth on the way.

He wrote Mighty Avengers and Loki: Agent of Asgard for Marvel Comics and co-wrote the first year of the Eleventh Doctor Doctor Who title with Rob Williams for Titan Comics.
He has since written New Avengers, U.S.Avengers, The Ultimates, Rocket, Royals, and The Immortal Hulk, all for Marvel.

World Of Horror

The World Of Horror Magazine was launched in 1974 by the Dalruth Publishing Group / Gresham Publishing.

‘An Anthology of the Macabre from Film and Fiction’, this British bi-monthly mag covered the world of horror and sci-fi movies and TV from the classic Hollywood horrors to Hammer and Dr. Who.

The mag featured interior color and horror fiction, as well as the usual film news and reviews and was editoed by Gent Shaw.

The World Of Horror Magazine came and went in less than a year as it folded after 9 issues in 1975.

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Speed and Power

Publisher: IPC
Publication Dates: 1974 – 1975
Number of Issues Published: 87 (#1 – #87)
Publishing Format: Was ongoing

Information thanks to the Grand Comics Database

Merged with Look and Learn 29 November 1975.

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29-33

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34-36,38,39

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40-44

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68,71,74-76

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77-81

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82-86

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87, Christmas Special 1974

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Tales of the Underworld

Publisher: Alan Class
Publication Dates: 1960 – ?
Number of Issues Published: 10 (#1 – #10)
Color: Colour Front Cover; Black & White Interior
Dimensions: Standard Golden Age U.S.
Binding: Squarebound
Publishing Format: Was ongoing series
Publication Type: magazine

Dates of publication are a guess since the comics did not have a date in them.

Information thanks to the Grand Comics Database

Tales of the Underworld 1-5

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Tales of the Underworld 6-10

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Steel Claw

Publisher: Quality periodicals
Publication Dates: December 1986 – March 1987
Number of Issues Published: 4 (#1 – #4)
Color: color
Dimensions: standard Modern Age US
Binding: saddle-stitched
Publishing Format: limited series

Information thanks to the Grand Comics Database

The Steel Claw was one of the most popular comic book heroes of British weekly adventure comics of the 1960s and 1970s.

The Steel Claw first appeared in the debut edition of Valiant dated 6 October 1962. The strip was one of several put together for the comic by Fleetway editors Ken Mennell, Jack Le Grand and Sid Bicknell, and was then refined by writer Ken Bulmer and artist Jesús Blasco. After the first three serials, Bulmer left the title, and was replaced by Tom Tully. The Steel Claw appeared in Valiant throughout much of the 1960s and was one of the most popular strips in the comic. Tully wrote the series for the remainder of its run. The story ended briefly in May 1970, but a year later was back, retitled Return of the Claw, which would run until 1973.

In 1967, Fleetway featured the character in a number of digest-size original stories in their Stupendous Series of Super Library comics. The Steel Claw would alternate with The Spider from Lion in these books, with the Claw featuring in the odd-numbered editions. Because of the pressures of deadlines, these monthly titles saw a variety of different writers and artists employed, usually various Italian artists, most notably future 2000 AD artist Massimo Belardinelli. These ran until January 1968.

However, when Valiant merged with Battle Picture Weekly, the strip transferred to Vulcan, from 1975, in a series of reprints. The strip had by now found popularity worldwide, including in Germany, India and Sweden, and it remained in print in these countries long after the character’s final appearance in the UK.

The Steel Claw remained fondly remembered by its fans and future comic creators, and during the Alan Moore and Alan Davis run of Captain Britain comic, The Steel Claw was renamed The Iron Tallon for a brief cameo appearance. This was followed by a four issue series published by Quality Comics in 1986, which reprinted material from Valiant (in this, the character’s name was edited to ‘Louis Randell’, and the stories were coloured), with new framing material drawn by Garry Leach.

The character remained in limbo for a number of years until Grant Morrison used The Steel Claw’s superhero incarnation (as well as a number of British heroes from the 1960s) in his Zenith strip in 2000AD. This was followed by a one-off special featuring The Steel Claw, amongst other 1960s characters, which was created by various 2000AD creators of the time.

However this failed to spawn any continuing series and the character again entered limbo, until it was announced in 2005 that DC Comics would be using the character along with a number of other IPC characters, in a six issue mini-series called Albion. This would be plotted by Alan Moore, and written by Leah Moore and John Reppion, with art by Shane Oakley and George Freeman. The series was complimented by an album collection, published by Titan Books, reprinting the Ken Bulmer/Jesus Blasco serials from Valiant.

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Real Ghostbusters

Publication Dates: 26 March 1988 – september 1992
Number of Issues Published: 193 (#1 – #193)
Color: Four Colour Dimensions: 8.25 x 11
Paper Stock: Newsprint
Binding: Saddle-stitched
Publishing Format: Was Ongoing Series

Information thanks to the Grand Comics Database

The Real Ghostbusters Marvel UK is the UK published comic series. It was based on The Real Ghostbusters Animated TV Show. Published by Marvel Comics Ltd.

It was more like the Now comics Slimer! with the multiple stories and different small segments, and aimed very specifically at younger children. It was also fortnightly (bi-weekly) to begin with, before going weekly for most of its run. The series ended it’s last few issues in monthly format, and was by then only reprints of older stories. The comics generally consisted of three comic strips, a text story (usually Winston’s Diary), a Spengler’s Spirit Guide Page, and half-page Slimer strip. Some of the stories made in the comic series also got reprinted by NOW Comics.

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Real Ghostbusters 001-003

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Real Ghostbusters 004-006

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Real Ghostbusters 007-009

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Real Ghostbusters 010-012

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Real Ghostbusters 016-018

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Real Ghostbusters 019-021

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Real Ghostbusters 022-024

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Real Ghostbusters 025-027

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Real Ghostbusters 028,029

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Real Ghostbusters 030-032

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Real Ghostbusters 033-035

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Real Ghostbusters 039-041

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Real Ghostbusters 042-044

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Real Ghostbusters 045-047

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Real Ghostbusters 048-050

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Real Ghostbusters 051-054

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Real Ghostbusters 055-057

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Real Ghostbusters 058-060

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Real Ghostbusters 061-063

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Real Ghostbusters 064-066

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Real Ghostbusters 067-069

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Real Ghostbusters 070-072

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Real Ghostbusters 073-075

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Real Ghostbusters 076-078

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Real Ghostbusters 079-081

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============================

1990 1990 1990 1990 1990

============================

Real Ghostbusters 082-084

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Real Ghostbusters 085-087

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Real Ghostbusters 088-090

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Real Ghostbusters 091-093

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Real Ghostbusters 094-096

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Real Ghostbusters 097-099

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Real Ghostbusters 100-102

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Real Ghostbusters 103-105

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Real Ghostbusters 106-108

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Real Ghostbusters 109-111

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Real Ghostbusters 112-114

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Real Ghostbusters 115-117

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Real Ghostbusters 118-120

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Real Ghostbusters 121-123

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Real Ghostbusters 124-126

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Real Ghostbusters 127-129

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Real Ghostbusters 130-133

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============================

1991 1991 1991 1991 1991

============================

Real Ghostbusters 134-142

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Real Ghostbusters 143-148

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Real Ghostbusters 149-157

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Real Ghostbusters 158-164

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Real Ghostbusters 165-176

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Real Ghostbusters 177-193

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Real Ghostbusters Annual 1989
Real Ghostbusters Annual 1990

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Real Ghostbusters Annual 1991

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Centurions

Publisher: Egmont UK
Publication Dates: 1987 – 1987
Number of Issues Published: 10 (#1 – #10)
Color: Colour Dimensions: 21 cm x 29.5 cm
Paper Stock: Glossy
Binding: Saddle-stitched
Publishing Format: Was ongoing
Publication Type: magazine

Information thanks to the Grand Comics Database

Centurions PowerXtreme was a monthly title published by London Editions Magazines in 1987. It was based on the American animated series produced by Ruby-Spears in 1986, and concerned the ongoing attempts by the evil cyborg Doc Terror to conquer the Earth, opposed by the heroic Centurions. The series was one of many largely forgettable eighties creations designed principally to sell a line of toys. The comic, however, wasdistinguished by the inclusion (from issue #7) of a number of unrelated American science fiction strips reprinted from DC Comics, including material by Brian Bolland (the story “Certified Safe” written by Arnold Drake, originally presented in Mystery in Space #115 in 1981, and reprinted in Centurions PowerXtreme #7) and Joe Kubert, amongst others.

1-10

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Lion 70’s

1970 series

Publisher: IPC
Publication Dates: 1970 – 1971
Number of Issues Published: 45 (#7 February 1970 – #13 March 1971)
Color: Colour cover; Black and White interior
Dimensions: Magazine size
Binding: Saddle-stitched
Publishing Format: Was Ongoing Series
Publication Type: magazine

1971 series Lion and Thunder

Publisher: IPC
Publication Dates: 1971 – 1974
Number of Issues Published: 161 (#20 March 1971 – #18 May 1974)
Color: Colour cover; Black and White interior
Dimensions: Magazine size
Binding: Saddle-stitched
Publishing Format: Was Ongoing Series
Publication Type: magazine

Lion and Thunder merges into Valiant with the 25 May 1974 issue.

Information thanks to the Grand Comics Database

============================

1970 1970 1970 1970 1970

============================

Lion 1970-01-03
Lion 1970-01-10
Lion 1970-01-17
Lion 1970-01-24
Lion 1970-01-31

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Lion 1970-02-07
Lion 1970-02-14
Lion 1970-02-21
Lion 1970-02-28

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Lion 1970-03-07
Lion 1970-03-14
Lion 1970-03-21
Lion 1970-03-28

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Lion 1970-04-04
Lion 1970-04-11
Lion 1970-04-18 and 25

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Lion 1970-05-02
Lion 1970-05-09
Lion 1970-05-16
Lion 1970-05-23
Lion 1970-05-30

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Lion 1970-06-06 and 13
Lion 1970-06-20
Lion 1970-06-27

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Lion 1970-07-04
Lion 1970-07-11
Lion 1970-07-18
Lion 1970-07-25

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Lion 1970-08-01
Lion 1970-08-08
Lion 1970-08-15
Lion 1970-08-22
Lion 1970-08-29

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Lion 1970-09-05
Lion 1970-09-12
Lion 1970-09-19
Lion 1970-09-26

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Lion 1970-10-03
Lion 1970-10-10
Lion 1970-10-17
Lion 1970-10-24
Lion 1970-10-31

Download

Lion 1970-11-07
Lion 1970-11-14

Download

============================

1971 1971 1971 1971 1971

============================

Lion 1971-02-06
Lion 1971-02-13
Lion 1971-02-20
Lion 1971-02-27

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Lion 1971-03-06
Lion 1971-03-13
Lion 1971-03-20
Lion 1971-03-27

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Lion 1971-04-03
Lion 1971-04-10
Lion 1971-04-17
Lion 1971-04-24

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Lion 1971-05-01
Lion 1971-05-08
Lion 1971-05-15
Lion 1971-05-22
Lion 1971-05-29

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Lion 1971-06-05
Lion 1971-06-12
Lion 1971-06-19
Lion 1971-06-26

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Lion 1971-07-03
Lion 1971-07-10
Lion 1971-07-17
Lion 1971-07-24
Lion 1971-07-31

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Lion 1971-08-07
Lion 1971-08-14
Lion 1971-08-21
Lion 1971-08-28

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Lion 1971-09-04
Lion 1971-09-11
Lion 1971-09-18
Lion 1971-09-25

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Lion 1971-10-02
Lion 1971-10-09
Lion 1971-10-16
Lion 1971-10-23
Lion 1971-10-30

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Lion 1971-11-06
Lion 1971-11-13
Lion 1971-11-20
Lion 1971-11-27

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Lion 1971-12-04
Lion 1971-12-11
Lion 1971-12-18
Lion 1971-12-25

Download

============================

1972 1972 1972 1972 1972

============================

Lion 1972-01-01
Lion 1972-01-08
Lion 1972-01-15
Lion 1972-01-22
Lion 1972-01-29

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Lion 1972-02-05
Lion 1972-02-12
Lion 1972-02-19
Lion 1972-02-26

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Lion 1972-03-04
Lion 1972-03-11
Lion 1972-03-18
Lion 1972-03-25

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Lion 1972-04-01
Lion 1972-04-08
Lion 1972-04-15
Lion 1972-04-22
Lion 1972-04-29

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Lion 1972-05-06
Lion 1972-05-13
Lion 1972-05-20
Lion 1972-05-27

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Lion 1972-06-03
Lion 1972-06-10
Lion 1972-06-17
Lion 1972-06-24

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Lion 1972-07-01
Lion 1972-07-08
Lion 1972-07-15
Lion 1972-07-22
Lion 1972-07-29

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Lion 1972-08-05
Lion 1972-08-12
Lion 1972-08-19
Lion 1972-08-26

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Lion 1972-09-02
Lion 1972-09-09
Lion 1972-09-16
Lion 1972-09-23
Lion 1972-09-30

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Lion 1972-10-07
Lion 1972-10-14
Lion 1972-10-21
Lion 1972-10-28

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Lion 1972-11-04
Lion 1972-11-11
Lion 1972-11-18
Lion 1972-11-25

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Lion 1972-12-02
Lion 1972-12-09
Lion 1972-12-16
Lion 1972-12-23
Lion 1972-12-30

Download

============================

1973 1973 1973 1973 1973

============================

Lion 1973-01-06
Lion 1973-01-13
Lion 1973-01-20
Lion 1973-01-27

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Lion 1973-02-03
Lion 1973-02-10
Lion 1973-02-17
Lion 1973-02-24

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Lion 1973-03-03
Lion 1973-03-10
Lion 1973-03-17
Lion 1973-03-24
Lion 1973-03-31

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Lion 1973-04-07
Lion 1973-04-14
Lion 1973-04-21
Lion 1973-04-28

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Lion 1973-05-05
Lion 1973-05-12
Lion 1973-05-19
Lion 1973-05-26

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Lion 1973-06-02
Lion 1973-06-09
Lion 1973-06-16
Lion 1973-06-23
Lion 1973-06-30

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Lion 1973-07-07
Lion 1973-07-14
Lion 1973-07-21
Lion 1973-07-28

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Lion 1973-08-04
Lion 1973-08-11
Lion 1973-08-18
Lion 1973-08-25

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Lion 1973-09-01
Lion 1973-09-08
Lion 1973-09-15
Lion 1973-09-22
Lion 1973-09-29

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Lion 1973-10-06
Lion 1973-10-13
Lion 1973-10-20
Lion 1973-10-27

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Lion 1973-11-03
Lion 1973-11-10
Lion 1973-11-17
Lion 1973-11-24

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Lion 1973-12-01
Lion 1973-12-08
Lion 1973-12-15
Lion 1973-12-22
Lion 1973-12-29

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============================

1974 1974 1974 1974 1974

============================

There are no issues 26 January 1974, 9 February 1974, 23 February 1974, 9 March 1974, or 23 March 1974.

