Eagle: The Space Age Weekly - review

Eagle: The Space Age Weekly was broadcast on BBC Radio 4 on 23rd December 2010. 

My earlier post found cause to criticise the text the BBC put on its website in advance of the programme, and I expressed the hope that the programme would be better informed than whoever wrote the "blurb".  Sometimes hopes are fulfilled; and in this case they were. The programme proved to be an excellent, if all too brief, account of the Eagle magazine and the people who created it, explored enthusiastically a former reader, Sir Tim Rice, and including the voices of the late Frank Hampson and Marcus Morris.

My intended review has been delayed by Christmas activities. In the meantime, Bear Alley has beaten me to it with an (almost) excellent review by Steve Winders. Steve makes the mistake of mis-titling the programme Eagle: the Space Age Comic. This might not be considered so important were it not that the programme emphasises that the creators of Eagle avoided the description "comic" for their weekly magazine! Nevertheless I recommend you read Steve's review, as I would have to work very hard to find anything else to disagree about.

As I post this, the programme has ceased to be available to hear again on the BBC's iPlayer - but hopefully we can expect a repeat broadcast soon? 

Tomorrow revisited (review)

Standard Trade Edition

Within the space of a few weeks two books related to ‘Dan Dare’ have been published. I have already reviewed the first, Daniel Tatarsky’s Dan Dare - The Biography. The latest is Alastair Crompton’s Tomorrow Revisited, or to give it its full title Tomorrow Revisited: a celebration of the life and art of Frank Hampson. Comparisons between the two books may seem inevitable, but I find their scope and purpose different, and I will avoid making any critical comparison here. 

Besides, there is another comparison to be made. In 1985, shortly after the death of his subject, Alastair Crompton had published a book entitled The Man Who Drew Tomorrow, on the subject of “how Frank Hampson created Dan Dare, the world’s best comic strip.” In Tomorrow Revisited, as implied by the title, he returns to the same subject matter. It is inevitable therefore that comparisons of Tomorrow Revisited with the earlier book will be made; indeed, one might ask, “having bought the first book in 1985, why should I buy the same thing over again?” Well, I have, and hopefully I can dispel any reservations other owners of The Man Who Drew Tomorrow might have. There is plenty for you in this book that was not in the earlier book. 

In his introduction, Alastair starts with a quote from Oscar Wilde: “Every great man nowadays has his disciples, and it is usually Judas who writes his biography”. He then declares that his book is not a biography, although it clearly has a lot of biographical content, and he states his rationale for revisiting the subject. With 25 years of water under the bridge, by his own admission, he believes now “that the first edition of this book ... was a slightly fourth form hagiography, showing my subject through rose coloured glasses, and allowing him to make claims which in this edition I am forced to question”. But while he might not take Hampson’s every claim with so much credence these days, he also declares that he is “not Wilde’s Judas”. He might have said (though he doesn’t) that he provides no Brutus to Hampson’s Caesar, for he gives no stabs in the back, either. There are many shades, which he tries to fill, and in this edition he is more careful (objective?) about how he spreads the blame and the glory, while remaining sympathetic to his subject. This is, after all, a celebration of the man who created and produced ‘Dan Dare’ for a nearly a decade, and who, in 1975, was crowned by his peers as Prestigioso Maestro - the World’s Best Comic Artist since the Second World War. 

The text has been “totally rewritten”, not to imply that everything changed was “wrong”, nor to imply that you won’t find repeated sections of text - you will - but often he finds a different way of telling his, or rather, Hampson’s, story. 

Having a similar page-count to the earlier edition, Tomorrow Revisited is slightly larger, with about an inch greater height. (It is also considerably thicker, but otherwise slightly smaller, than the volumes in Titan Books’ ‘Dan Dare’ reprint series.) The Man Who Drew Tomorrow had a dustjacket; this does not, but the Bookshop Edition has a very attractive red cover using black and white pictures of Hampson in his later years. Inside, the front and rear endpapers include in their design the information that would usually be on the fold-in elements of the jacket. The text layout is entirely different, with much use of inset colour, and the most noticeable impact from leafing through the book is the many examples of artwork reproduced from original illustration boards. 

