Wednesday, 22 July 2015



Be warned, this is a long post.  All these comics have been a joy to rediscover but this one in particular has nothing online to remember it by.  This blog is really the only place online for content on this comic, apart from an occasional sentence in a Wiki entry, so I wanted to do it justice and make it the most definitive post it could be.  But still from that personal point of view of course.

Let's start this part of my Beyond Oink! series by going right back to the comic that started it all:

This series is all about the comics I placed a regular order for with my newsagents in Whitehead after Oink! introduced the eight-year-old me to the world of comics.  When it closed its doors with its sixty-eighth issue in October 1988 I was now ten and alongside the now monthly piggy publication I was also collecting the fortnightly Thomas the Tank Engine and Friends and Big Comic Fortnightly and the weekly (by this stage) The Real Ghostbusters.  Big Comic had been the latest addition, though it was such great value and kept me quiet for so long my mum didn't mind.  When Oink! finished I did sample the comic it merged into (Buster) but didn't place an order and I'll cover that in-depth in #68's post when the time comes.  So I was now one comic down.

Then from that final issue out plopped its free gift:

During the whole two-and-a-half-years of its publication we pig pals were treated to twelve free gifts, each one was a real special treat and unlike today they weren't taken for granted.  So to finish with one was quite special.  Now, do you remember right back at the very start of this blog I mentioned how Oink! was being marketed in a different way than most of the previous IPC comics with a special free preview issue rather than television advertising etc.?  Well as a parting gift Oink!'s demise tied in with the release of a brand new title from Fleetway who had taken over as publishers from #35 and that final free gift was another special free preview comic.  You could say things had come full circle.  It was almost like my favourite comic was passing the mantle.  How could I refuse?


The new comic was called Wildcat (I loved it already!) and to anyone who watched the fantastic update to Battlestar Galactica a few years ago the premise will sound familiar, but back in the 80s the original BSG TV series hadn't exactly been a roaring success ten years previous, so to my young mind this was as original as it got!  The concept was created from scratch by editor Barrie Tomlinson of Tiger (and Lion) fame and the first page of the strip inside (all drawn by IPC/Fleetway artistic supremo Ian Kennedy) completely shocked me, I just didn't expect it to tell a story like this.  It'd grabbed me from the word "go":

The story in this preview edition is eleven pages long yet still fits in Turbo Jones' prediction, the selection of the humans who will leave the earth alongside him, his choosing of his seconds-in-command, the building of the enormous Wildcat spacecraft, their leaving and then the final outcome for our home planet.  Quite a lot, eh?  Indeed.

It does hurry through it but that's just my adult brain talking, as a ten-year-old I was engrossed.  It was pitched as a science-fiction comic for younger readers to compliment such Fleetway titles as 2000AD which aimed at a slightly older age bracket.  To be honest though I think this sold it short and in years since it's been lauded as a much stronger comic than its other stablemate Eagle, which it eventually folded into.  You'll see below what I mean about the target audience.  But first let's have a quick look at a couple of pages in this preview which caught my attention now.  Below are two of them from different points, the first showing off the three characters who'd be the main stars of the ongoing title alongside Turbo and a rather convenient explanation for the funding of the project.  Yes it's a bit daft now, but it wasn't something readers our age were going to worry about!

What's interesting is the mention of "lifedust" by one of the main characters.  It's slipped in and not mentioned again in this preview and is the first hint of ongoing and developing story arcs to come.  While this free gift's purpose was to set up the storyline so that #1 could start the action straight out the gate on a new planet, it's interesting to see a Babylon 5-esque little hint of things to come here in a supposed "younger" title.  It's certainly intriguing; is one of our potential childhood heroes reliant on a drug of some sort?:

This eleven-page story ends with our heroes finally (after many attempts) finding a planet which could support human life, just before they receive a message from Earth.  While Turbo (yes, terrible name but somehow suited this comic's 'out there' premise) was correct in his prediction that life on Earth would come to an end, he wasn't insofar as the way in which it'd happen.  We see Earth explode(!) in the final panels and no one knows why or how, it's a mystery for now.