Lion 1974-01-05
Lion 1974-01-12
Lion 1974-01-19

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Lion 1974-02-02
Lion 1974-02-16

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Lion 1974-03-02
Lion 1974-03-16
Lion 1974-03-30

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Lion 1974-04-06
Lion 1974-04-13
Lion 1974-04-20
Lion 1974-04-27

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Lion 1974-05-04
Lion 1974-05-11
Lion 1974-05-18

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Tiger Various

Publisher: IPC
Publication Dates: 1954 – 1987
Number of Issues Published: 1555 (#1 – #1555)
Color: Colour
Dimensions: Magazine-size
Paper Stock: Newsprint
Binding: Saddle-stitched
Publishing Format: Was ongoing

Information thanks to the Grand Comics Database

=========================

ANNUALS ANNUALS ANNUALS

=========================

Annual 1957

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Annual 1958

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Annual 1959

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Annual 1960

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Annual 1961

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Annual 1962

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Annual 1963

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Annual 1964

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Annual 1965

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Annual 1966

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Annual 1967

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Annual 1968

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Annual 1969

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Annual 1970

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Annual 1971

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Annual 1972

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Annual 1973

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Annual 1974

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Annual 1975

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Annual 1976

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Annual 1977

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Annual 1978

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Annual 1979

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Annual 1980

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Annual 1981

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Annual 1982

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Annual 1983

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Annual 1984

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Annual 1985

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Annual 1986

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Annual 1987

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============================

SPECIALS SPECIALS SPECIALS

============================

Holiday Special 1971

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Holiday Special 1974

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Holiday Special 1975

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Holiday Special 1976

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Holiday Special 1977

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Holiday Special 1978

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Holiday Special 1979

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Holiday Special 1981

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Holiday Special 1982

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Holiday Special 1983

Download

Holiday Special 1984

Download

Football Special 1969

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Football Special 1970

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Tiger 80s

Publisher: IPC
Publication Dates: 1954 – 1987
Number of Issues Published: 1555 (#1 – #1555)
Color: Colour
Dimensions: Magazine-size
Paper Stock: Newsprint
Binding: Saddle-stitched
Publishing Format: Was ongoing

Information thanks to the Grand Comics Database

Weeks where the comic wasn’t published: 24 May 1980 to 21 June 1980

============================

1980 1980 1980 1980 1980

============================

Tiger 1980-01-05
Tiger 1980-01-12
Tiger 1980-01-19
Tiger 1980-01-26 Winter Olympics 1980
Tiger 1980-01-26

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Tiger 1980-02-02
Tiger 1980-02-09
Tiger 1980-02-16
Tiger 1980-02-23

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Tiger 1980-03-01
Tiger 1980-03-08
Tiger 1980-03-15
Tiger 1980-03-22
Tiger 1980-03-29

Download

Tiger 1980-04-05
Tiger 1980-04-12
Tiger 1980-04-19
Tiger 1980-04-26

Download

Tiger 1980-05-03
Tiger 1980-05-10
Tiger 1980-05-17

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Tiger 1980-06-28

Download

Tiger 1980-07-05
Tiger 1980-07-12
Tiger 1980-07-19
Tiger 1980-07-26

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Tiger 1980-08-02
Tiger 1980-08-09
Tiger 1980-08-16
Tiger 1980-08-23
Tiger 1980-08-30

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Tiger 1980-09-06
Tiger 1980-09-13
Tiger 1980-09-20
Tiger 1980-09-27

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Tiger 1980-10-04
Tiger 1980-10-11 Golden Great Britians
Tiger 1980-10-11
Tiger 1980-10-18
Tiger 1980-10-25

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Tiger 1980-11-01 International Sports Stars
Tiger 1980-11-01
Tiger 1980-11-08
Tiger 1980-11-15
Tiger 1980-11-22
Tiger 1980-11-29

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Tiger 1980-12-06
Tiger 1980-12-13
Tiger 1980-12-20 The Attackers
Tiger 1980-12-20
Tiger 1980-12-27

Download

============================

1981 1981 1981 1981 1981

============================

Tiger 1981-01-03
Tiger 1981-01-10
Tiger 1981-01-17
Tiger 1981-01-24
Tiger 1981-01-31

Download

Tiger 1981-02-07
Tiger 1981-02-14
Tiger 1981-02-21
Tiger 1981-02-28

Download

Tiger 1981-03-07
Tiger 1981-03-14
Tiger 1981-03-21
Tiger 1981-03-28

Download

Tiger 1981-04-04
Tiger 1981-04-11
Tiger 1981-04-18
Tiger 1981-04-25

Download

Tiger 1981-05-02
Tiger 1981-05-09
Tiger 1981-05-16
Tiger 1981-05-23
Tiger 1981-05-30

Download

Tiger 1981-06-06 Wonderful Wimbledon
Tiger 1981-06-06
Tiger 1981-06-13
Tiger 1981-06-20
Tiger 1981-06-27

Download

Tiger 1981-07-04
Tiger 1981-07-11
Tiger 1981-07-18
Tiger 1981-07-25

Download

Tiger 1981-08-01
Tiger 1981-08-08
Tiger 1981-08-15 Stars of World Soccer
Tiger 1981-08-15
Tiger 1981-08-22
Tiger 1981-08-29

Download

Tiger 1981-09-05
Tiger 1981-09-12
Tiger 1981-09-19
Tiger 1981-09-26

Download

Tiger 1981-10-03
Tiger 1981-10-10
Tiger 1981-10-17
Tiger 1981-10-24
Tiger 1981-10-31

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Tiger 1981-11-07
Tiger 1981-11-14 A Special Sporting Selection
Tiger 1981-11-14
Tiger 1981-11-21
Tiger 1981-11-28

Download

Tiger 1981-12-05
Tiger 1981-12-12
Tiger 1981-12-19
Tiger 1981-12-26

Download

============================

1982 1982 1982 1982 1982

============================

Tiger 1982-01-02
Tiger 1982-01-09
Tiger 1982-01-16
Tiger 1982-01-23
Tiger 1982-01-30

Download

Tiger 1982-02-06
Tiger 1982-02-13
Tiger 1982-02-20
Tiger 1982-02-27

Download

Tiger 1982-03-06
Tiger 1982-03-13
Tiger 1982-03-20
Tiger 1982-03-27

Download

Tiger 1982-04-03
Tiger 1982-04-10
Tiger 1982-04-17
Tiger 1982-04-24

Download

Tiger 1982-05-01
Tiger 1982-05-08
Tiger 1982-05-15
Tiger 1982-05-22
Tiger 1982-05-29

Download

Tiger 1982-06-05
Tiger 1982-06-12
Tiger 1982-06-19
Tiger 1982-06-26

Download

Tiger 1982-07-03
Tiger 1982-07-10
Tiger 1982-07-17
Tiger 1982-07-24
Tiger 1982-07-31

Download

Tiger 1982-08-07
Tiger 1982-08-14 Seb Coe and Steve Ovett Story
Tiger 1982-08-14
Tiger 1982-08-21
Tiger 1982-08-28

Download

Tiger 1982-09-04
Tiger 1982-09-11 The Grand Prix Men
Tiger 1982-09-11
Tiger 1982-09-18
Tiger 1982-09-25

Download

Tiger 1982-10-02
Tiger 1982-10-09
Tiger 1982-10-16
Tiger 1982-10-23
Tiger 1982-10-30

Download

Tiger 1982-11-06
Tiger 1982-11-13
Tiger 1982-11-20
Tiger 1982-11-27

Download

Tiger 1982-12-04
Tiger 1982-12-11 Commonwealth Champions
Tiger 1982-12-11
Tiger 1982-12-18
Tiger 1982-12-25

Download

============================

1983 1983 1983 1983 1983

============================

Tiger 1983-01-01 A Sporting New Year 1983
Tiger 1983-01-01
Tiger 1983-01-08
Tiger 1983-01-15
Tiger 1983-01-22
Tiger 1983-01-29

Download

Tiger 1983-02-05
Tiger 1983-02-12
Tiger 1983-02-19
Tiger 1983-02-26

Download

Tiger 1983-03-05
Tiger 1983-03-12
Tiger 1983-03-19
Tiger 1983-03-26

Download

Tiger 1983-04-02
Tiger 1983-04-09 Tiger Star Collection
Tiger 1983-04-09
Tiger 1983-04-16
Tiger 1983-04-23
Tiger 1983-04-30

Download

Tiger 1983-05-07 Spotlight on Sport
Tiger 1983-05-07
Tiger 1983-05-14
Tiger 1983-05-21 Cricket World Cup 83
Tiger 1983-05-21
Tiger 1983-05-28

Download

Tiger 1983-06-04
Tiger 1983-06-11
Tiger 1983-06-18
Tiger 1983-06-25

Download

Tiger 1983-07-02
Tiger 1983-07-09
Tiger 1983-07-16
Tiger 1983-07-23
Tiger 1983-07-30

Download

Tiger 1983-08-06
Tiger 1983-08-13
Tiger 1983-08-20
Tiger 1983-08-27

Download

Tiger 1983-09-03
Tiger 1983-09-10
Tiger 1983-09-17
Tiger 1983-09-24

Download

Tiger 1983-10-01
Tiger 1983-10-08
Tiger 1983-10-15
Tiger 1983-10-22
Tiger 1983-10-29

Download

Tiger 1983-11-05
Tiger 1983-11-12
Tiger 1983-11-19
Tiger 1983-11-26

Download

Tiger 1983-12-03
Tiger 1983-12-10
Tiger 1983-12-17
Tiger 1983-12-24
Tiger 1983-12-31

Download

============================

1984 1984 1984 1984 1984

============================

Tiger 1984-01-07
Tiger 1984-01-14
Tiger 1984-01-21
Tiger 1984-01-28

Download

Tiger 1984-02-04
Tiger 1984-02-11
Tiger 1984-02-18
Tiger 1984-02-25

Download

Tiger 1984-03-03
Tiger 1984-03-10
Tiger 1984-03-17
Tiger 1984-03-24
Tiger 1984-03-31

Download

Tiger 1984-04-07
Tiger 1984-04-14
Tiger 1984-04-21
Tiger 1984-04-28

Download

Tiger 1984-05-05
Tiger 1984-05-12
Tiger 1984-05-19
Tiger 1984-05-26

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Tiger 1984-06-02
Tiger 1984-06-09
Tiger 1984-06-16
Tiger 1984-06-23
Tiger 1984-06-30

Download

Tiger 1984-07-07
Tiger 1984-07-14 Free Micro Comic
Tiger 1984-07-14 Olympic Game 1984 Modern Pentathlon
Tiger 1984-07-14
Tiger 1984-07-21
Tiger 1984-07-28

Download

Tiger 1984-08-04
Tiger 1984-08-11
Tiger 1984-08-18
Tiger 1984-08-25

Download

Tiger 1984-09-01
Tiger 1984-09-08
Tiger 1984-09-15
Tiger 1984-09-22
Tiger 1984-09-29 Wildlife Booklet
Tiger 1984-09-29

Download

Tiger 1984-10-06
Tiger 1984-10-13
Tiger 1984-10-20
Tiger 1984-10-27 Death Wish Giant Slalom Game
Tiger 1984-10-27

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Tiger 1984-11-03
Tiger 1984-11-10
Tiger 1984-11-17
Tiger 1984-11-24

Download

Tiger 1984-12-01
Tiger 1984-12-08
Tiger 1984-12-15
Tiger 1984-12-22
Tiger 1984-12-29

Download

============================

1985 1985 1985 1985 1985

============================

Tiger 1985-01-05
Tiger 1985-01-12
Tiger 1985-01-19
Tiger 1985-01-26

Download

Tiger 1985-02-02
Tiger 1985-02-09
Tiger 1985-02-16 Big 3 Soccer Game
Tiger 1985-02-16
Tiger 1985-02-23

Download

Tiger 1985-03-02
Tiger 1985-03-09
Tiger 1985-03-16
Tiger 1985-03-23
Tiger 1985-03-30

Download

Tiger 70s

Publisher: IPC
Publication Dates: 1954 – 1987
Number of Issues Published: 1555 (#1 – #1555)
Color: Colour
Dimensions: Magazine-size
Paper Stock: Newsprint
Binding: Saddle-stitched
Publishing Format: Was ongoing

Information thanks to the Grand Comics Database

============================

1970 1970 1970 1970 1970

============================

Tiger 1970-01-03
Tiger 1970-01-10
Tiger 1970-01-17
Tiger 1970-01-24
Tiger 1970-01-31

Download

Tiger 1970-02-07
Tiger 1970-02-14
Tiger 1970-02-21
Tiger 1970-02-28

Download

Tiger 1970-03-07
Tiger 1970-03-14
Tiger 1970-03-21
Tiger 1970-03-28

4 downloads, each issue 1 because of the size

Download 03-07

Download 03-14

Download 03-21

Download 03-28

Tiger 1970-04-04
Tiger 1970-04-11
Tiger 1970-04-18
Tiger 1970-04-25

Download

Tiger 1970-05-02
Tiger 1970-05-09
Tiger 1970-05-16
Tiger 1970-05-23
Tiger 1970-05-30

Download

Tiger 1970-06-06
Tiger 1970-06-13
Tiger 1970-06-20
Tiger 1970-06-27

Download

Tiger 1970-07-04
Tiger 1970-07-11
Tiger 1970-07-18
Tiger 1970-07-25

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Tiger 1970-08-01
Tiger 1970-08-08
Tiger 1970-08-15
Tiger 1970-08-22
Tiger 1970-08-29