The original book had 216 pages of which only 24 contained colour. The latest has a few more pages overall, but this time more than half contain colour. Around 70 pages are full-page colour and, of those, around 35 reproduce artwork from complete original artboards. Other pages have examples of single frames of original art, which really show the detail that went into the drawings. Most of the artwork is from ‘Dan Dare’, but there are also examples from ‘The Great Adventurer’, ‘Tommy Walls’, ‘Rob Conway’ (black and white) and ‘The Road of Courage’. 

Since the original artwork reproduced in Tomorrow Revisited is largely from Paul Stephenson’s (the publisher’s) extensive collection, most of these illustrations appear for the first time. They are superbly reproduced. Anyone who has never seen a page of original Hampson-produced ‘Dan Dare’ artwork will be amazed at the detail that went into every frame of each week’s episode - detail that was sadly lost in the printing of Eagle - as can be seen by comparing the examples in Tomorrow Revisited with their counterparts in the Titan Books series of ‘Dan Dare’ reprints (where ‘Dan Dare’ pages from Eagle are reproduced at a similar size). 

The book also includes biographical pictures, photographs of the models built to help the Dan Dare Studio to visualize scenes, equipment and characters, photographs of members of the Studio posing for particular frames of the strip, sketches from Frank Hampson’s studio reference sheets and notebooks, and some of the merchandising that spun off the character ‘Dan Dare’. Although, inevitably, some images from the earlier book are reused, a large proportion of the visual content of Tomorrow Revisited is different from the old. 

Something not previously published (in book form - some have appeared previously in Eagle Times magazine and/or on Alastair’s Lost Characters of Frank Hampson website) is a collection of “strips that never were”. These, mostly, are strips that Hampson was commissioned to create after ‘The Road of Courage’ but were never developed since he was dismissed by the new management. The original artwork is lost, but they were photocopied by “someone in The Mirror Group” in the 1960s and partial restorations made from copies (of the copies) are presented. The quality of this “lost” artwork only emphasises the genius of Frank Hampson and the tragedy that beset him after Eagle. 

For the pedantically inclined (this is after all a critical review, and nothing in this world is perfect!) I did spot a few errors, eg.

A caption below a reprint of the first published ‘Dan Dare’ page (Eagle No. 1) refers to “The first ever page of Dan Dare. At this early stage Hampson wasn’t into his stride and drew all the frames the same size”. Clearly the frame sizes vary on the page, and the caption should refer to the dummy page of ‘Chaplain Dan Dare’, which appears on the opposite page! 

Frank Humphris, the (third) artist on Eagle’s ‘Riders of the Range’, is quoted at one point but his name appears as “Humphries”. (A mistake not unknown elsewhere.) 

Bruce Cornwell appears at one point as “Cornwall”. (Another mistake not unknown elsewhere!). 

Hampson’s ‘Modesty Blaise’ samples are shown, along with the statement that “what you see here is the a row of Hampson’s Modesty, followed by a row of the same strip drawn by Jim Holdaway.” There is no Holdaway art shown (though is can be seen on the Lost Characters of Frank Hampson website! 

I suspect that at least one page of artwork (from ‘The Road of Courage’) has been reproduced at slightly the wrong aspect ratio (“squashed” in the horizontal). 

The above criticisms aside, for anyone newly interested, or renewing their interest, in Frank Hampson and ‘Dan Dare’, or more generally having an interest in the history and development of sequential graphic art (the posh name for “comics”), Tomorrow Revisited surely is a “must read”, and its illustrations are a “must see”. As I previously commented after first seeing Tomorrow Revisited, it provides a visual treat, being adorned with illustrations including, as I have indicated, many full-page examples that are reproduced from original artwork. 

