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This book explores the history and development of the British daily newspaper strip. It considers such strips within their political, commercial and societal contexts and fills in a crucial section of publishing history that has been largely overlooked by both comics and newspaper studies to date. Beginning with an examination of the role of the image within British publishing in the final decades of the nineteenth century, the book moves on to explore the arrival and development of the first daily strips. It considers the links that bound these strips to surrounding cultural forms, their relationship to their host newspapers, and their position within the wider structures of the emerging popular press. Subsequent chapters cover a range of topics including the impact of the world wars, the anti-comics campaigns of the 1940s and 50s, and how changes to British publishing and wider society shaped the newspaper strips of the final decades of the twentieth century. Culminating with a discussion of the way in which strips became established within the broadsheet press from the 1960s, the book builds to provide a detailed overview of the twentieth century development of this most neglected cultural form.
Something long dormant beneath the surface of Ylum comes alive, triggering a visit from the planet-devouring Gourmando and his mysterious ally. With powers far beyond those of even Nexus himself, this unstoppable being banishes Nexus to an unknown realm--and the only way out is to face one's worst fears! Mike Baron and Steve Rude deliver a new Nexus adventure in this special collection that also includes the newly-remastered "Nexus: The Origin" comic and the classic Rude hand-painted Sundra story, "When She was Young."
Rebirth of the English Comic Strip: A Kaleidoscope, 1847–1870 enters deep into an era of comic history that has been entirely neglected. This buried cache of mid-Victorian graphic humor is marvelously rich in pictorial narratives of all kinds. Author David Kunzle calls this period a “rebirth” because of the preceding long hiatus in use of the new genre, since the Great Age of Caricature (c.1780–c.1820) when the comic strip was practiced as a sideline. Suddenly in 1847, a new, post-Töpffer comic strip sparks to life in Britain, mostly in periodicals, and especially in Punch, where all the best artists of the period participated, if only sporadically: Richard Doyle, John Tenniel, John Leech, Charles Keene, and George Du Maurier. Until now, this aspect of the extensive oeuvre of the well-known masters of the new journal cartoon in Punch has been almost completely ignored. Exceptionally, George Cruikshank revived just once in The Bottle, independently, the whole serious, contrasting Hogarthian picture story. Numerous comic strips and picture stories appeared in periodicals other than Punch by artists who were likewise largely ignored. Like the Punch luminaries, they adopt in semirealistic style sociopolitical subject matter easily accessible to their (lower-)middle-class readership. The topics covered in and out of Punch by these strips and graphic novels range from French enemies King Louis-Philippe and Emperor Napoleon III to farcical treatment of major historical events: the Bayeux tapestry (1848), the Great Exhibition of 1851, and the Franco-Prussian War in 1870. Artists explore a great variety of social types, occupations, and situations such as the emigrant, the tourist, fox hunting and Indian big game hunting, dueling, the forlorn lover, the student, the artist, the toothache, the burglar, the paramilitary volunteer, Darwinian animal metamorphoses, and even nightmares. In Rebirth of the English Comic Strip, Kunzle analyzes these much-neglected works down to the precocious modernist and absurdist scribbles of Marie Duval, Europe’s first female professional cartoonist.
Read by millions, British comics are world-famous. And for more than a quarter of a century, Britain’s writers and artists have had a significant influence on the American comic-book scene, revitalizing standards from Batman to X-Men and originating uniquely British characters of their own, such as Modesty Blaise and the League of Extraordinary Gentlemen. Now, in a feast of cartoon graphics, Great British Comics celebrates the UK’s comic heroes, offering an invaluable resource for enthusiasts and collectors. Divided into themed chapters, and ranging from the 1920s to the 1990s, it charts the careers of all the familiar favorites. Featuring lively, informative text, Great British Comics is copiously illustrated with comic book covers, pages, and annuals, as well as toys, collectibles, and memorabilia. Paul Gravett, who has curated numerous exhibitions of comic art, is also the author of Manga: Sixty Years of Japanese Comics and Graphic Novels: Everything You Need to Know.
Arguing that British comics are distinct from their international counterparts, a unique showcase of the major role they have played in the imaginative lives of British youth—and some adults. In this entertaining cultural history of British comic papers and magazines, James Chapman shows how comics were transformed in the early twentieth century from adult amusement to imaginative reading matter for children. Beginning with the first British comic, Ally Sloper—known as “A Selection, Side-splitting, Sentimental, and Serious, for the Benefit of Old Boys, Young Boys, Odd Boys generally, and even Girls”—British Comics goes on to describe the heyday of comics in the 1950s and ’60s, when titles such as School Friend and Eagle sold a million copies a week. Chapman also analyzes the major genres, including schoolgirl fantasies and sports and war stories for boys; the development of a new breed of violent comics in the 1970s, including the controversial Action and 2000AD; and the attempt by American publisher, Marvel, to launch a new hero for the British market in the form of Captain Britain. Considering the work of important contemporary comic writers such as Alan Moore, Grant Morrison, Ian Edginton, Warren Ellis, and Garth Ennis, Chapman’s history comes right up to the present and takes in adult-oriented comics such as Warrior, Crisis, Deadline,and Revolver, and alternative comics such as Viz. Through a look at the changing structure of the comic publishing industry and how comic publishers, writers, and artists have responded to the tastes of their consumers, Chapman ultimately argues that British comics are distinctive and different from American, French, and Japanese comics. An invaluable reference for all comic collectors and fans in Britain and beyond, British Comics showcases the major role comics have played in the imaginative lives of readers young and old.