Download

Tiger 1970-09-05
Tiger 1970-09-12
Tiger 1970-09-19
Tiger 1970-09-26

Download

Tiger 1970-10-03
Tiger 1970-10-10
Tiger 1970-10-17
Tiger 1970-10-24
Tiger 1970-10-31

Download

Tiger 1970-11-07
Tiger 1970-11-14
Tiger 1970-11-21
Tiger 1970-11-28

Download

Tiger 1970-12-05
Tiger 1970-12-12
Tiger 1970-12-19
Tiger 1970-12-26

Download

============================

1971 1971 1971 1971 1971

============================

Tiger 1971-01-02
Tiger 1971-01-09
Tiger 1971-01-16
Tiger 1971-01-23
Tiger 1971-01-30

Download

Tiger 1971-02-06
Tiger 1971-02-13
Tiger 1971-02-20
Tiger 1971-02-27

Download

Tiger 1971-03-06
Tiger 1971-03-13
Tiger 1971-03-20
Tiger 1971-03-27

Download

Tiger 1971-04-03
Tiger 1971-04-10
Tiger 1971-04-17
Tiger 1971-04-24

Download

Tiger 1971-05-01
Tiger 1971-05-08
Tiger 1971-05-15
Tiger 1971-05-22
Tiger 1971-05-29

Download

Tiger 1971-06-05
Tiger 1971-06-12
Tiger 1971-06-19
Tiger 1971-06-26

Download

Tiger 1971-07-03
Tiger 1971-07-10
Tiger 1971-07-17
Tiger 1971-07-24
Tiger 1971-07-31

Download

Tiger 1971-08-07
Tiger 1971-08-14
Tiger 1971-08-21
Tiger 1971-08-28

Download

Tiger 1971-09-04
Tiger 1971-09-11
Tiger 1971-09-18
Tiger 1971-09-25

Download

Tiger 1971-10-02
Tiger 1971-10-09
Tiger 1971-10-16
Tiger 1971-10-23
Tiger 1971-10-30

Download

Tiger 1971-11-06
Tiger 1971-11-13
Tiger 1971-11-20
Tiger 1971-11-27

2 links because of the size

Download 11-06-13

Download 11-20-27

Tiger 1971-12-04
Tiger 1971-12-11
Tiger 1971-12-18
Tiger 1971-12-25

3 links because of the size

Download 12-04-11

Download 12-18

Download 12-25

============================

1972 1972 1972 1972 1972

============================

Tiger 1972-01-01
Tiger 1972-01-08
Tiger 1972-01-15
Tiger 1972-01-22
Tiger 1972-01-29

Download

Tiger 1972-02-05
Tiger 1972-02-12
Tiger 1972-02-19
Tiger 1972-02-26

Download

Tiger 1972-03-04
Tiger 1972-03-11
Tiger 1972-03-18
Tiger 1972-03-25

Download

Tiger 1972-04-01
Tiger 1972-04-08
Tiger 1972-04-15
Tiger 1972-04-22
Tiger 1972-04-29

Download

Tiger 1972-05-06
Tiger 1972-05-13
Tiger 1972-05-20
Tiger 1972-05-27

Download

Tiger 1972-06-03
Tiger 1972-06-10
Tiger 1972-06-17
Tiger 1972-06-24

Download

Tiger 1972-07-01
Tiger 1972-07-08
Tiger 1972-07-15
Tiger 1972-07-22
Tiger 1972-07-29

Download

Tiger 1972-08-05
Tiger 1972-08-12
Tiger 1972-08-19
Tiger 1972-08-26

Download

Tiger 1972-09-02
Tiger 1972-09-09
Tiger 1972-09-16
Tiger 1972-09-23
Tiger 1972-09-30

Download

Tiger 1972-10-07
Tiger 1972-10-14
Tiger 1972-10-21
Tiger 1972-10-28

Download

Tiger 1972-11-04
Tiger 1972-11-11
Tiger 1972-11-18
Tiger 1972-11-25

Download

Tiger 1972-12-02
Tiger 1972-12-09
Tiger 1972-12-16
Tiger 1972-12-23
Tiger 1972-12-30

Download

============================

1973 1973 1973 1973 1973

============================

Tiger 1973-01-06
Tiger 1973-01-13
Tiger 1973-01-20
Tiger 1973-01-27

Download

Tiger 1973-02-03
Tiger 1973-02-10
Tiger 1973-02-17
Tiger 1973-02-24

Download

Tiger 1973-03-03
Tiger 1973-03-10
Tiger 1973-03-17
Tiger 1973-03-24
Tiger 1973-03-31

Download

Tiger 1973-04-07
Tiger 1973-04-14
Tiger 1973-04-21
Tiger 1973-04-28

Download

Tiger 1973-05-05
Tiger 1973-05-12
Tiger 1973-05-19
Tiger 1973-05-26

Download

Tiger 1973-06-02
Tiger 1973-06-09
Tiger 1973-06-16
Tiger 1973-06-23
Tiger 1973-06-30

Download

Tiger 1973-07-07
Tiger 1973-07-14
Tiger 1973-07-21
Tiger 1973-07-28

Download

Tiger 1973-08-04
Tiger 1973-08-11
Tiger 1973-08-18
Tiger 1973-08-25

Download

Tiger 1973-09-01
Tiger 1973-09-08
Tiger 1973-09-15
Tiger 1973-09-22
Tiger 1973-09-29

Download

Tiger 1973-10-06
Tiger 1973-10-13
Tiger 1973-10-20
Tiger 1973-10-27

Download

Tiger 1973-11-03
Tiger 1973-11-10
Tiger 1973-11-17
Tiger 1973-11-24

Download

Tiger 1973-12-01
Tiger 1973-12-08
Tiger 1973-12-15
Tiger 1973-12-22
Tiger 1973-12-29

Download

============================

1974 1974 1974 1974 1974

============================

Tiger 1974-01-05
Tiger 1974-01-12
Tiger 1974-01-19
Tiger 1974-01-26

Download

Tiger 1974-02-02
Tiger 1974-02-09
Tiger 1974-02-16
Tiger 1974-02-23 Stars of World Sport
Tiger 1974-02-23

Download

Tiger 1974-03-02
Tiger 1974-03-09
Tiger 1974-03-16
Tiger 1974-03-23
Tiger 1974-03-30

Download

Tiger 1974-04-06
Tiger 1974-04-13
Tiger 1974-04-20
Tiger 1974-04-27

Download

Tiger 1974-05-04
Tiger 1974-05-11
Tiger 1974-05-18
Tiger 1974-05-25 Tiger World Cup Booklet
Tiger 1974-05-25

Download

Tiger 1974-06-01
Tiger 1974-06-08
Tiger 1974-06-15
Tiger 1974-06-22
Tiger 1974-06-29

Download

Tiger 1974-07-06
Tiger 1974-07-13
Tiger 1974-07-20
Tiger 1974-07-27

Download

Tiger 1974-08-03
Tiger 1974-08-10
Tiger 1974-08-17
Tiger 1974-08-24
Tiger 1974-08-31

Download

Tiger 1974-09-07
Tiger 1974-09-14 Twenty Years of Sport
Tiger 1974-09-14
Tiger 1974-09-21
Tiger 1974-09-28

Download

Tiger 1974-10-05
Tiger 1974-10-12 Jack Charltons Stars of World Soccer
Tiger 1974-10-12
Tiger 1974-10-19
Tiger 1974-10-26

Download

Tiger 1974-11-02
Tiger 1974-11-09
Tiger 1974-11-16
Tiger 1974-11-23
Tiger 1974-11-30

Download

Tiger 1974-12-07
Tiger 1974-12-14
Tiger 1974-12-21
Tiger 1974-12-28

Download

============================

1975 1975 1975 1975 1975

============================

Tiger 1975-01-04
Tiger 1975-01-11
Tiger 1975-01-18
Tiger 1975-01-25

Download

Tiger 1975-02-01
Tiger 1975-02-08
Tiger 1975-02-15
Tiger 1975-02-22

Download

Tiger 1975-03-01
Tiger 1975-03-08
Tiger 1975-03-15
Tiger 1975-03-22
Tiger 1975-03-29

Download

Tiger 1975-04-05
Tiger 1975-04-12
Tiger 1975-04-19
Tiger 1975-04-26

Download

Tiger 1975-05-03
Tiger 1975-05-10
Tiger 1975-05-17
Tiger 1975-05-24
Tiger 1975-05-31

Download

Tiger 1975-06-07 Tony Greigs Stars of World Cricket
Tiger 1975-06-07
Tiger 1975-06-14
Tiger 1975-06-21
Tiger 1975-06-28

Download

Tiger 1975-07-05
Tiger 1975-07-12
Tiger 1975-07-19
Tiger 1975-07-26

Download

Tiger 1975-08-02
Tiger 1975-08-09
Tiger 1975-08-16
Tiger 1975-08-23
Tiger 1975-08-30

Download

Tiger 1975-09-06
Tiger 1975-09-13
Tiger 1975-09-20
Tiger 1975-09-27

Download

Tiger 1975-10-04
Tiger 1975-10-11
Tiger 1975-10-18
Tiger 1975-10-25

Download

Tiger 1975-11-01
Tiger 1975-11-08
Tiger 1975-11-15
Tiger 1975-11-22
Tiger 1975-11-29

Download

Tiger 1975-12-06
Tiger 1975-12-13
Tiger 1975-12-20
Tiger 1975-12-27

Download

============================

1976 1976 1976 1976 1976

============================

Tiger 1976-01-03
Tiger 1976-01-10
Tiger 1976-01-17
Tiger 1976-01-24
Tiger 1976-01-31

Download

Tiger 1976-02-07 Football Club Colours
Tiger 1976-02-07 Stars of British Sport
Tiger 1976-02-07
Tiger 1976-02-14
Tiger 1976-02-21
Tiger 1976-02-28

Download

Tiger 1976-03-06
Tiger 1976-03-13
Tiger 1976-03-20
Tiger 1976-03-27

Download

Tiger 1976-04-03
Tiger 1976-04-10
Tiger 1976-04-17
Tiger 1976-04-24

Download

Tiger 1976-05-01
Tiger 1976-05-08
Tiger 1976-05-15
Tiger 1976-05-22
Tiger 1976-05-29

Download

Tiger 1976-06-05
Tiger 1976-06-12
Tiger 1976-06-19
Tiger 1976-06-26

Download

Tiger 1976-07-03 Olympics 76
Tiger 1976-07-03
Tiger 1976-07-10
Tiger 1976-07-17
Tiger 1976-07-24
Tiger 1976-07-31

Download

Tiger 1976-08-07
Tiger 1976-08-14
Tiger 1976-08-21
Tiger 1976-08-28

Download

Tiger 1976-09-04
Tiger 1976-09-11
Tiger 1976-09-18
Tiger 1976-09-25

Download

Tiger 1976-10-02
Tiger 1976-10-09
Tiger 1976-10-16
Tiger 1976-10-23
Tiger 1976-10-30

Download

Tiger 1976-11-06
Tiger 1976-11-13 Stars of Sport
Tiger 1976-11-13
Tiger 1976-11-20
Tiger 1976-11-27

Download

Tiger 1976-12-04
Tiger 1976-12-11
Tiger 1976-12-18
Tiger 1976-12-25

Download

============================

1977 1977 1977 1977 1977

============================

Tiger 1977-01-01
Tiger 1977-01-08
Tiger 1977-01-15
Tiger 1977-01-22
Tiger 1977-01-29

Download

Tiger 1977-02-05
Tiger 1977-02-12
Tiger 1977-02-19
Tiger 1977-02-26

Download

Tiger 1977-03-05
Tiger 1977-03-12
Tiger 1977-03-19
Tiger 1977-03-26 Tribute to James Hunt
Tiger 1977-03-26

Download

Tiger 1977-04-02
Tiger 1977-04-09
Tiger 1977-04-16
Tiger 1977-04-23
Tiger 1977-04-30

Download

Tiger 1977-05-07
Tiger 1977-05-14
Tiger 1977-05-21
Tiger 1977-05-28

Download

Tiger 1977-06-04
Tiger 1977-06-11
Tiger 1977-06-18
Tiger 1977-06-25

Download

Tiger 1977-07-02
Tiger 1977-07-09
Tiger 1977-07-16
Tiger 1977-07-23
Tiger 1977-07-30

Download

Tiger 1977-08-06
Tiger 1977-08-13
Tiger 1977-08-20
Tiger 1977-08-27

Download

Tiger 1977-09-03
Tiger 1977-09-10
Tiger 1977-09-17
Tiger 1977-09-24 Sport 1977
Tiger 1977-09-24

Download

Tiger 1977-10-01
Tiger 1977-10-08
Tiger 1977-10-15
Tiger 1977-10-22
Tiger 1977-10-29

Download

Tiger 1977-11-05
Tiger 1977-11-12
Tiger 1977-11-19
Tiger 1977-11-26

Download

Tiger 1977-12-03
Tiger 1977-12-10
Tiger 1977-12-17
Tiger 1977-12-24
Tiger 1977-12-31

Download

============================

1978 1978 1978 1978 1978

============================

Weeks where the comic wasn’t published: 2 December 1978 to 16 December 1978

Tiger 1978-01-07
Tiger 1978-01-14
Tiger 1978-01-21
Tiger 1978-01-28

Download

Tiger 1978-02-04
Tiger 1978-02-11
Tiger 1978-02-18
Tiger 1978-02-25

Download

Tiger 1978-03-04
Tiger 1978-03-11
Tiger 1978-03-18
Tiger 1978-03-25

Download

Tiger 1978-04-01
Tiger 1978-04-08
Tiger 1978-04-15
Tiger 1978-04-22
Tiger 1978-04-29

Download

Tiger 1978-05-06
Tiger 1978-05-13
Tiger 1978-05-20
Tiger 1978-05-27

Download

Tiger 1978-06-03
Tiger 1978-06-10
Tiger 1978-06-17
Tiger 1978-06-24

Download

Tiger 1978-07-01
Tiger 1978-07-08
Tiger 1978-07-15
Tiger 1978-07-22
Tiger 1978-07-29 Commonwealth Games 1978 Poster
Tiger 1978-07-29

Download

Tiger 1978-08-05
Tiger 1978-08-12
Tiger 1978-08-19
Tiger 1978-08-26

Download

Tiger 1978-09-02 Sport Stars of the World
Tiger 1978-09-02
Tiger 1978-09-09
Tiger 1978-09-16
Tiger 1978-09-23
Tiger 1978-09-30