We're then told the four commanders will each lead exploration teams down onto the surface of this new world while the rest of civilisation wait onboard the Wildcat.

It's quite a brutal story for children.  Our planet is gone, billions are dead and only several hundred were chosen by Turbo and his team to survive!  That's all we have left to carry on the human race with, along with however many animals they brought along.  That makes the genocide in Battlestar Galactica look like a walk in the Wildcat's luxurious gardens.  The comic then ends with a few pages of previews of the monsters they'd meet on this planet and reading it nowadays my instant reaction is are they going to treat anything that looks different to us as a monster?  It certainly seems this way, rather than going to meet and greet any civilisation already on this new world.  But there was a clever reason for this as you'll see below.


The preview issue was rather small (about the height of an Amercian comic and a bit wider) but the new title was going to be much bigger.  They really made a big deal out of this on the back page:

There was good reason for this.  Most of Fleetway's range was on newsprint and on smaller pages, something which happened to Oink! back in #36 but here we were returning to those same big, glossy pages we'd enjoyed before.  Even 2000AD was on smaller newsprint and pales in comparison aesthetically, page-wise:

Even compared to today's progs Wildcat stands out.  In my smaller days it was massive and made the action feel like a big-screen adventure in my hands.  In fact, as we move on to the premiere issue let's do so with a big, bold picture shall we?:

Boom!  Wildcat had landed.  Figuratively speaking.

It only includes a one-page recap of the preview issue and instead jumps right in with five great stories.  Four of these would be ongoing tales, five pages an issue from the characters introduced previously, with the final one being a six-page complete tale set aboard the spacecraft itself.  After all we couldn't have a comic named after this ship and not actually have any action on it!

This is another comic I unfortunately never kept any of from my childhood for whatever reason (probably because it merged with another comic before the stories finished) and so I bought the issues you see here from eBay for writing this post.  What strikes me as it goes on, along with how much came back to me about later issues and stories, is how we can already see it developing its plan by the end of issue three.

But first, a quick comparison.


I'm currently on volume three of the Judge Dredd Complete Case Files, a superb series of books collecting together all of the Dredd stories ever since his first appearance in the second issue of 2000AD.  Reading those early stories it's shocking to see how brutal its storytelling was at times, with a lot happening in five pages, but also the attitude of this hard-nosed hero was striking even by his own standards today.  For any Dredd fans compare the pace of those pages above in the preview issue of Wildcat; it sets up this epic tale in no time at all, sometimes taking liberties (the funding for example) to move it along to the stage the creators wanted it to be at so they could get down to the nitty-gritty.  Compare them with how the big Dredd epics such as The Cursed Earth and the robot war were set up within about five pages, so that the epic tales could then start for real and be told over many, many issues.

Then, just to ram the point home, compare Dredd's early days demeanour and especially his treatment of Walter the Wobot (no, not a spelling error for any non-Dredd fans) with the way Turbo Jones gets on here in the first page of part one of his epic story... alongside his half-robotic chimp assistant:

Feel familiar?  Being the man in charge of saving our race and having it all on his conscience would make anyone a bit cranky, but we do see him start to mellow out (in particular towards Robo) as time goes on.  In the first few issues we see him and his men set upon by aliens and instantly they're identified as the enemy as they have weapons pointed at the humans.  In this first issue (as I read it now as an adult) I felt this was a bit off.  We didn't know they were evil, they were assumed to be simply based on the fact they were a bit horrible to look at.  Is this the right thing to teach the kids?  No, it's not.  But this is where Wildcat's plan comes into effect.

By the end of the third part of Turbo's story in #3 (funnily enough) he's discovered these people are a peaceful race stuck in an endless conflict with an enemy they can't possibly defend against.  As the story goes on further into the comic's run we also find out the two races signed an anti-nuclear treaty but have started training the planet's equivalent of dinosaurs against each other (they're not extinct here) and there's more to the conflict than at first thought.  But we started off with action and that's what we readers wanted: non-stop action!  We got it.  But as we continued to read the intricacies started to come out.