There are two versions of the book, the standard Bookshop (or Trade) Edition, which I have reviewed, and a Limited (to 100 issues) De Luxe Edition, which I believe internally identical with the Bookshop Edition, but is leather bound and comes in a leather presentation case with an original ‘Dan Dare’ illustration by Don Harley, a print by Andrew Skilleter and a Certificate signed by Alastair Crompton, Peter Hampson, Andrew Skilleter and Don Harley.

I said I would avoid critically comparing Tomorrow Revisited with Dan Dare: The Biography, and so I will. They are sufficiently different in scope that any serious student of the story of Eagle and ‘Dan Dare’ should read both books. If you are new to this, I would recommend reading Dan Dare: The Biography first, as a primer, but you might want to steal a look at Tomorrow Revisited before you begin - if only for the wonderful artwork.

Tomorrow Revisited: A celebration of the life and art of Frank Hampson is published by PS Art Books in two hardback editions: 

Deluxe Slipcase Edition (ISBN 978-1-84863-122-9) at £299.95

Standard Trade Edition (ISBN 978-1-84863-121-2) at £29.99

Eagle Annual -the Best of the 1960s comic (review)

Just published by Orion Books is the latest in their Eagle Annual nostalgia series, which began two years ago with Eagle Annual - the Best of the 1950s Comic (see Steve Winders' review at Bear Alley), and was followed last year by the Eagle Annual of the Cutaways (see eagle-times' previous review). This year's offering is Eagle Annual - the Best of the 1960s Comic. Compared with Eagle Annual - the Best of the 1950s, the price has increased from £12.99 to £14.99 (the same as the Eagle Annual of the Cutaways), though (in this case) the page count has increased, from 176 to 192. As before the books are edited by, and have an introduction by, Daniel Tatarsky.

As Tatarsky says in his introduction, Eagle's creator and first editor Marcus Morris chose to include only selections up to 1962 in his The Best of Eagle, which was published in 1977, for reasons Tatarsky speculates were "more to do with his absence after that date than any genuine feelings about the output under his replacement". While I would agree that much of Eagle's content in the years following Morris' departure could appropriately be included under a "Best of" title, much should not. Many Eagle readers gave up the original Eagle in the mid-sixties as the quality declined following the buy-out of Hulton Press and the later takeover by IPC. There is some good material presented in this book, covering 1960 to 1969, but, not surprisingly, the majority of the content is from the first half of the decade, rather than the last.

Starting with a sympathetic two page introduction, the book proper begins with the first front cover from 1960 (2nd January, 1960 Volume 11 No 1), which as Tatarsky points out, was the last attributed to Hulton Press due to the buy-out by Odhams. After this date the former Hultons became Longacre Press. By then Frank Bellamy was drawing 'Dan Dare', and a full page of his 'Trip to Trouble' artwork is seen. The book closes with the "Great News, Pals!" advertisement that appeared in the last issue of Eagle on 26th April 1969, announcing the "merger" with Lion. In between, the main content consists of various sample pages, articles and "clippings" from Eagle's last decade, presented in almost, but something less than, chronological order. As with the Best of the 1950s, many of the items have no indication of the dates on which they were published, making the book not very useful as a reference volume - but then reference is not its intended purpose.

The format is similar to the previous offerings - ie slightly larger than the traditional Eagle Annual dimensions - but the dull matte finish, and "cloth" spine used previously has been eschewed, appropriately, for a glossy cover more reminiscent of the later 1960s Eagle Annual covers. Where the previous offerings provided an overtly "distressed" look, outwardly at least this effect has been toned down, and the book should look more appealing in the bookshop displays. Unfortunately opening the book reveals a continuation of the "dirty page" approach that has been criticised previously (not just here!) in connection with the earlier volumes. If anything the effect is worse in this book, as even full pages of the original magazine have been trimmed and set within this grubby looking background. The editor provides occasional commentary within the book. It is an unfortunate feature that some of the commentary is superimposed over the original content!

All that said, the book has a lot to recommend it. Take a look. If you weren't put off before, then you should enjoy this book just as much as the first. Lets us know what you think.