Download

Tiger 1978-10-07 Trevor Francis World Cup 78
Tiger 1978-10-07
Tiger 1978-10-14
Tiger 1978-10-21
Tiger 1978-10-28

Download

Tiger 1978-11-04
Tiger 1978-11-11
Tiger 1978-11-18
Tiger 1978-11-25

Download

Tiger 1978-12-23
Tiger 1978-12-30

Download

============================

1979 1979 1979 1979 1979

============================

Tiger 1979-01-06
Tiger 1979-01-13 Sports Diary 1979
Tiger 1979-01-13
Tiger 1979-01-20
Tiger 1979-01-27

Download

Tiger 1979-02-03
Tiger 1979-02-10
Tiger 1979-02-17
Tiger 1979-02-24

Download

Tiger 1979-03-03
Tiger 1979-03-10
Tiger 1979-03-17
Tiger 1979-03-24
Tiger 1979-03-31

Download

Tiger 1979-04-07
Tiger 1979-04-14
Tiger 1979-04-21
Tiger 1979-04-28

Download

Tiger 1979-05-05
Tiger 1979-05-12
Tiger 1979-05-19
Tiger 1979-05-26

Download

Tiger 1979-06-02
Tiger 1979-06-09
Tiger 1979-06-16
Tiger 1979-06-23
Tiger 1979-06-30

Download

Tiger 1979-07-07
Tiger 1979-07-14
Tiger 1979-07-21
Tiger 1979-07-28

Download

Tiger 1979-08-04
Tiger 1979-08-11
Tiger 1979-08-18
Tiger 1979-08-25

Download

Tiger 1979-09-01
Tiger 1979-09-08
Tiger 1979-09-15
Tiger 1979-09-22
Tiger 1979-09-29

Download

Tiger 1979-10-06
Tiger 1979-10-13
Tiger 1979-10-20
Tiger 1979-10-27

Download

Tiger 1979-11-03
Tiger 1979-11-10
Tiger 1979-11-17
Tiger 1979-11-24

Download

Tiger 1979-12-01
Tiger 1979-12-08
Tiger 1979-12-15
Tiger 1979-12-22
Tiger 1979-12-29

Download

Tiger 60s

Publisher: IPC
Publication Dates: 1954 – 1987
Number of Issues Published: 1555 (#1 – #1555)
Color: Colour
Dimensions: Magazine-size
Paper Stock: Newsprint
Binding: Saddle-stitched
Publishing Format: Was ongoing

Information thanks to the Grand Comics Database

============================

1960 1960 1960 1960 1960

============================

Tiger 1960-01-02
Tiger 1960-01-09
Tiger 1960-01-16
Tiger 1960-01-23
Tiger 1960-01-30

Download

Tiger 1960-02-06
Tiger 1960-02-13
Tiger 1960-02-20
Tiger 1960-02-27

Download

Tiger 1960-03-05
Tiger 1960-03-12
Tiger 1960-03-19
Tiger 1960-03-26

Download

Tiger 1960-04-02
Tiger 1960-04-09
Tiger 1960-04-16
Tiger 1960-04-23
Tiger 1960-04-30

Download

Tiger 1960-05-07
Tiger 1960-05-14
Tiger 1960-05-21
Tiger 1960-05-28

Download

Tiger 1960-06-04
Tiger 1960-06-11
Tiger 1960-06-18
Tiger 1960-06-25

Download

Tiger 1960-07-02
Tiger 1960-07-09
Tiger 1960-07-16
Tiger 1960-07-23
Tiger 1960-07-30

Download

Tiger 1960-08-13
Tiger 1960-08-20
Tiger 1960-08-27

Download

Tiger 1960-09-03
Tiger 1960-09-10
Tiger 1960-09-17
Tiger 1960-09-24 Tiger Album of Football Club Badges
Tiger 1960-09-24

Download

Tiger 1960-10-01
Tiger 1960-10-08
Tiger 1960-10-15
Tiger 1960-10-22
Tiger 1960-10-29

Download

Tiger 1960-11-05
Tiger 1960-11-12
Tiger 1960-11-19
Tiger 1960-11-26

Download

Tiger 1960-12-03
Tiger 1960-12-10
Tiger 1960-12-17
Tiger 1960-12-24
Tiger 1960-12-31

Download

============================

1961 1961 1961 1961 1961

============================

Tiger 1961-01-07
Tiger 1961-01-14
Tiger 1961-01-21
Tiger 1961-01-28

Download

Tiger 1961-02-04
Tiger 1961-02-11
Tiger 1961-02-18
Tiger 1961-02-25

Download

Tiger 1961-03-04
Tiger 1961-03-11
Tiger 1961-03-18
Tiger 1961-03-25

Download

Tiger 1961-04-01
Tiger 1961-04-08
Tiger 1961-04-15
Tiger 1961-04-22
Tiger 1961-04-29

Download

Tiger 1961-05-06
Tiger 1961-05-13
Tiger 1961-05-20
Tiger 1961-05-27

Download

Tiger 1961-06-03
Tiger 1961-06-10
Tiger 1961-06-17
Tiger 1961-06-24

Download

Tiger 1961-07-01
Tiger 1961-07-08
Tiger 1961-07-15
Tiger 1961-07-22
Tiger 1961-07-29

Download

Tiger 1961-08-05
Tiger 1961-08-12
Tiger 1961-08-19
Tiger 1961-08-26

Download

Tiger 1961-09-02
Tiger 1961-09-09
Tiger 1961-09-16
Tiger 1961-09-23
Tiger 1961-09-30

Download

Tiger 1961-10-07
Tiger 1961-10-14
Tiger 1961-10-21
Tiger 1961-10-28

Download

Tiger 1961-11-04
Tiger 1961-11-11
Tiger 1961-11-18
Tiger 1961-11-25

Download

Tiger 1961-12-02
Tiger 1961-12-09
Tiger 1961-12-16
Tiger 1961-12-23
Tiger 1961-12-30

Download

============================

1962 1962 1962 1962 1962

============================

Tiger 1962-01-06
Tiger 1962-01-13
Tiger 1962-01-20
Tiger 1962-01-27

Download

Tiger 1962-02-03
Tiger 1962-02-10
Tiger 1962-02-17
Tiger 1962-02-24

Download

Tiger 1962-03-03
Tiger 1962-03-10
Tiger 1962-03-17
Tiger 1962-03-24
Tiger 1962-03-31 Tiger Album of Modern sports cars of the world
Tiger 1962-03-31

Download

Tiger 1962-04-14
Tiger 1962-04-28

Download

Tiger 1962-05-05
Tiger 1962-05-12
Tiger 1962-05-19

Download

Tiger 1962-06-09
Tiger 1962-06-16

Download

Tiger 1962-07-14
Tiger 1962-07-21
Tiger 1962-07-28

Download

Tiger 1962-09-01
Tiger 1962-09-08

Download

Tiger 1962-10-13
Tiger 1962-10-20

Download

Tiger 1962-11-03
Tiger 1962-11-10
Tiger 1962-11-17
Tiger 1962-11-24

Download

Tiger 1962-12-01

Download

============================

1963 1963 1963 1963 1963

============================

Tiger 1963-01-05
Tiger 1963-01-19
Tiger 1963-01-26

Download

Tiger 1963-02-09
Tiger 1963-02-16
Tiger 1963-02-23

Download

Tiger 1963-03-02
Tiger 1963-03-09
Tiger 1963-03-16
Tiger 1963-03-23

Download

Tiger 1963-04-13
Tiger 1963-04-20
Tiger 1963-04-27

Download

Tiger 1963-05-11
Tiger 1963-05-18
Tiger 1963-05-25

Download

Tiger 1963-06-01
Tiger 1963-06-08
Tiger 1963-06-15
Tiger 1963-06-22
Tiger 1963-06-29

Download

Tiger 1963-07-06
Tiger 1963-07-13
Tiger 1963-07-20
Tiger 1963-07-27

Download

Tiger 1963-08-03
Tiger 1963-08-10
Tiger 1963-08-17
Tiger 1963-08-24
Tiger 1963-08-31

Download

Tiger 1963-09-07
Tiger 1963-09-14
Tiger 1963-09-21
Tiger 1963-09-28

Download

Tiger 1963-10-05
Tiger 1963-10-12
Tiger 1963-10-19
Tiger 1963-10-26

Download

Tiger 1963-11-02
Tiger 1963-11-09
Tiger 1963-11-16

Download

Tiger 1963-12-07
Tiger 1963-12-14
Tiger 1963-12-21

Download

============================

1964 1964 1964 1964 1964

============================

Tiger 1964-02-01

Download

Tiger 1964-03-14
Tiger 1964-03-28

Download

Tiger 1964-05-02
Tiger 1964-05-16
Tiger 1964-05-23
Tiger 1964-05-30

Download

Tiger 1964-06-06
Tiger 1964-06-20

Download

Tiger 1964-07-04

Download

Tiger 1964-08-15

Download

Tiger 1964-09-19

Download

============================

1965 1965 1965 1965 1965

============================

Tiger 1965-01-23

Download

Tiger 1965-02-06
Tiger 1965-02-20

Download

Tiger 1965-03-13
Tiger 1965-03-20

Download

Tiger 1965-04-24

Download

Tiger 1965-05-01
Tiger 1965-05-15
Tiger 1965-05-22
Tiger 1965-05-29

Download

Tiger 1965-06-05
Tiger 1965-06-12
Tiger 1965-06-19
Tiger 1965-06-26

Download

Tiger 1965-07-03
Tiger 1965-07-10
Tiger 1965-07-17
Tiger 1965-07-24
Tiger 1965-07-31

Download

Tiger 1965-08-07
Tiger 1965-08-14
Tiger 1965-08-21
Tiger 1965-08-28

Download

Tiger 1965-09-04
Tiger 1965-09-11
Tiger 1965-09-18
Tiger 1965-09-25

Download

Tiger 1965-10-02
Tiger 1965-10-09
Tiger 1965-10-16
Tiger 1965-10-23
Tiger 1965-10-30

Download

Tiger 1965-11-06
Tiger 1965-11-13
Tiger 1965-11-20
Tiger 1965-11-27

Download

Tiger 1965-12-04
Tiger 1965-12-11
Tiger 1965-12-18
Tiger 1965-12-25

Download

============================

1966 1966 1966 1966 1966

============================

Tiger 1966-01-01
Tiger 1966-01-08
Tiger 1966-01-15
Tiger 1966-01-22
Tiger 1966-01-29

Download

Tiger 1966-02-05
Tiger 1966-02-12
Tiger 1966-02-19
Tiger 1966-02-26

Download

Tiger 1966-03-05
Tiger 1966-03-12
Tiger 1966-03-19
Tiger 1966-03-26

Download

Tiger 1966-04-02
Tiger 1966-04-09
Tiger 1966-04-16
Tiger 1966-04-23
Tiger 1966-04-30

Download

Tiger 1966-05-07
Tiger 1966-05-14
Tiger 1966-05-21
Tiger 1966-05-28

Download

Tiger 1966-06-04
Tiger 1966-06-11
Tiger 1966-06-18
Tiger 1966-06-25

Download

Tiger 1966-07-02
Tiger 1966-07-09
Tiger 1966-07-16
Tiger 1966-07-23
Tiger 1966-07-30

Download

Tiger 1966-08-06
Tiger 1966-08-13
Tiger 1966-08-20
Tiger 1966-08-27

Download

Tiger 1966-09-03
Tiger 1966-09-10
Tiger 1966-09-17
Tiger 1966-09-24

Download

Tiger 1966-10-01
Tiger 1966-10-08
Tiger 1966-10-15
Tiger 1966-10-22
Tiger 1966-10-29

Download

Tiger 1966-11-05
Tiger 1966-11-12
Tiger 1966-11-19
Tiger 1966-11-26

Download

Tiger 1966-12-03
Tiger 1966-12-10
Tiger 1966-12-17
Tiger 1966-12-24
Tiger 1966-12-31

Download

============================

1967 1967 1967 1967 1967

============================

Tiger 1967-01-07
Tiger 1967-01-14
Tiger 1967-01-21
Tiger 1967-01-28

Download

Tiger 1967-02-04
Tiger 1967-02-11
Tiger 1967-02-18
Tiger 1967-02-25

Download

Tiger 1967-03-04
Tiger 1967-03-11
Tiger 1967-03-18
Tiger 1967-03-25

Download

Tiger 1967-04-01
Tiger 1967-04-08
Tiger 1967-04-15
Tiger 1967-04-22
Tiger 1967-04-29

Download

Tiger 1967-05-06
Tiger 1967-05-13
Tiger 1967-05-20
Tiger 1967-05-27

Download

Tiger 1967-06-03
Tiger 1967-06-10
Tiger 1967-06-17
Tiger 1967-06-24

Download

Tiger 1967-07-01
Tiger 1967-07-08
Tiger 1967-07-15
Tiger 1967-07-22
Tiger 1967-07-29

Download

Tiger 1967-08-05
Tiger 1967-08-12
Tiger 1967-08-19
Tiger 1967-08-26

Download

Tiger 1967-09-02
Tiger 1967-09-09
Tiger 1967-09-16
Tiger 1967-09-23
Tiger 1967-09-30

Download

Tiger 1967-10-07
Tiger 1967-10-14
Tiger 1967-10-21
Tiger 1967-10-28

Download

Tiger 1967-11-04
Tiger 1967-11-11
Tiger 1967-11-18
Tiger 1967-11-25

Download

Tiger 1967-12-02
Tiger 1967-12-09
Tiger 1967-12-16
Tiger 1967-12-23
Tiger 1967-12-30

Download

============================

1968 1968 1968 1968 1968

============================

Tiger 1968-01-06
Tiger 1968-01-13
Tiger 1968-01-20
Tiger 1968-01-27

Download

Tiger 1968-02-03
Tiger 1968-02-10
Tiger 1968-02-17
Tiger 1968-02-24

Download

Tiger 1968-03-02
Tiger 1968-03-09
Tiger 1968-03-16
Tiger 1968-03-23
Tiger 1968-03-30

Download

Tiger 1968-04-06
Tiger 1968-04-13
Tiger 1968-04-20
Tiger 1968-04-27

Download

Tiger 1968-05-04
Tiger 1968-05-11
Tiger 1968-05-18
Tiger 1968-05-25

Download

Tiger 1968-06-01
Tiger 1968-06-08
Tiger 1968-06-15
Tiger 1968-06-22
Tiger 1968-06-29