The comic had a clear plan with its stories and it's one which the other main characters would keep to as well - there's more to things than meet the eye and don't judge people or events at first glance.  Turbo slowly learns even the baddies have motives which, while he may not agree with them, he can understand.  Then there's those dinosaurs.  Above Ian Kennedy drew the first part of the tale but he'd pass the mantle to equally prolific comic artist Vanyo,(real name Eduardo Vano Ibarra) but who can complain when you get covers like this!:  (Kennedy would continue with some of the covers too.)

Apologies, my scanner is A4 so these amazing covers are trimmed a bit.

But isn't that just the perfect front page for any young boy?  Vanyo is a world class illustrator and in the world of comics was known for being a major contributor to a lot of Fleetway's catalogue (as were many of the artists on Wildcat) for example Death Wish (Speed), Judge Dredd, Storm Force (Battle) and Ghost Squad (Eagle).

Turbo learned the creatures who captured him were actually good guys and they put him in control of their armies, after learning more about them and coming to a mutual understanding.  Then he meets the supposedly evil creatures who are using dinosaurs as a form of military weaponry.  Naturally then Turbo instructs his new troops to capture and train their own dinosaurs.  One step forward from his initial reaction to the aliens, then two steps back by enslaving dinosaurs?  Ah but it means we're back to the action you see... then eventually Turbo not only learns more about the enemy and why they're fighting this war, but further on he starts to develop a bond with the dinosaur that's been trained to serve him.


You can see what the comic was doing.  It was pulling us kids in with the action but then showing us there's more to it than that and, while these adult characters should know better, it was a comic for children and so through these new heroes learning their lessons so were we.  It reads as an entertaining and well thought out comic to this day.  It was trying something different which isn't apparent from the outside, but I guess that's the whole point!

The other characters all followed suit but at varying paces so as to keep us on our toes.  I loved the clear design of the comic too, so as well as Turbo Jones the three other strips were:

Loner would be my favourite by far so we'll leave him to last.  Joe Alien's five pages would be the only colour ones inside the comic at all, alongside the cover and the back page which featured beautifully painted pin-ups of one character every issue.  Joe was an alien from the planet Xganbe-4 and the last survivor of his race as far as he knows.  He had extending limbs a la Inspector Gadget and while this was obviously a visual treat for us at the time and in how he used them (never for violence and he never carried a weapon) the thing that I found the most interesting was his intelligence.

His race had been so hungry for knowledge it got to the point where their bodies and brains weren't evolving fast enough and so they developed an external brain-pack.  Of course this also had its comedic moments as he turned into a gibbering wreck if it was ever removed - queue the letterer having fun with random letters all over the place.  It was also used, obviously, as a way of putting him in danger and his troopers would have to come to his rescue.  His men were just random humans, which meant his intelligence was vastly superior but he cared for them and when his pack was knocked out they had to save him from the inevitable danger he placed himself in.

Joe was drawn by another incredible, well-known artist by the name of a certain Massimo Belardinelli.  By way of example of his credentials the late Mr Belardinelli worked on Valiant and Battle Picture Weekly titles but is best known for his 2000AD work, being there right at the very beginning with Dan Dare, then with the second volume of time-travelling dinosaur-hunting tale Flesh and then later still he brought his considerable talent to Slaine as well.  However he may be arguably best known for being the artist on Ace Trucking Co which was created for him and his particular skills by veteran writers John Wagner and Alan Grant.  (This strip makes a comeback this year in the Prog by the way.)