As I write, the book can be obtained from Amazon.co.uk for £8.99

The Eagle Annual of the Cutaways (review)

The latest in the series Eagle Annual of the… has now been published by Orion Books.

The Eagle Annual of the Cutaways takes the same look and format as last year’s Eagle Annual - The best of the 1950s comic, with an identical page-count (176 pages), but is priced at £14.99 (£2 more than the earlier book). Rather than the dark green spine with yellow lettering previously used, though, this book has a dark blue spine with cream lettering. Both books have a "distressed" look and feel. The Editor is again Daniel Tatarsky, and the book has a Preface by Colin Frewin, Chief Executive of the Dan Dare Corporation Limited, and an Introduction by Jonathan Glancey, Architecture Critic, the Guardian.

The Eagle Annual of the Cutaways collects together, in (what seems to this reader's mind) a less than systematic manner, around 142 of the 946 cutaway drawings that appeared in Eagle throughout its life from 1950 until the penultimate issue in 1969. For anyone who fondly remembers Eagle and its cutaways, but who doesn’t still have their collection, this will be a “must buy”. But the market for this book is clearly “nostalgia” rather than serious appreciation or study. This book will sell, and deserves to, but it will also disappoint the more serious collector or student.

Comparisons are inevitable with Denis Gifford’s earlier collection, The Eagle Book of Cutaways (Webb & Bower, 1988). While covering less material and restricting his book (with one notable exception*) to the work of Leslie Ashwell Wood, rather than the full range of Eagle cutaway artists, Gifford treated the material with more respect than is evident here. In Denis' book, the page layout and colour reproduction were excellent, there was no cropping of the illustrations – and the pages are clean! Here, there is better coverage of the work of the many artists who produced cutaways for Eagle, but sometimes their illustrations are cropped - to the extent that occasionally explanatory text is partially lost, or the artists’ signatures are partially, and in some cases completely, lost. As an example Laurence Dunn’s ‘The Dome of Discovery’, from Eagle, 4^th May, 1951 (which incidentally is reproduced less cropped in the Eagle Annual - Best of the 1950s comic) is cropped top and right, in the process losing some of the illustration and Laurence Dunn’s signature. In addition nearly all the pages carry that artificial "distressed" look which was a problem for many (including me!) when we saw Orion Books’ earlier offering. In my opinion, putting artificial "grime" on the pages detracts from the content and shows a lack of respect for the original artists, especially when it strays onto the artwork. I don't think these aspects sit easily with this dedication, quoted here from the Preface:

"This book is dedicated to all the highly talented artists who created these wonderful cutaways."

There is much to commend this book. Eagle Society member Steve Winders has already written an excellent review, posted at Steve Holland's Bear Alley blog. Any more detailed comments I might make would inevitably repeat much of what he has said there, so I will leave my comments to those above. There is also a review by Jeremy Briggs, well worth reading, at the Down the Tubes blog.

Further related links:

• eagle-times initial post (May 2008) on the Eagle Annual of the Cutaways
• more from eagle-times on Eagle's cutaway drawings with a list of artists
  
• Jeremy Briggs follow-up post to his review at Down the Tubes: Eagle cutaway art.

* The cutaway of Dan Dare's spaceship Anastasia, published in Eagle 7th February,1958, was not by Ashwell Wood, although Denis Gifford included it in his book. By the way it does not appear in the Eagle Annual of the Cutaway.

Virgin's Dare?

In August 2007, the British press (eg The Times) leapt to announce the return of 'Dan Dare' in a new comic (ignoring, as already pointed out by Lew Stringer, that he's already been back five years in Spaceship Away).

Virgin Comics' press release emphasized that "Dan Dare has been an icon since 1950 … selling nearly 1 million copies each week in the pages of the Eagle". It also said: "Readers familiar with Dan Dare stories will recognize many of the original cast …." It specifically referred to "Colonel Dare" being back. The expectation of the press and of fans of the original 'Dan Dare: Pilot of the Future' was, therefore, that Virgin were going back to the original characters, albeit some ten years or so on.