Download

Tiger 1968-07-06
Tiger 1968-07-13
Tiger 1968-07-20
Tiger 1968-07-27

Download

Tiger 1968-08-03
Tiger 1968-08-10
Tiger 1968-08-17
Tiger 1968-08-24
Tiger 1968-08-31

Download

Tiger 1968-09-07
Tiger 1968-09-14
Tiger 1968-09-21
Tiger 1968-09-28

Download

Tiger 1968-10-05
Tiger 1968-10-12
Tiger 1968-10-19
Tiger 1968-10-26

Download

Tiger 1968-11-02
Tiger 1968-11-09
Tiger 1968-11-16
Tiger 1968-11-23
Tiger 1968-11-30

Download

Tiger 1968-12-07
Tiger 1968-12-14
Tiger 1968-12-21
Tiger 1968-12-28

Download

============================

1969 1969 1969 1969 1969

============================

Tiger 1969-01-04
Tiger 1969-01-11
Tiger 1969-01-18
Tiger 1969-01-25

Download

Tiger 1969-02-01
Tiger 1969-02-08
Tiger 1969-02-15
Tiger 1969-02-22

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Tiger 1969-03-01
Tiger 1969-03-08
Tiger 1969-03-15
Tiger 1969-03-22
Tiger 1969-03-29

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Tiger 1969-04-05
Tiger 1969-04-12
Tiger 1969-04-19
Tiger 1969-04-26

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Tiger 1969-05-03
Tiger 1969-05-10
Tiger 1969-05-17
Tiger 1969-05-24
Tiger 1969-05-31

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Tiger 1969-06-07
Tiger 1969-06-14
Tiger 1969-06-21
Tiger 1969-06-28

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Tiger 1969-07-05
Tiger 1969-07-12
Tiger 1969-07-19
Tiger 1969-07-26

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Tiger 1969-08-02
Tiger 1969-08-09
Tiger 1969-08-16
Tiger 1969-08-23
Tiger 1969-08-30

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Tiger 1969-09-06
Tiger 1969-09-13
Tiger 1969-09-20
Tiger 1969-09-27

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Tiger 1969-10-04
Tiger 1969-10-11
Tiger 1969-10-18
Tiger 1969-10-25

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Tiger 1969-11-01
Tiger 1969-11-08
Tiger 1969-11-15
Tiger 1969-11-22
Tiger 1969-11-29

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Tiger 1969-12-06
Tiger 1969-12-13
Tiger 1969-12-20
Tiger 1969-12-27

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Tiger 50’s

Publisher: IPC
Publication Dates: 1954 – 1987
Number of Issues Published: 1555 (#1 – #1555)
Color: Colour
Dimensions: Magazine-size
Paper Stock: Newsprint
Binding: Saddle-stitched
Publishing Format: Was ongoing

Information thanks to the Grand Comics Database

Tiger was a British comic magazine published from 1954 to 1987. The comic was launched under the editorship of Derek Birnage on 11 September 1954, under the name Tiger – The Sport and Adventure Picture Story Weekly, and featured predominantly sporting strips. Its most popular strip was Roy of the Rovers, a football-based strip recounting the life of Roy Race and the team he played for, Melchester Rovers. This strip proved so successful it was spun out of Tiger and into its own comic. The next Editor was Barrie Tomlinson. Barrie became Group Editor in 1976, with Paul Gettens as Editor. Following successive mergers with other Fleetway publications in the 1960s the comic was known as Tiger and Hurricane, then Tiger and Jag, then it was coupled with the football magazine Scorcher in 1974, resulting in Tiger and Scorcher appearing for more than 6 years. Later there was a further, less successful, merger with another comic called Speed, in 1980. The end finally came on 30 March 1985, with some strips moving to The Eagle. In all, 1,555 issues were published, as well as a number of hard-cover annuals. Editorial Assistants have included Tony Peagam, Paul Gettens, Terence Magee Art Editors included Mike Swanson, Trish Gordon-Pugh Art Assistant: Maurice Dolphin Letterers: Stanley Richardson, Paul Bensberg, Peter Knight, John Aldrich.

List of notable strips:

Billy’s Boots(writer Fred Baker artist John Gilliat) – moved to Eagle, then Roy of the Rovers
Death Wish(writer Barrie Tomlinson artist Vano) – moved to Eagle
Fairs Please!
File of Fame(writer Terence Magee artist Jim Bleach)
Fisty Flynn
Football Family Robinson(writer Fred Baker artist Joe Colquhoun) about a lower division side called Thatchem United. All players had to be Robinson family members under the tutelage of Grandma Robinson. Team members included Crash Robinson (goalie), Alf Robinson, Fred Robinson, Grizzly Bear Robinson, Ron Robinson and Tich Robinson. Their biggest moment was when they got to Wembley and won the League Cup, in a manner similar to Swindon Town’s 1969 victory over Arsenal in the same competition. The story resumed in Roy of the Rovers in the late 1970s.
Golden Boy – moved to Eagle
Hot Shot Hamish(writer Fred Baker artist Julio Schiaffino) – moved to Roy of the Rovers
Jet-Ace Logan
Johnny Cougar (writer Barrie Tomlinson artist Sandy James) – A native American wrestler who grappled with a number of colourful opponents.
King Of The Track (writer Paul Gettens artist?)
Martin’s Marvellous Mini (writer Fred Baker, artist David Sque)
Nipper(writer Tom Tully artist Roylance)
Olac the Gladiator
Paceman
Rod And Line(writer Paul Gettens artist ?)
Roy of the Rovers (writer Tom Tully, artists David Sque[8] and Yvonne Hutton) – spun off into its own comic in 1976 (but continued to have stories in Tiger for a couple of years after this)
Skid Solo(writer Fred Baker artist John Vernon) – a British Formula 1 Driver in the 70s/80s
Sintek
The Slogger from Down Under
The Strong Guy
Star Rider – moved to Eagle
The Suicide Six
Tallon of the Track – tomboy Jo Tallon runs the Flying Ospreys speedway team
Topps On Two Wheels (title later changed to Topps)
The Tough Game – a rugby league story involving the exploits of three friends, Duggie Batson, Big Ernie Barnes and Ape Man.
Typhoon Tracy, Trouble-shooter

In addition, sports stars such as Tony Greig, Geoff Boycott, Trevor Francis, Ian Botham and Charlie Nicholas wrote columns for Tiger. Also many TV stars such as Morecambe and Wise appeared in Christmas issues, usually dressed up as Santa Claus!

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1954 1954 1954 1954 1954

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Tiger 1954-09-11

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Tiger 1954-09-18

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Tiger 1954-10-30

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Tiger 1954-11-06
Tiger 1954-11-13
Tiger 1954-11-20

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Tiger 1954-12-04

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1955 1955 1955 1955 1955

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Tiger 1955-01-01
Tiger 1955-01-08
Tiger 1955-01-15
Tiger 1955-01-22
Tiger 1955-01-29

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Tiger 1955-02-05
Tiger 1955-02-26

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Tiger 1955-03-05
Tiger 1955-03-12
Tiger 1955-03-19
Tiger 1955-03-26

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Tiger 1955-04-02
Tiger 1955-04-09
Tiger 1955-04-16
Tiger 1955-04-23
Tiger 1955-04-30

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Tiger 1955-05-07
Tiger 1955-05-14
Tiger 1955-05-21
Tiger 1955-05-28

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Tiger 1955-06-04
Tiger 1955-06-11
Tiger 1955-06-18
Tiger 1955-06-25

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Tiger 1955-07-02
Tiger 1955-07-09
Tiger 1955-07-16
Tiger 1955-07-23
Tiger 1955-07-30

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Tiger 1955-08-06
Tiger 1955-08-13
Tiger 1955-08-20
Tiger 1955-08-27

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Tiger 1955-09-03
Tiger 1955-09-10
Tiger 1955-09-17
Tiger 1955-09-24

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Tiger 1955-10-01
Tiger 1955-10-08
Tiger 1955-10-15
Tiger 1955-10-22
Tiger 1955-10-29

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Tiger 1955-11-05
Tiger 1955-11-12
Tiger 1955-11-19
Tiger 1955-11-26

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Tiger 1955-12-03
Tiger 1955-12-10
Tiger 1955-12-17
Tiger 1955-12-24
Tiger 1955-12-31

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1956 1956 1956 1956 1956

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Tiger 1956-01-07
Tiger 1956-01-14
Tiger 1956-01-21
Tiger 1956-01-28 Every Boys Cup Tie Album
Tiger 1956-01-28

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Tiger 1956-02-04
Tiger 1956-02-11
Tiger 1956-02-18
Tiger 1956-02-25

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Tiger 1956-03-03 until 04-14

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Tiger 1956-04-21
Tiger 1956-04-28

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Tiger 1956-05-05
Tiger 1956-05-12
Tiger 1956-05-19
Tiger 1956-05-26

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Tiger 1956-06-02
Tiger 1956-06-09
Tiger 1956-06-16
Tiger 1956-06-23

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Tiger 1956-07-07
Tiger 1956-07-14
Tiger 1956-07-21
Tiger 1956-07-28

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Tiger 1956-08-04
Tiger 1956-08-11
Tiger 1956-08-18
Tiger 1956-08-25

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Tiger 1956-09-01
Tiger 1956-09-08
Tiger 1956-09-15
Tiger 1956-09-22
Tiger 1956-09-29

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Tiger 1956-10-06
Tiger 1956-10-13
Tiger 1956-10-20
Tiger 1956-10-27

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Tiger 1956-11-03
Tiger 1956-11-17
Tiger 1956-11-24

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Tiger 1956-12-01
Tiger 1956-12-08
Tiger 1956-12-15
Tiger 1956-12-22
Tiger 1956-12-29

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1957 1957 1957 1957 1957

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Tiger 1957-01-05
Tiger 1957-01-12
Tiger 1957-01-19

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Tiger 1957-02-02
Tiger 1957-02-09
Tiger 1957-02-16
Tiger 1957-02-23

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Tiger 1957-03-02
Tiger 1957-03-09
Tiger 1957-03-16
Tiger 1957-03-23
Tiger 1957-03-30

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Tiger 1957-04-13
Tiger 1957-04-20
Tiger 1957-04-27

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Tiger 1957-05-04
Tiger 1957-05-11
Tiger 1957-05-18
Tiger 1957-05-25

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Tiger 1957-06-01
Tiger 1957-06-08
Tiger 1957-06-15
Tiger 1957-06-22
Tiger 1957-06-29

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Tiger 1957-07-06
Tiger 1957-07-13
Tiger 1957-07-20
Tiger 1957-07-27

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Tiger 1957-08-03
Tiger 1957-08-10
Tiger 1957-08-17
Tiger 1957-08-24
Tiger 1957-08-31

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Tiger 1957-09-14
Tiger 1957-09-21
Tiger 1957-09-28

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Tiger 1957-10-05
Tiger 1957-10-19
Tiger 1957-10-26

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Tiger 1957-11-02
Tiger 1957-11-09
Tiger 1957-11-16
Tiger 1957-11-23
Tiger 1957-11-30

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Tiger 1957-12-07
Tiger 1957-12-14
Tiger 1957-12-21
Tiger 1957-12-28

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1958 1958 1958 1958 1958

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Tiger 1958-01-11
Tiger 1958-01-18
Tiger 1958-01-25

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Tiger 1958-02-01
Tiger 1958-02-08
Tiger 1958-02-15
Tiger 1958-02-22

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Tiger 1958-03-01
Tiger 1958-03-08
Tiger 1958-03-15
Tiger 1958-03-22
Tiger 1958-03-29

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Tiger 1958-04-12
Tiger 1958-04-19
Tiger 1958-04-26

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Tiger 1958-05-03
Tiger 1958-05-10
Tiger 1958-05-17
Tiger 1958-05-31

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Tiger 1958-06-14
Tiger 1958-06-21

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Tiger 1958-07-12
Tiger 1958-07-19

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Tiger 1958-08-09
Tiger 1958-08-16
Tiger 1958-08-23
Tiger 1958-08-30

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Tiger 1958-09-06
Tiger 1958-09-13
Tiger 1958-09-20
Tiger 1958-09-27

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Tiger 1958-10-04
Tiger 1958-10-11
Tiger 1958-10-18
Tiger 1958-10-25

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Tiger 1958-11-01
Tiger 1958-11-08
Tiger 1958-11-15
Tiger 1958-11-22
Tiger 1958-11-29

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Tiger 1958-12-06
Tiger 1958-12-13
Tiger 1958-12-20

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1959 1959 1959 1959 1959

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Weeks where the comic wasn’t published: 4 July 1959 to 15 August 1959

Tiger 1959-01-03
Tiger 1959-01-10
Tiger 1959-01-17
Tiger 1959-01-24
Tiger 1959-01-31

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Tiger 1959-02-07
Tiger 1959-02-14
Tiger 1959-02-21
Tiger 1959-02-28

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Tiger 1959-03-07
Tiger 1959-03-14
Tiger 1959-03-21
Tiger 1959-03-28

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Tiger 1959-04-04
Tiger 1959-04-11
Tiger 1959-04-18
Tiger 1959-04-25

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Tiger 1959-05-02
Tiger 1959-05-09
Tiger 1959-05-16
Tiger 1959-05-23
Tiger 1959-05-30

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Tiger 1959-06-06
Tiger 1959-06-13

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Tiger 1959-07

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Tiger 1959-08-29

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Tiger 1959-09-05
Tiger 1959-09-12
Tiger 1959-09-19
Tiger 1959-09-26

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Tiger 1959-10-03
Tiger 1959-10-10
Tiger 1959-10-17
Tiger 1959-10-24
Tiger 1959-10-31

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Tiger 1959-11-07
Tiger 1959-11-14
Tiger 1959-11-21
Tiger 1959-11-28

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Tiger 1959-12-05
Tiger 1959-12-12
Tiger 1959-12-19
Tiger 1959-12-26

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Wonder Weekly

Publisher: Esso
Publication Dates: 1968 – 1969
Number of Issues Published: 52 (#1 – #52)
Color: Colour cover; colour and black and white interior
Binding: Saddle-stitched
Publishing Format: Promotionals; Was ongoing
Publication Type: magazine

Information thanks to the Grand Comics Database

Wonder Weekly 02

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3,5,7,8,11

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Sonic the Comic

Publisher: Fleetway Publications
Publication Dates: 29th May 1993 – 2002
Number of Issues Published: 184 (#1 – #184)
Color: Colour
Dimensions: Magazine-size
Paper Stock: Glossy
Binding: Saddle-stitched
Publishing Format: Was ongoing

Information thanks to the Grand Comics Database

The original price for Sonic the Comic was 95 pence, increasing to £1.35 by the final issue. The comic generally contained four comic strip stories, each usually following different storylines and being written and drawn by different writers and artists. The first was always a seven-page story about Sonic himself (except for #148 which began with the Tails strip), and in the earliest issues, the remaining three would involve a different Sega game character (see list below). Later, the Sega backup strips were supplanted by stories focusing on supporting Sonic characters such as Tails, Knuckles, Amy and Chaotix. The anthology “Sonic’s World” featured a variety of events in the STC world not covered by the main character strips.