So let's have a little sample shall we?  Joe would always be the second strip, bringing colour to three pages but the final two would always be reserved for the middle spread so here it is from the inside of #1 and it's clear the hyper-intelligent alien has one obvious flaw... with all that brain power he still can't detect when a massive and very hungry alien tree is sneaking up on him from behind:

Our next character here is Kitten Magee and it's the turn of Spanish artist Jose Ortiz to bring his unique style to Wildcat.  A Spanish artist whose British comic work includes a whole load of Rogue Trooper for Tharg's Progs (2000AD to the uninitiated) as well as the likes of The House of Daemon (Eagle) and The Thirteenth Floor for Scream!, Wildcat's younger audience were certainly being treated to some top talent.  No wonder I enjoyed it so much, after being spoiled by Oink! it was a natural progression, eh?


Kitten managed a group of female warriors who went down to the planet to find somewhere to live for the colonists and, just like the other groups, lost contact with the ship soon after landing.  For a comic named after the craft, to have them all lose contact from the first issue was a bold move.  It also heightened the tension when they met the next set of aliens.

Like her fellow crew members Kitten would instantly be on the defensive against an alien threat when it appeared and in her first episode they opened fire on a few such creatures which were just going about their usual circle of life duties.  Yes they were after a human meal but it did seem like overkill when I read it!  Now it may have simply been written they were attacking and that was it, but it wasn't clear to me and the first issue's Turbo and Kitten stories did leave me thinking we're all doomed if these are our representatives!  But temporarily putting myself back into my young mindset I saw the strip was doing that trick again I mentioned above.

A few issues in Kitten and her group are apparently being set upon by a group of multi-eyed 'monsters' until she finally clicks that it's the (assumed) male leader of the group who is doing the fighting and it's a ritual to see who will be leader of the pack.  The fight scene is fantastically drawn, though can I just say she's got an unfair advantage over the male here?  Easy target and all that:


Kitten doesn't work with men.  Ever.  Well apart from Turbo of course but even then he was a means to an end and her long-term intentions remained unclear unfortunately, but there was definitely some larger plan and whether it involved the Wildcat and the males in its population or not will forever be unknown.  But here she does win over the male tribe and believes she can work with them to forge relations - until two rather rotund aliens hovering above have their way of course.  Again the action has grabbed our attention, but while Turbo learns more and more about the history of the war he's involved with and the beings under his control, and Joe and his group have to think their way out of dealing with a jungle of vicious plants who under the surface are just trying to survive, Kitten's story started with the same action but became something different again.  Her story involved manipulations, double-crossing, secrets and lies and all wrapped up in a strong female lead.  Good going for an 80s kids' comic, don't you think?

Below we can also see what happens when Kitten doesn't get her lifedust:

Jose's work perfectly captures the alien jungle setting here and his creations were always more grounded in reality than others.  What I mean by this is that he didn't go overboard too much and so we believed the creatures were real.  The tribe here is basically a jungle tribe with many eyes, the two overseers are the rich and powerful manipulating those people beneath them, engorged on their success.  The story does develop very naturally as it goes and it's in this regard that I believe the comic is left short when it's discussed by comics fans.  They see something advertised as a younger 2000AD, see the simple setup and the basic action tales of the first issue and they dismiss it.  Such a shame.

But now on to this guy:


Loner was that old cliché of the man who'd had previous working partners and they'd all died, he blamed himself and swore he'd never work with anyone again.  To me at the time he was like a hardened version of Michael Knight.  He carried with him his antique six-gun which he'd "affectionately nicknamed Babe", converted into a multi-function weapon capable of firing assorted bullets.  A handy plot device so we'd have a familiar character concept to look at and identify with?  Probably, but who cares?  It worked a treat and as I said above he was by far my favourite character.  That's not to take away from any of the others featured here, I especially enjoyed Joe from the start but they all grew on me very quickly and each developed well, which was a feat given the short lifespan of the comic.

I think what drew me in to Loner to begin with was the stunning artwork by David Pugh, who was a staple of the Fleetway range of action titles, churning out hugely detailed, high quality work like no other.  Best known for working with Pat Mills and reimagining 2000AD's Slaine for the 80s (as well as reinventing Dan Dare for Eagle after Wildcat folded), he worked on licenced titles too such as Mask and another one which I'll be featuring later in Beyond Oink!, lending a gravitas and some serious artwork to comics based on toys.