In the first issue of Dan Dare (published 29 November) some of those original characters (Dan, Digby and Jocelyn) appear in name, but their appearance is markedly different from the characters created by Frank Hampson, so in this respect it can’t meet the expectations of fans of the original 'Dan Dare'. Since very little actually happens to the main characters in the first part, it is difficult to judge whether their behaviours will be true to the originals, though Dan seems to want to do "the right thing", and Digby wants to help him do it. What is clear is that the universe inhabited by Dan Dare in this story is not the same one developed for him by Hampson and his team. Hampson’s optimistic world of an Interplanetary Space Fleet serving a World Government of United Nations has been binned in favour of a post-apocalyptic scenario. Not only has the whole world order changed, with Britain emerging as top dog, but the Royal Navy seems to have taken over Space Fleet and the design of everything is different: spaceships, space-stations, uniforms. And, presumably, service ranks are now those of the Royal Navy. How the latter will square with Colonel Dan Dare being back I don’t know. The inside front cover credits may include "created by Frank Hampson", but I doubt Hampson would recognize this as his creation in other than name.

One feature of the original 'Dan Dare' was the care taken to ensure everything was “right”. I found it annoying that there are incongruities in the visual telling of this story that are irritating, especially on re-reading. There is a war memorial that seems to be on the cricket pitch. There is lack of continuity: pictures on walls, and other incidental objects, are arranged differently from shot to shot, or disappear. For example, a lamp and papers that disappear from Dan’s table, a teapot that comes and goes from the same table during Dan’s conversation with the PM – petty things, you might think, but such continuity gaffes erode the illusion that this is a depiction of an alternate reality. It wouldn't have happened in Hampson's day.

If you can ignore all the above, or if you have no great attachment to the early 'Dan Dare', then the story may hold some interest for you. In the UK, Dan Dare is only available in specialist comic shops (a point Virgin Comics failed to make clear in their press release), but apparently it is "selling well" in UK - as reported by downthetubes. It's not clear what the numbers are (possibly tens of thousands?) but if the success were to equal that of 'Dan Dare' in the 1950s Eagle, it would need to sell something like 4 million copies a month!

According to the Southport Visiter, the local paper at the birthplace of the original Eagle, Colin Gould, proprietor of the local comic shop 'Planet Eater' said: “A lot of the regular customers have been coming in and asking for it, many are people who read the original Eagle in the 1950s." I wonder how many of those, after seeing issue 1, will be back for issue 2?

Quote from writer Garth Ennis (see downthetubes): "I've pretty much ignored all subsequent incarnations. The one exception would be the Irvine jacket Dare wore in the 2000AD strips, which is a British aviation icon we just couldn't do without." Er, actually Mr. Ennis, Dan's leather flying jacket is from the original Eagle version. Dan was first seen donning it in 'The Red Moon Mystery'. It was one of the few things carried across to the 2000AD incarnation of 'Dan Dare' from the original Eagle - and, apparently, one of the few things carried forward here!

"The magazine for mugs"

In the online archives of Time magazine is a review from 1 May, 1950, of a new British story paper "the spanking new London weekly Eagle, dazzlingly successful magazine brain child of a boyish, 35-year-old vicar of the Church of England" (Marcus Morris), and published by "Hulton Press, owners of Picture Post (circulation 1,500,000)".

This contemporary report from "across the pond" indicates the nature of the publicity machine of Hulton Press, and the impact the arrival of Eagle had. According to the Time report, 750,000 copies of the first issue sold out, and there were "1,986,000 cash-backed orders from newsdealers for the second issue".

According to Marcus Morris' account, and his official biography, it was a print run of 900,000 that sold out in the first week. But, acccording to his biography, things went horribly wrong for the second issue, when the printing press broke down and only 300,000 were printed. There must have been a lot of disappointed readers that week, and disgruntled newsagents! By the third week, and following announcements in the British national press that "There is a national shortage of EAGLE - but more copies are coming soon!", production was "back to normal" - and was soon in excess of 1 million copies per week.