The different strips could at times contrast heavily with each other, with different strips aimed at different age groups or with a different balance between comedy and drama: the humour-based Decap Attack strip could appear alongside the darker and more violent Streets of Rage strip. Lew Stringer has stated that majority of readers were aged between five and ten and many strips were written with this in mind: “That doesn’t mean that older readers can’t appreciate the stories and artwork of course but it’s worth bearing in mind that if the stories sometimes seem juvenile, it’s because they are. Having said that, it doesn’t mean we can be sloppy because we’re ‘just’ writing for kids”.

Aside from the comic strips, for its first few years STC regularly featured content related to Sega videogaming. Fitting in with the Sonic convention of calling levels “Zones”, these sections were given such titles as the “Q-Zone” (which featured videogame tips and cheats), the “News Zone” and the “Review Zone”. Readers’ artwork was printed in the “Graphic Zone”, and letters were featured in “Speedlines”.

Sonic the Comic, known to its many readers as STC, was a British children’s comic published fortnightly by Fleetway Editions (the merged companies Fleetway and London Editions, which progressively became integrated with its parent company Egmont until it became known as Egmont Magazines) between 1993 and 2002. It was the UK’s official Sega comic, featuring stories about its mascot Sonic the Hedgehog and related characters, as well as comic strips based on other Sega video games.

The dates sometimes are a bit out of line, i used the dates on the covers

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1993 1993 1993 1993 1993

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Sonic the Comic 1993-05-29
Sonic the Comic 1993-06-12
Sonic the Comic 1993-06-26
Sonic the Comic 1993-07-10
Sonic the Comic 1993-07-24
Sonic the Comic 1993-08-07
Sonic the Comic 1993-08-21
Sonic the Comic 1993-09-04
Sonic the Comic 1993-09-18
Sonic the Comic 1993-10-02
Sonic the Comic 1993-10-16
Sonic the Comic 1993-10-30
Sonic the Comic 1993-11-13
Sonic the Comic 1993-11-27
Sonic the Comic 1993-12-11
Sonic the Comic 1993-12-25

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1994 1994 1994 1994 1994

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Sonic the Comic 1994-01-21
Sonic the Comic 1994-02-04
Sonic the Comic 1994-02-18
Sonic the Comic 1994-03-04
Sonic the Comic 1994-03-18
Sonic the Comic 1994-04-01
Sonic the Comic 1994-04-15
Sonic the Comic 1994-04-29
Sonic the Comic 1994-05-13
Sonic the Comic 1994-05-27
Sonic the Comic 1994-06-10
Sonic the Comic 1994-06-24

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Sonic the Comic 1994-07-08
Sonic the Comic 1994-07-22
Sonic the Comic 1994-08-05
Sonic the Comic 1994-08-19
Sonic the Comic 1994-09-02
Sonic the Comic 1994-09-16
Sonic the Comic 1994-09-30
Sonic the Comic 1994-10-14
Sonic the Comic 1994-10-28
Sonic the Comic 1994-11-11
Sonic the Comic 1994-11-25
Sonic the Comic 1994-12-09
Sonic the Comic 1994-12-23

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1995 1995 1995 1995 1995

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Sonic the Comic 1995-01-06
Sonic the Comic 1995-01-20
Sonic the Comic 1995-02-03
Sonic the Comic 1995-02-17
Sonic the Comic 1995-03-03
Sonic the Comic 1995-03-17
Sonic the Comic 1995-03-31
Sonic the Comic 1995-04-14
Sonic the Comic 1995-04-28
Sonic the Comic 1995-05-12
Sonic the Comic 1995-05-26
Sonic the Comic 1995-06-09
Sonic the Comic 1995-06-23

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Sonic the Comic 1995-07-07
Sonic the Comic 1995-07-21
Sonic the Comic 1995-08-04
Sonic the Comic 1995-08-18
Sonic the Comic 1995-09-01
Sonic the Comic 1995-09-15
Sonic the Comic 1995-09-29
Sonic the Comic 1995-10-13
Sonic the Comic 1995-10-27
Sonic the Comic 1995-11-10
Sonic the Comic 1995-11-24
Sonic the Comic 1995-12-08
Sonic the Comic 1995-12-22

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1996 1996 1996 1996 1996

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Sonic the Comic 1996-01-05
Sonic the Comic 1996-01-19
Sonic the Comic 1996-02-02
Sonic the Comic 1996-02-16
Sonic the Comic 1996-03-01
Sonic the Comic 1996-03-15
Sonic the Comic 1996-03-29
Sonic the Comic 1996-04-12
Sonic the Comic 1996-04-26
Sonic the Comic 1996-05-10
Sonic the Comic 1996-05-24
Sonic the Comic 1996-06-07
Sonic the Comic 1996-06-21

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Sonic the Comic 1996-07-05
Sonic the Comic 1996-07-19
Sonic the Comic 1996-08-02
Sonic the Comic 1996-08-16
Sonic the Comic 1996-08-30
Sonic the Comic 1996-09-17
Sonic the Comic 1996-10-01
Sonic the Comic 1996-10-15
Sonic the Comic 1996-10-29
Sonic the Comic 1996-11-12
Sonic the Comic 1996-11-26
Sonic the Comic 1996-12-10
Sonic the Comic 1996-12-24

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1997 1997 1997 1997 1997

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Sonic the Comic 1997-01-06
Sonic the Comic 1997-01-21
Sonic the Comic 1997-02-04
Sonic the Comic 1997-02-18
Sonic the Comic 1997-03-04
Sonic the Comic 1997-03-18
Sonic the Comic 1997-04-01
Sonic the Comic 1997-04-15
Sonic the Comic 1997-04-29
Sonic the Comic 1997-05-13
Sonic the Comic 1997-05-27
Sonic the Comic 1997-06-10
Sonic the Comic 1997-06-24

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Sonic the Comic 1997-07-08
Sonic the Comic 1997-07-22
Sonic the Comic 1997-08-05
Sonic the Comic 1997-08-19
Sonic the Comic 1997-09-02
Sonic the Comic 1997-09-16
Sonic the Comic 1997-09-30
Sonic the Comic 1997-10-14
Sonic the Comic 1997-10-28
Sonic the Comic 1997-11-11
Sonic the Comic 1997-11-25
Sonic the Comic 1997-12-16
Sonic the Comic 1997-12-30

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1998 1998 1998 1998 1998

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Sonic the Comic 1998-01-13
Sonic the Comic 1998-01-27
Sonic the Comic 1998-02-10
Sonic the Comic 1998-02-24
Sonic the Comic 1998-02-25
Sonic the Comic 1998-03-11
Sonic the Comic 1998-03-25
Sonic the Comic 1998-04-08
Sonic the Comic 1998-04-22
Sonic the Comic 1998-05-06
Sonic the Comic 1998-05-20
Sonic the Comic 1998-06-03
Sonic the Comic 1998-06-17

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Sonic the Comic 1998-07-01
Sonic the Comic 1998-07-15
Sonic the Comic 1998-07-29
Sonic the Comic 1998-08-12
Sonic the Comic 1998-08-26
Sonic the Comic 1998-09-09
Sonic the Comic 1998-09-23
Sonic the Comic 1998-10-07
Sonic the Comic 1998-10-21
Sonic the Comic 1998-11-04
Sonic the Comic 1998-11-18
Sonic the Comic 1998-12-02
Sonic the Comic 1998-12-16
Sonic the Comic 1998-12-30

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1999 1999 1999 1999 1999

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Sonic the Comic 1999-01-13
Sonic the Comic 1999-01-27
Sonic the Comic 1999-02-10
Sonic the Comic 1999-02-24
Sonic the Comic 1999-03-10
Sonic the Comic 1999-03-24
Sonic the Comic 1999-04-07
Sonic the Comic 1999-04-21
Sonic the Comic 1999-05-05
Sonic the Comic 1999-05-19
Sonic the Comic 1999-06-02
Sonic the Comic 1999-06-16
Sonic the Comic 1999-06-30

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Sonic the Comic 1999-07-14
Sonic the Comic 1999-07-28
Sonic the Comic 1999-08-11
Sonic the Comic 1999-08-25
Sonic the Comic 1999-09-08
Sonic the Comic 1999-09-22
Sonic the Comic 1999-10-06
Sonic the Comic 1999-10-20
Sonic the Comic 1999-11-03
Sonic the Comic 1999-11-17
Sonic the Comic 1999-12-01
Sonic the Comic 1999-12-15

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VARIOUS VARIOUS VARIOUS

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Sonic the Comic – Holiday Special – Summer 1994

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Sonic the Comic – Holiday Special – Summer 1995

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Sonic the Comic – Holiday Special – Summer 1996

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Sonic the Comic – Knuckles Knock-Out Special

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Sonic the Comic – Launch Advertisment – 06-1993

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Sonic the Comic – Yearbook 1991

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Sonic the Comic – Yearbook 1992

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Pippin

Publisher: Polystyle Publications
Publication Dates: 1966 – 1975
Number of Issues Published: 459 (#1 – #459)
Color: Colour
Publishing Format: Was ongoing
Publication Type: magazine

Numbering continues with Pippin in Playland (Polystyle Publications, 1975 series) #460

Information thanks to the Grand Comics Database

Pippin was a UK children’s comic, published by Polystyle Publications between 1966 and 1986, featuring characters from British pre-school television programmes. Stories were generally of four or eight numbered panels, with a short sentence below each illustration (similar to Rupert), although some stories did appear in prose form.

Regular stories included The Pogles (whose Pippin character gave the comic its name), Bizzy Lizzy, Joe, The Woodentops, Andy Pandy, Bill and Ben, Camberwick Green, Trumpton and Chigley, Titch and Quackers, Toytown, Mary Mungo & Midge, The Moonbeans, Tales of the Riverbank, The Herbs, Mr Benn, Teddy Edward, Barnaby the Bear, Ivor the Engine, Rubovia and Sooty and Sweep. Andy Pandy and Bill and Ben also appeared regularly in Robin.

Each issue was around 16 pages in colour and black and white, and also featured a puzzle page, readers letters and photographs, and a Bible story.

Each year a hardback annual was published, containing new stories and puzzles, and regular holiday specials. Around 1983 a special winter holiday edition reprinted some old strips from the past 15 years (“ask your older brothers or sisters”).

A companion comic, Playland, was launched in 1968 and ran alongside Pippin until 1975 when the two titles were merged under the title Pippin in Playland – although each continued to issue separate annuals at Christmas. Several strips, such as Sooty, Andy Pandy, The Herbs and Camberwick Green, appeared in both comics at one time or another.

First published 24 September 1966, the final edition appeared on 26 September 1986 (absorbed into Buttons). Artists included Neville Main and Bill Melvin.

Pippin ran for 1044 issues.

UPDATE 2022-04-05

Pippin 1966-09-24
Pippin 1966-11-05
Pippin 1966-11-12
Pippin 1966-11-19
Pippin 1966-11-26
Pippin 1966-12-10
Pippin 1968-01-08
Pippin 1968-03-02

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Pippin 1968-09-14
Pippin 1968-11-16
Pippin 1969-05-31
Pippin 1969-10-25
Pippin 1969-10-26
Pippin 1969-11-01
Pippin 1972-10-29

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081,108,115,123,132,139,144,158,159,165

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2,5,43,169,173,175,270

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89,94,95

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Space 1999

Publisher: World Distributors
Publication Dates: 1975 – 1979
Number of Issues Published: 5 (#1975 – #1979)
Color: colour
Dimensions: 20 cm x 27 cm
Paper Stock: bond
Binding: hardcover
Publishing Format: annual

Space: 1999 is a British science-fiction television programme that ran for two series and originally aired from 1975 to 1977. In the opening episode, set in the year 1999, nuclear waste stored on the Moon’s far side explodes, knocking the Moon out of orbit and sending it, as well as the 311 inhabitants of Moonbase Alpha, hurtling uncontrollably into space. Space: 1999 was the last production by the partnership of Gerry and Sylvia Anderson and was the most expensive series produced for British television up to that time. The first series was co-produced by ITC Entertainment and Italian broadcaster RAI, while the second series was produced solely by ITC.

Annual 1976,1977,1978

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Annual 1979,1980

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Rampage

Rampage Weekly

Publisher: Marvel UK
Publication Dates: 1977 – June 7, 1978
Number of Issues Published: 34 (#1 – #34)
Color: Colour
Dimensions: Magazine Size
Binding: Saddle-Stitched

Rampage Monthly

Publisher: Marvel UK
Publication Dates: 1978 – December 1982
Number of Issues Published: 54 (#1 – #54)
Color: Colour cover; Black and White interior
Dimensions: Magazine
Paper Stock: Glossy cover; newsprint interior
Binding: Saddle-stitched
Publishing Format: Was Ongoing Series
Publication Type: magazine

Information thanks to the Grand Comics Database

Rampage Weekly was launched by Marvel UK as a weekly title on 19th October 1977, featuring reprints of the American Marvel titles ‘The Defenders’ and ‘The Man Called Nova’. In common with other newly launched titles of the era (such as Complete Fantastic Four), the first two issues contained free gifts, small plastic model aeroplane kits (a concorde in issue #1, a ‘Stratocruiser’ in #2). The weekly lasted 34 issues until the end of May 1978, and it was relaunched as Rampage Monthly in July of the same year.