However, Loner was his favourite character of all!  When I found this out it filled me with joy to have such a high profile artist hold this comic and one of its creations in such high regard, but then again Loner was created specifically for David by Barrie.  Amazing.

Reading these now it's clear David loved working on it.  The amount of incredibly intricate detail, the fun designs of the furry creatures you'll see below and the beautiful lizard-type baddie... David must've had a lot of fun.  In the 80s having a black man as this powerful action hero who has no need of an entourage of any kind, in a comic aimed at younger children which made no big deal about him being black, was a powerful thing in itself.  (Never mind the fact it also had a strong female lead in Kitten Magee remember.)  It all added up to something of real depth and as it developed the layers of the character the story itself unfolded with ever more spectacular art.  Just look at this page for example from #3!:


The basic story is that Loner has landed, lost communications with the Wildcat and the other parties and ends up falling through the ground to an underground cavern.  Here he runs into little cute balls of fur, but ones which give out a small electrical shock if touched.  At first friendly enough they start to attack, with many at once proving too much as you can see above.  There's many varieties of them and everywhere he ran to before this encounter above he just came up against different kinds making it impossible to escape.  However he never kills any of them, knowing they're just defending their home from this new, unknown - and much, much bigger - stranger carrying a weapon.

Of course it's not as simple as that and the lizard guy above is soon discovered to have a psychic power over them, instructing them to attack all at once as you can see.  Even by this stage all is not as it seems and you get the distinct impression this particular lizard is a bit on the daft side.  It turns out he has actually gone crazy, trapped in this lair with no real minds to probe, something his race did to conquer and destroy throughout the galaxy:

The way the background stories were told are probably the only thing I now look back on and think could've been done better.  It's another of the things which contributes to the comic feeling very much like early Judge Dredd, with the feeling the (very interesting) backgrounds are sometimes being told quickly to get them out of the way.  Doesn't that ship above just look glorious though?

In the end it becomes clear the wee fuzzballs have become his slaves and Loner takes it upon himself to set them free.  They end up becoming his loyal friends and low-and-behold the first interplanetary relations had begun, with the critters living everywhere and proving a valuable resource.  An odd set of friends (or pets) for someone like Loner to have but that added to his character later.

I just loved the fact we didn't need commentary from other humans - or even a narrator for the most part - the art told the story without the need for a load of exposition captions and Loner himself was such a strong character we got to know him through his own thoughts and actions.  It's such a crying shame the title didn't continue as he could've been an absolutely classic British comics character and a bold, original move on the part of Fleetway.


Also in each issue the final six pages of strip would be given over to what became known as The Wildcat Complete, a self-contained story featuring different characters and scenarios every fortnight but always set in and around the spaceship itself.  While they could easily have been told over several weeks at a much slower pace, with the mysteries unravelling bit-by-bit instead of being resolved each issue, these Twilight Zone-esque tales were always great and brilliantly dark.  Right after reading Loner which in itself felt like a more mature strip, these complete tales brought a lovely creepy feeling to the story of the last remaining humans drifting in space around the dangerous planet below.  They were brilliant at highlighting the isolation of being there and depicted life on board in a fascinating way - things had been designed to be as 'normal' as possible for living on the Wildcat but in reality it was a dangerous place and these stories highlighted how the ship was the only thing keeping them alive.  This meant when something bad happened it made it all the more terrifying for those on board.

Also, what a body count they had!  I'll show you some highlights of a later strip below to show you what I mean but first here's the complete Wildcat Complete from the premiere issue, a rather touching tale but in keeping with the tone of what was to come as the comic continued:

To me there's a Carlos Esquerra feel about the art here although I know for sure it's not him.  But apparently (we're not sure) it could be Enrique Alcatena and until someone tells me different I'll be deferring to my source's vastly superior comics knowledge*.  Of Argentine origin (Wildcat was quite the international pool of talent) Enrique was mostly known for his mythical comics creations in his home country but went on to work on titles such as Aliens for Dark Horse comics, Batman, Conan, as well as Predator vs Judge Dredd which was published by the aforementioned company and Fleetway.