Rampage Monthly initially featured reprints from the US black & white magazine ‘Rampaging Hulk’ (starring the Hulk, initially backed up by The Defenders and Nova (continued from the weekly, obviously), then Dr Strange (replacing Nova), and later (from issue #8) the ‘All-New, All different X-Men’ (until then, British Marvel readers had not yet seen the ‘new’ X-Men, who had actually debuted in 1975 in the US). The X-Men eventually became the magazine’s lead strip, while the Hulk (who effectively had star billing in many of the early issues, his logo being bigger than the actual magazine logo!) was dropped once the magazine reprints dried up, and replaced by other features including Luke Cage: Hero for Hire, Iron Fist and The Thing (the latter starring in team-up strips reprinted from ‘Marvel Two-in-One’). The title was revamped slightly when the Hulk strips were dropped, becoming ‘Rampage Magazine’ from issue #28.

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RAMPAGE WEEKLY

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01-03

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04-06

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07-09

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10-12

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13-15

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16-18

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19-21

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22-24

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25-27

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28-30

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31-34

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RAMPAGE MONTHLY

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01-03

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04-06

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07-09

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Rampage Monthly 12

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11,14,15

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Rampage Monthly 13

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Rampage Monthly 18

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Rampage Monthly 19

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Rampage Monthly 21

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Rampage Monthly 22

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Rampage Monthly 23

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Rampage Monthly 24
Rampage Monthly 25

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20,26,27,28

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Rampage Monthly 29
Rampage Monthly 30

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Rampage Monthly 31
Rampage Monthly 32
Rampage Monthly 33

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Rampage Monthly 34

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Rampage Monthly 35
Rampage Monthly 46
Rampage Monthly 53

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40-42

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43-45,50,51

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X-Men

Publisher: Marvel UK
Publication Dates: 1983 – 1983
Number of Issues Published: 17 (#1 – #17)
Color: Colour
Dimensions: Tabloid Binding: Saddle-Stitched
Publishing Format: Was Ongoing Series

Information thanks to the Grand Comics Database

Original X-Men 03
Original X-Men 04
Original X-Men 05

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Original X-Men 01
Original X-Men 02
Original X-Men 06

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X-Men Collectors Edition 1981

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X-Men Collector’s Edition 1982

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X-Men Pocket Book 13
X-Men Pocket Book 14
X-Men Pocket Book 15

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X-Men Pocket Book 16
X-men Pocket Book 24
X-Men Pocket Book 27

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Marvel Comic

Publisher: Marvel UK
Publication Dates: January 24, 1979 – July 25, 1979
Number of Issues Published: 23 (#330 – #352)
Color: Colour cover; Black-and-white interior
Dimensions: Magazine-size
Paper Stock: Newsprint Binding: Saddle-stitched
Publishing Format: Was ongoing
Publication Type: magazine

Numbering continues from The Mighty World of Marvel (Marvel UK, 1972 series) #329

Merged into The Spectacular Spider-Man Weekly (Marvel UK, 1979 series) #334Note:logo continues in Spider-Man, numbering continues in Marvel Superheroes

Numbering continues with Marvel Superheroes [Marvel Super-Heroes] (Marvel UK, 1979 series) #353

Cover often reads “The New Marvel Comic.

Information thanks to the Grand Comics Database

Marvel Comic 349

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Marvel Comic 339
Marvel Comic 351

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Marvel Comic 330 Upgrade
Marvel Comic 331
Marvel Comic 332

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Marvel Comic 333
Marvel Comic 334
Marvel Comic 346

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Marvel Comic 330
Marvel Comic 336
Marvel Comic 342
Marvel Comic 343
Marvel Comic 352

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Marvel Comic 335
Marvel Comic 337

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Marvel Comic 350

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Marvel Comic Annual 1969

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Marvel Comic Annual 1970

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Creepy Worlds

Publisher: Alan Class
Publication Dates: August 1962 – [circa 1976 – 1977]
Number of Issues Published: 250 (#1 – #S)
Color: Colour cover; Black and White interior
Dimensions: 7.25″ x 9.25″
Paper Stock: Glossy cover Newsprint interior
Binding: Perfect Bound
Publishing Format: Was Ongoing Series

Information thanks to the Grand Comics Database

Creepy Worlds 1-7

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Creepy Worlds 8-15

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Creepy Worlds 16-22

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Creepy Worlds 23-29

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Creepy Worlds 30-36

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Creepy Worlds 37-43

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Creepy Worlds 44-50

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Creepy Worlds 51-57

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Creepy Worlds 58-64

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Creepy Worlds 65-71

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Creepy Worlds 72-78

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Creepy Worlds 79-85

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Creepy Worlds 86-92

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Creepy Worlds 93-33

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Creepy Worlds 100-106

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Creepy Worlds 107-113

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Creepy Worlds 114-120

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Creepy Worlds 121-127

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Creepy Worlds 128-134

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Creepy Worlds 135-141

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Creepy Worlds 142-148

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Creepy Worlds 149-155

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Creepy Worlds 156-162

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Creepy Worlds 163-169

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Creepy Worlds 170-176

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Creepy Worlds 177-183

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Creepy Worlds 184-190

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Creepy Worlds 191-197

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Creepy Worlds 198-204

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Creepy Worlds 205-211

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Creepy Worlds 212-218

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Creepy Worlds 219-225

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Creepy Worlds 226-235

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Creepy Worlds 236-240

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Creepy Worlds 241-245

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Creepy Worlds 246-249
Creepy Worlds S1

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Creepy Worlds S2,S3

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Blockbuster

Publisher: Marvel UK
Publication Dates: June 1981 – February 1981
Number of Issues Published: 9 (#1 – #9)
Color: Colour cover; Black and White interior
Dimensions: Magazine size
Publishing Format: Was Ongoing Series

Information thanks to the Grand Comics Database

Blockbuster 1,2

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Blockbuster 3

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Blockbuster 4-6

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Blockbuster 7-9

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Blockbuster Winter Special 1980

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BEEB

BEEB was a weekly, children’s magazine centred on the BBC’s most popular programmes at the time of its publication. It was published by Polystyle Publications and was created as a competitor to ITV’s Look-in magazine. It lasted 20 issues between 29 January 1985 and 11 June 1985. There was no announcement in the last issue, or any resolution to the ongoing comic serials.

Typical contents

1.One By One. This followed the popular zoo vet series, based on the David Taylor books.
2.Grange Hill. These were specially written stories. Each issue’s Grange Hill comic was 3 pages long.
3.The Tripods. These were very well drawn stories, partly in colour on three pages. Drawn by John M. Burns. As the series progressed an attempt was made to appeal to female readers by introducing the young woman character of Fizzio.
4.Bananaman, in colour, on a single page. These have recently been reprinted in The Dandy, the third comic that Bananaman appeared in, after Nutty and BEEB, and before The Funday Times.
5.The Family-Ness, in colour, on a single page.
6.General articles about BBC programmes, usually children’s shows, with frequent references to Blue Peter, Doctor Who and Grange Hill.
7.Pin-ups of pop stars and other celebrities.
8.Competitions and letters from the readers.

BEEB 1985-01-29
BEEB 1985-02-12

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BEEB 1985-02-05
BEEB 1985-02-26
BEEB 1985-04-30

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BEEB 1985-02-19
BEEB 1985-03-05

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BEEB 1985-03-12
BEEB 1985-03-19

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BEEB 1985-03-26
BEEB 1985-04-02

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BEEB 1985-04-09
BEEB 1985-04-16
BEEB 1985-04-23

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BEEB 1985-05-07
BEEB 1985-05-14

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BEEB 1985-05-21
BEEB 1985-05-28

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BEEB 1985-06-06
BEEB 1985-06-11

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Original Artwork

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UPDATE 12-01-2019

Original artwork by Tom Paterson

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Andy Cap original artwork

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Original artwork Frankie by Ken Reid

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==================================================

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UPDATE 02-06-2018

MORPH TV Related Original Childrens Comic Art By Mevin

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Original art- Jack Edward Oliver’s Cliff Hanger Star (Wars) Warts! [1]
Original art- Jack Edward Oliver’s Cliff Hanger Star (Wars) Warts! [2]

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Original artwork Cover Shiver and Shake 76

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Original Artwork From Buster Comic

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Original art – Cliff Hanger – Jack Edward Oliver [Buster Comic]

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Original Art of Tom Thug from Buster Comic – Artist – Lew Stringer

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from the Dandy No 4 Christmas issue 1937 – Dan’s first use of the famous blow-torch for shaving!

 

 

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Its A Nice Life from Jackpot Comic Original Artwork

 

 

 

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Jane Bond Original Artwork by Mike Hubbard [69 Pieces] [In Order]

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Original Artwork Dracula Dobbs from Buster Comic [Year 1988]

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Original Artwork from Buster Comic

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Original Artwork of Tiger and Hurricane Cover [1966-07-09]

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Roy Of The Rovers original artwork (1993) drawn and signed by Barrie Mitchell

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Knockout – IPC

Publisher: IPC
Publication Dates: 12 June 1971 – 23 June 1973
Number of Issues Published: 107 (#12 June 1971 – #23 June 1973)
Color: Colour
Dimensions: 22.5cm x 28.5 cm
Paper Stock: Newsprint
Binding: Saddle-stitched
Publishing Format: Was ongoing
Publication Type: magazine

Merged into Whizzer and Chips (IPC, 1969 series) #30 June 1973 [194]

Joins Whizzer and Chips with the 30 June 1973 issue.

Second title with this name. This one is more humour-orientated, not adventure.

Information thanks to the Grand Comics Database

Its strips included:

Beat Your Neighbour
Boney
Booter
Dead Eye Dick
Fuss Pot
Joker
Pete’s Pockets
Sammy Shrink
Stinker
The Group
The Haunted Wood
The Super Seven
The Toffs and the Toughs
Thunderball
Wanda Wheels
Whistler
Windy

Scroll down for quality-upgrade issues.

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1971 1971 1971 1971 1971

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Knockout 1971-07-03
Knockout 1971-07-10
Knockout 1971-07-17
Knockout 1971-07-31

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Knockout 1971-08-07
Knockout 1971-08-14
Knockout 1971-08-21
Knockout 1971-08-28

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Knockout 1971-09-04
Knockout 1971-09-11
Knockout 1971-09-25

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Knockout 1971-10-02
Knockout 1971-10-09
Knockout 1971-10-16
Knockout 1971-10-23
Knockout 1971-10-30

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Knockout 1971-11-06
Knockout 1971-11-13
Knockout 1971-11-20
Knockout 1971-11-27

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Knockout 1971-12-04
Knockout 1971-12-11
Knockout 1971-12-18
Knockout 1971-12-25

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1972 1972 1972 1972 1972

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Knockout 1972-01-01
Knockout 1972-01-08
Knockout 1972-01-15
Knockout 1972-01-29

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Knockout 1972-02-12
Knockout 1972-02-26

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Knockout 1972-03-04
Knockout 1972-03-11
Knockout 1972-03-18
Knockout 1972-03-25

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Knockout 1972-04-01
Knockout 1972-04-08
Knockout 1972-04-15
Knockout 1972-04-22
Knockout 1972-04-29

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Knockout 1972-05-06
Knockout 1972-05-13
Knockout 1972-05-20
Knockout 1972-05-27

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Knockout 1972-06-03
Knockout 1972-06-10
Knockout 1972-06-17

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Knockout 1972-07-01
Knockout 1972-07-08
Knockout 1972-07-15
Knockout 1972-07-22
Knockout 1972-07-29

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Knockout 1972-08-05
Knockout 1972-08-12
Knockout 1972-08-19
Knockout 1972-08-26

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Knockout 1972-09-02
Knockout 1972-09-09
Knockout 1972-09-16
Knockout 1972-09-23
Knockout 1972-09-30

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Knockout 1972-10-07
Knockout 1972-10-14
Knockout 1972-10-21
Knockout 1972-10-28

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Knockout 1972-11-04
Knockout 1972-11-11
Knockout 1972-11-18
Knockout 1972-11-25

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Knockout 1972-12-02
Knockout 1972-12-09
Knockout 1972-12-16
Knockout 1972-12-23
Knockout 1972-12-30

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1973 1973 1973 1973 1973

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Knockout 1973-01-06
Knockout 1973-01-20
Knockout 1973-01-27

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Knockout 1973-02-03
Knockout 1973-02-10
Knockout 1973-02-24

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Knockout 1973-03-03
Knockout 1973-03-10
Knockout 1973-03-17
Knockout 1973-03-24
Knockout 1973-03-31

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Knockout 1973-04-07
Knockout 1973-04-14
Knockout 1973-04-21
Knockout 1973-04-28

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Knockout 1973-05-05
Knockout 1973-05-12
Knockout 1973-05-19
Knockout 1973-05-26

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Knockout 1973-06-02
Knockout 1973-06-09
Knockout 1973-06-16
Knockout 1973-06-23

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============================

ANNUALS AND SPECIALS

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Knockout Annual 1973

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Knockout Annual 1975

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Knockout Annual 1976

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Knockout Annual 1978

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Knockout Annual 1979

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Knockout Annual 1980

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Knockout Annual 1981

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Knockout Annual 1982

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Knockout Annual 1983

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Knockout Annual 1984

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Knockout Annual 1985

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Knockout

Knockout Holiday Special 1973

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Knockout Summer Special 1972

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============================

QUALITY UPGRADES

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Knockout Summer Special 1972

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Knockout 1972-06-24
Knockout 1973-02-17

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Knockout – Amalgamated

Publisher: Amalgamated Press/Fleetway
Publication Dates: 4 March 1939 – 16 February 1963
Number of Issues Published: 1243 (#1 – #16 February 1963 [1251])
Color: Colour Cover; Black and White Interior
Dimensions: 11 1/2″ high, 9 1/4″ wide
Paper Stock: Newsprint
Binding: Saddle-stitched (some loose)
Publishing Format: Was ongoing
Publication Type: magazine

Merged with Magnet in 1941, became Knockout and Magnet until 1945, then just Knockout again. Merged with Valiant.

Cover title circa September 1953 (around issue 770) is Knockout and Comic Cuts.

First 1054 issues were numbered but after that only dated.