I think his style suits the story above perfectly and as a first issue tale it brings a nice link between the then-modern day space programme (though specifically still ten years in the future at the time) and the futuristic world of the comic.  In fact every artist picked for this title brought a completely different style to the table yet each and every one suited the comic to a tee.  I'll finish off the post with some superb examples from Kennedy and Pugh below to further illustrate (groan) my point.  But first here's a few panels I selected from the third Wildcat Complete: The Invaders! to show you what I mean about how this supposedly younger comic, while never being unsuitable in any way, never talked down to its audience and knew the more horrifying (within reason) it could be with its stories the more we'd lap it up!  Watch out in particular for the great reaction to a body being jettisoned into space:

By the end of its twelve issues it was a surprise to find anyone still alive onboard!

The artist here is Joan Boix, a superb Spanish artist who worked briefly for Marvel in the 70s and who also worked on Flesh in Tharg's organ as well as popping back onto the comics scene for Wildcat and Eagle.


But yes, end it did after only a dozen issues.  What was the problem?  To be honest I have no idea why it didn't sell better than it did.  It was a quality comic, original and superbly put together by a team of craftspeople who wanted to create the very best new title they could.  When it was coming out every fortnight I easily saw it continuing indefinitely, like a kind of 2000AD but where all the separate stories are linked together by one big epic arc.  New characters could've been introduced and we may have seen different ones come and go, with Turbo probably being a constant.  As it was, the five characters above were still going strong when it hit its final issue.

There were no real endings/beginnings to separate stories as far as titles etc. went, each character simply finished off one scenario and then moved on to the next so perhaps they would've stuck with them and over time who knows how they'd have developed.  It's a crying shame as the potential is there in spades and hopefully I've been able to show you some of that and how there was more to this comic than at first glance - though that first glance was mesmerising as a child!

Two weeks after #12 hit the shelves it joined forces with another title and Eagle and Wildcat was then out every week for a good while during 1988.  I never went with it though.  Oink! had finished and now a mere five or so months later another of my favourites had gone, so I kind of huffed (hey I was eleven) and I wasn't interested in Eagle itself anyway.  However, a poster and stickers were given away with the first merged issue, the Wildcat characters often got the front cover spot and the consensus at the time from Eagle fans was that the Wildcat stories were sometimes actually better than the ones they'd been getting!  Just shows you maybe it just simply didn't get to reach its full potential audience.  Like Oink! it was originally aimed at a particular age bracket but appealled to everyone, however not a lot of people got to realise that.  I suppose when you have Tharg the Mighty in 2000AD telling his readers this new comic was for "younger squaxx" it may have put many off.

The complete tales were dropped and the four main strips appeared over time, with Turbo and Kitten taking centre stage first of all, their 5-page Wildcat strips continuing for a while and then, when used up and new material was written specifically for the merged comic, they became 3-page stories to fit with the other Eagle strips.  Once each story was complete they were replaced with Joe and Loner (though Pugh handed over his favourite character to Eric Bradbury), the latter continuing well passed the comic reverting to simply "Eagle", a little over a whole year after the cancellation of his original publication.  Then, even though they'd proven very popular in their new home, they were completely discontinued.

During its time in Eagle a separate holiday special was released for the summer and then later that year a winter special followed suit.  This was at the same time as the Oink! Winter Special, both of which were much more expensive at £2.25 and contained 64 ultra-glossy pages and a thick, floppy and even glossier cover.  Just as with Oink!'s, it's clear the Wildcat special's content was originally meant to have made up the first Wildcat annual.  In addition Turbo Jones saw his stories reprinted in a special one-off from Fleetway and Loner's turned up in an American-sized monthly comic too a while later.

I just want to finish off with a couple of special pieces of artwork taken from this special:

First up, it's a bit of an odd special with a new Wildcat Complete, one-off tales for Turbo, Kitten and Joe, but a text story for Loner, a couple of reprint strips from classic comic Tiger (Jet-Ace Logan) and some features on robots from the comic, a look at the spacecraft and some pin-ups which were obviously meant to be back covers of issues which never made it to print.  There was also a pin-up of this one which had already been a cover to #7 but with David Pugh's signature visible this time.  I just had to include it because... well, surely I don't need a reason!:

Finally as a special treat at the end of the holiday special there was this following double-page spread and I thought it'd make for the perfect end to this post.  It's none other than Ian Kennedy's initial design drawings for the Wildcat and her crew.  What a bonus!  Ian would also appear as the cover artist in every issue for a certain other short-lived Fleetway comic which became one of my very favourite comics of all time and I adored his work, so when I bought this recently it was very cool to see these:

There you have it.  I hope I've been able to do justice to this wonderful comic which seems to have been criminally forgotten in the years since.  With comics like Thomas the Tank Engine & Friends and The Real Ghostbusters, while they were obviously also favourites (I wouldn't have placed an order for them back then or have covered them in this series if they weren't) everyone knows what they're about.  There was no need to explain the setup or who the characters were etc.  Also Thomas' title is quite well covered elsewhere online and the Ghostbusters have their fan sites on the web too.  Big Comic Fortnightly itself may not get a lot of coverage these days but the comics it reprinted are everywhere!  With Wildcat none of this is true and so I've tried to make up for that here.

The length of the post shouldn't make you think I don't hold the other comics I've covered in just as high regard.  I do, I really do.  For example, my two absolute favourites (still to come) will be very different posts - one will be similar to those that have come before as everyone will know what it's based on, while the other will see another larger-than-your-average-bear post like this because of the very same reasons.

I hope you enjoyed this one though.


I did say at the start of this series the posts would be fortnightly for the most part.  Each one will appear one week before and one week after each monthly Oink!, so there's a little longer to wait this time.  But I'm glad there's three weeks until part five as there's well over 300 issues to the next one.  This may take some time.

* SPECIAL THANKS to Lew Stringer for identifying the majority of the artists here for me - the only one I knew was Ian!  Also thanks to Steve Holland (whose wonderful blog Bear Alley Books you'll see appearing to the left with the others soon but in the meantime you can click here) for his help with the artist of the final Wildcat Complete above.  So thanks Lew and Steve, I appreciate all the help and it wouldn't have been anywhere near the post it became without your input.

Thursday, 16 July 2015


How many times has Ian Jackson drawn Terry Wogan by now?

Well here's Ian's last cover for Oink! sadly enough.  Chris Sievey, Tony Husband, Haldane, Patrick Gallagher and J.T. Dogg all share the honours of the very last Oink! covers over the next few issues and the remaining book and specials to come, but the artist many of its contributors gave just as much credit to as the comic's three editors bids us adieu right here.  Not to take away from anyone else who worked hard on the title but Ian's art is synonymous with the comic and his versions of Uncle Pigg, Mary Lighthouse and Percy Plop are the definitive ones.  He did help create them after all.

From Hadrian Vile to The Golden Trough Awards and everything in-between, his unique style helped Oink! stand out from the shelves and into the hearts of pig pals everywhere.  As a child his art style was Oink! and it's been a shame to see so little from him lately.  Just as much of a shame is the way Uncle Pigg has been sidelined to the letters page and Mary is nowhere to be seen anymore.  With hindsight now the comic does appear to be losing its identity somewhat and instead has morphed from the fortnightly heyday into something trying to fit in with other titles on the shelves (first the younger comics with the weeklies and now the more mature ones) instead of treading its own path.  From cover-to-cover you'd not exactly lose count of the piggy-themed parodies for one thing.