Information thanks to the Grand Comics Database

Published by the Amalgamated Press (later Fleetway Publications), was launched by editor Percy Clarke and sub-editor Leonard Matthews in 1939 to compete with The Dandy and The Beano, launched by DC Thomson in 1937 and 1938 respectively. Like its rivals, it featured a mixture of humour and adventure strips and illustrated prose stories. Matthews recruited Hugh McNeill, a former Beano artist, as the title’s main humour artist, and his strips “Our Ernie” and “Deed-a-Day Danny” were very popular. Two characters were imported from the prose story papers – Billy Bunter, formerly of The Magnet, initially drawn by C. H. Chapman, later by Frank Minnitt, and Sexton Blake, initially drawn by Jos Walker, later by Alfred Taylor, Roland Davies (fr) and definitive Blake illustrator Eric Parker. After the Second World War the title featured more adventure strips, and Matthews, who was promoted to editor in 1948, recruited artists including Sep E. Scott, H. M. Brock, D. C. Eyles and Geoff Campion to draw them.
The title lasted 1251 issues, from (cover dates) 4 March 1939 to 16 February 1963, absorbing The Magnet in 1940 and Comic Cuts in 1953, before being merged into Valiant.

Other strips included:
Battler Britton (1960–61, formerly featured in Sun; drawn by Geoff Campion)
Buffalo Bill (1940)
Davy Crockett (1955–60)
Hopalong Cassidy (1954–60)
Johnnie Wingco (1954–60)
Kelly’s Eye (1962–63, drawn by Francisco Solano López)
Robin Hood (1947, drawn by D. C. Eyles)
Space Family Rollinson (1953–58; see French Wikipedia article)
Stonehenge Kit the Ancient Brit (1939–50, drawn by Norman Ward)
Thunderbolt Jaxon (1958)

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1939 1939 1939 1939 1939

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Knockout 1939-03-04

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Knockout 1939-05-20

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Knockout 1939-07-01

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Knockout 1939-08-05

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Knockout 1939-09-23
Knockout 1939-09-30

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Knockout 1939-10-07
Knockout 1939-10-14

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1940 1940 1940 1940 1940

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Knockout 1940-04-06

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Knockout 1940-06-29

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1941 1941 1941 1941 1941

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Knockout 1941-10-11

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1942 1942 1942 1942 1942

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Knockout 1942-08-22

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1945 1945 1945 1945 1945

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Knockout 1945-05-19

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Knockout 1945-07-07
Knockout 1945-07-28

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Knockout 1945-08-18
Knockout 1945-08-25

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Knockout 1945-11-17

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Knockout 1945-12-08
Knockout 1945-12-22

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1946 1946 1946 1946 1946

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Knockout 1946-02-23

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Knockout 1946-03-02
Knockout 1946-03-23
Knockout 1946-03-30

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Knockout 1946-04-13

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Knockout 1946-05-11
Knockout 1946-05-18
Knockout 1946-05-25

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Knockout 1946-06-01
Knockout 1946-06-08
Knockout 1946-06-15
Knockout 1946-06-22
Knockout 1946-06-29

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Knockout 1946-07-06
Knockout 1946-07-20
Knockout 1946-07-27

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Knockout 1946-08-03
Knockout 1946-08-17

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Knockout 1946-10-05
Knockout 1946-10-12
Knockout 1946-10-26

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Knockout 1946-11-09
Knockout 1946-11-16
Knockout 1946-11-23
Knockout 1946-11-30

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Knockout 1946-12-07
Knockout 1946-12-14
Knockout 1946-12-21

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1947 1947 1947 1947 1947

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Knockout 1947-01-04
Knockout 1947-01-11

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Knockout 1947-02-15

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Knockout 1947-03-01
Knockout 1947-03-08-15-22
Knockout 1947-03-29

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Knockout 1947-04-05
Knockout 1947-04-19
Knockout 1947-04-26

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Knockout 1947-05-03

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Knockout 1947-06-14
Knockout 1947-06-21
Knockout 1947-06-28

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Knockout 1947-07-12

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Knockout 1947-08-23

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Knockout 1947-09-20

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Knockout 1947-11-08
Knockout 1947-11-15
Knockout 1947-11-29

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Knockout 1947-12-06
Knockout 1947-12-13
Knockout 1947-12-20
Knockout 1947-12-27

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1948 1948 1948 1948 1948

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Knockout 1948-01-03
Knockout 1948-01-10
Knockout 1948-01-17
Knockout 1948-01-24
Knockout 1948-01-31

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Knockout 1948-02-07
Knockout 1948-02-14
Knockout 1948-02-21
Knockout 1948-02-28

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Knockout 1948-03-13
Knockout 1948-03-20
Knockout 1948-03-27

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Knockout 1948-04-03
Knockout 1948-04-10
Knockout 1948-04-17
Knockout 1948-04-24

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Knockout 1948-05-01
Knockout 1948-05-29

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Knockout 1948-06-05
Knockout 1948-06-12
Knockout 1948-06-26

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Knockout 1948-07-03
Knockout 1948-07-10
Knockout 1948-07-17
Knockout 1948-07-31

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Knockout 1948-08-21
Knockout 1948-08-28

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Knockout 1948-09-25

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Knockout 1948-10-02
Knockout 1948-10-09
Knockout 1948-10-16
Knockout 1948-10-23
Knockout 1948-10-30

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Knockout 1948-11-13
Knockout 1948-11-20
Knockout 1948-11-27

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Knockout 1948-12-04
Knockout 1948-12-11
Knockout 1948-12-18
Knockout 1948-12-25

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1949 1949 1949 1949 1949

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Knockout 1949-01-01
Knockout 1949-01-08
Knockout 1949-01-15
Knockout 1949-01-22
Knockout 1949-01-29

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Knockout 1949-02-05
Knockout 1949-02-12
Knockout 1949-02-19
Knockout 1949-02-26

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Knockout 1949-03-05
Knockout 1949-03-12
Knockout 1949-03-19
Knockout 1949-03-26

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Knockout 1949-04-02
Knockout 1949-04-09
Knockout 1949-04-16
Knockout 1949-04-23
Knockout 1949-04-30

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Knockout 1949-05-07
Knockout 1949-05-14
Knockout 1949-05-21
Knockout 1949-05-28

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Knockout 1949-06-04
Knockout 1949-06-11
Knockout 1949-06-18
Knockout 1949-06-25

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Knockout 1949-07-02
Knockout 1949-07-09
Knockout 1949-07-16
Knockout 1949-07-23
Knockout 1949-07-30

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Knockout 1949-08-13
Knockout 1949-08-27

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Knockout 1949-09-03
Knockout 1949-09-10
Knockout 1949-09-17
Knockout 1949-09-24

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Knockout 1949-10-01
Knockout 1949-10-08
Knockout 1949-10-15
Knockout 1949-10-22

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Knockout 1949-11-05
Knockout 1949-11-12
Knockout 1949-11-19
Knockout 1949-11-26

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Knockout 1949-12-03
Knockout 1949-12-10
Knockout 1949-12-17
Knockout 1949-12-24
Knockout 1949-12-31

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1950 1950 1950 1950 1950

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Knockout 1950-01-07
Knockout 1950-01-28

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Knockout 1950-02-04
Knockout 1950-02-11
Knockout 1950-02-18

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Knockout 1950-03-04
Knockout 1950-03-11
Knockout 1950-03-25

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Knockout 1950-04-01
Knockout 1950-04-08
Knockout 1950-04-15
Knockout 1950-04-22
Knockout 1950-04-29

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Knockout 1950-05-06
Knockout 1950-05-27

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Knockout 1950-06-03
Knockout 1950-06-10
Knockout 1950-06-24

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Knockout 1950-08-05
Knockout 1950-08-19

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Knockout 1950-09-02
Knockout 1950-09-09
Knockout 1950-09-16
Knockout 1950-09-23

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Knockout 1950-11-11
Knockout 1950-11-18
Knockout 1950-11-25

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Knockout 1950-12-02
Knockout 1950-12-09

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1951 1951 1951 1951 1951

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Knockout 1951-02-10

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Knockout 1951-06-02
Knockout 1951-06-09
Knockout 1951-06-16
Knockout 1951-06-23

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Knockout 1951-07-07
Knockout 1951-07-21
Knockout 1951-07-28

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Knockout 1951-08-04
Knockout 1951-08-11
Knockout 1951-08-18
Knockout 1951-08-25

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Knockout 1951-09-01
Knockout 1951-09-08
Knockout 1951-09-29

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Knockout 1951-10-06
Knockout 1951-10-13
Knockout 1951-10-20
Knockout 1951-10-27

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Knockout 1951-11-03
Knockout 1951-11-10
Knockout 1951-11-24

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Knockout 1951-12-08
Knockout 1951-12-15
Knockout 1951-12-22

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1952 1952 1952 1952 1952

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Knockout 1952-01-05
Knockout 1952-01-12
Knockout 1952-01-19
Knockout 1952-01-26

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Knockout 1952-02-02
Knockout 1952-02-23

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Knockout 1952-03-01
Knockout 1952-03-08
Knockout 1952-03-22
Knockout 1952-03-29

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Knockout 1952-04-19

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Knockout 1952-05-03
Knockout 1952-05-10
Knockout 1952-05-17
Knockout 1952-05-24
Knockout 1952-05-31

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Knockout 1952-06-14
Knockout 1952-06-21
Knockout 1952-06-28

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Knockout 1952-07-05
Knockout 1952-07-12

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Knockout 1952-10-11
Knockout 1952-10-25

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Knockout 1952-11-15
Knockout 1952-11-22
Knockout 1952-11-29

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Knockout 1952-12-06
Knockout 1952-12-13
Knockout 1952-12-20
Knockout 1952-12-27

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1953 1953 1953 1953 1953

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Knockout 1953-01-10
Knockout 1953-01-17
Knockout 1953-01-24
Knockout 1953-01-31

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Knockout 1953-02-07
Knockout 1953-02-14
Knockout 1953-02-21
Knockout 1953-02-28

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Knockout 1953-03-07

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Knockout 1953-11-28

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Knockout 1953-12-12
Knockout 1953-12-19

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1954 1954 1954 1954 1954

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Knockout 1954-02-20

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Knockout 1954-04-10

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1955 1955 1955 1955 1955

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Knockout 1955-04-16

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Knockout 1955-06-25

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1956 1956 1956 1956 1956

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Knockout 1956-04-21

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Knockout 1956-05-05

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1958 1958 1958 1958 1958

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Knockout 1958-10-04

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Knockout 1958-11-01

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1959 1959 1959 1959 1959

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Knockout 1959-11-21
Knockout 1959-11-28

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Knockout 1959-12-05
Knockout 1959-12-12
Knockout 1959-12-19
Knockout 1959-12-26

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1960 1960 1960 1960 1960

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Knockout 1960-01-02
Knockout 1960-01-09
Knockout 1960-01-16
Knockout 1960-01-23
Knockout 1960-01-30

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Knockout 1960-02-06
Knockout 1960-02-13
Knockout 1960-02-20
Knockout 1960-02-27

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Knockout 1960-03-05
Knockout 1960-03-12
Knockout 1960-03-19
Knockout 1960-03-26

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Knockout 1960-04-02
Knockout 1960-04-09
Knockout 1960-04-16
Knockout 1960-04-23
Knockout 1960-04-30

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Knockout 1960-05-07
Knockout 1960-05-14
Knockout 1960-05-21
Knockout 1960-05-28

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Knockout 1960-06-04
Knockout 1960-06-11
Knockout 1960-06-18
Knockout 1960-06-25

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Knockout 1960-07-02
Knockout 1960-07-09
Knockout 1960-07-16
Knockout 1960-07-23
Knockout 1960-07-30

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Knockout 1960-08-06
Knockout 1960-08-13
Knockout 1960-08-20
Knockout 1960-08-27

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Knockout 1960-09-03
Knockout 1960-09-10
Knockout 1960-09-17
Knockout 1960-09-24

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Knockout 1960-10-01
Knockout 1960-10-08
Knockout 1960-10-15
Knockout 1960-10-22

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Knockout 1960-11-12
Knockout 1960-11-19
Knockout 1960-11-26

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Knockout 1960-12-03

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1961 1961 1961 1961 1961

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Knockout 1961-01-07
Knockout 1961-01-14

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Knockout 1961-03-04
Knockout 1961-03-18

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Knockout 1961-05-20

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Knockout 1961-06-03
Knockout 1961-06-24

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Knockout 1961-08-12

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Knockout 1961-09-16
Knockout 1961-09-30

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Knockout 1961-10-07

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1962 1962 1962 1962 1962

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Knockout 1962-01-06
Knockout 1962-01-27

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Knockout 1962-02-03
Knockout 1962-02-10
Knockout 1962-02-17

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Knockout 1962-03-03
Knockout 1962-03-17
Knockout 1962-03-31

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Knockout 1962-04-07

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Knockout 1962-05-19
Knockout 1962-05-26

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Knockout 1962-06-30

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Knockout 1962-07-07
Knockout 1962-07-14
Knockout 1962-07-21
Knockout 1962-07-28

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Knockout 1962-08-04
Knockout 1962-08-11
Knockout 1962-08-18
Knockout 1962-08-25

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Knockout 1962-09-01
Knockout 1962-09-08
Knockout 1962-09-15
Knockout 1962-09-22
Knockout 1962-09-29

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Knockout 1962-10-04
Knockout 1962-10-11
Knockout 1962-10-18
Knockout 1962-10-25

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Knockout 1962-11-03
Knockout 1962-11-10
Knockout 1962-11-17
Knockout 1962-11-24

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Knockout 1962-12-01
Knockout 1962-12-08
Knockout 1962-12-15
Knockout 1962-12-22
Knockout 1962-12-29

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1963 1963 1963 1963 1963

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Knockout 1963-01-05
Knockout 1963-01-12
Knockout 1963-01-19
Knockout 1963-01-26

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Knockout 1963-02-02
Knockout 1963-02-09
Knockout 1963-02-16

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ANNUALS AND FUN BOOKS

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Knockout Annual 1957

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Knockout Annual 1958

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Knockout Annual 1959

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Knockout Annual 1960

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Knockout Annual 1962

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Knockout Fun Book 1941

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Knockout Fun Book 1945

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Knockout Fun Book 1946

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Knockout Fun Book 1947

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Knockout Fun Book 1949

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Knockout Fun Book 1953

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Knockout Fun Book 1955

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Knockout Fun Book 1956

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Knockout an illustrated guide

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