Ian's lack of input goes hand-in-hand with that of Jeremy Banx and while I did enjoy the monthlies as a child and lapped up the large-scale strips from other contributors, especially Lew Stringer, I can see now why I wasn't quite as giddy with excitement come release date.  Don't get me wrong I still went to pick it up on that morning without fail, but it was more of a leisurely stroll to do so than the Olympic-style run there and back.  As I've said before, when it turned monthly I never thought it was about to end and just assumed it'd morph and change over the years to come.  But by the time #68 came along I wasn't completely surprised by the outcome.

But what we do have in these issues is what's important right now and this one in particular is taken over by one serial... er, I mean one single strip!  More on that after this first double-page scan.

I mentioned Lew above and while even bigger strips of his made appearances in the next few issues (news on that below) he was already bringing us multiple strips from characters and sometimes delightful two-page stories, as in this case.  Hadrian Vile had been unique in that his age had increased as Oink!'s did and we saw the addition of a baby to the family unit, who I'm sure we would've seen more of if his series had continued.  But he wasn't the only one to fly in the face of comics convention.

Comics characters are like Stewie Griffin - never growing up.  They stay put in that particular part of their lives where we've grown accustomed to them.  Babies stay babies.  School kids stay in school.  Or do they?  Lew isn't kidding when he says this is another Oink! first, put it that way:

In the previous issue we'd seen him try to apply for work and in the chapters to come how he manages with his first tentative steps into adulthood.  Would this have happened if Fleetway hadn't changed the format of the comic to this new monthly one aimed at the older Oink! readers?  Well no, this was a deliberate change for the new format as Lew has confirmed with me (thanks Lew) and he believes it may have actually been Mark Rodgers' idea.  For the monthly title I think it works and even though my ten-year-old self was still in primary school I enjoyed seeing the 'older' bully get his comeuppance!

Of course once Tom made the transition to the pages of Buster for its younger audience he was plonked back into school.

Now, I always try to scan in no more than a certain amount of pages from each issue for this blog, as I've explained before I've been approached to scan in whole issues but I never will (so please stop asking).  I'm dead set against piracy of any kind and while these comics are only available through second-hand sellers at the moment, with the characters belonging to their individual cartoonists they could release collections any time they want and I won't take away from any potential sales.  The team have been really supportive (as were Egmont when I set the blog up I have to say) and so I try to make sure no more than a quarter of each issue gets scanned in.

However this month that'd mean the whole post would be taken up by one strip, so I've cheated and included just three others, but some previous issues have been quite a bit less than a quarter of the total page count (which is my limit) so we'll say it balances out.

Previously Mark Rodgers' superb telly serial spoof The StreetHogs followed that cliffhanger-based format of the shows he was pastiching and we got one hilarious double-page spread each issue over a period of time.  They were huge highlights of the fortnightly Oink!s, appearing in two stories so far and finally here they are in their third and sadly final outing.  But don't be worrying if you're thinking waiting a whole month with one of the increasingly ludicrous cliffhangers is too long because the whole shebang is right here in one issue!

As mentioned at the very end of the previous epic way, way back in #35 (which you can read in its own post) here finally is Malice in Underland.  Want some more good news?  After their first sequel ran to only four issues, compared to their premiere's twelve, you're getting a little more this time.

Very obviously written and designed to follow the previous idea of running over a few issues - six in this case - they've been slightly edited so as they're not telling us to come back 'next issue' anymore and the final two parts further down in the post actually look a little unfinished as far as the titles go, with a photocopied name on the top-left being quite subdued compared to the usual bright logo.

However, the actual tone of the story feels somewhat different and older, much in the same way as Tom above.

In the two previous Oink!s there were some elements I've mentioned which didn't quite hit the mark with my younger self.  They were isolated cases in each of those editions and didn't take away from the issues overall, it basically boiled down to a few gags which flew over my head as a young 'un.  Now while I can't remember exactly how this next strip went down at the time, I can certainly remember the artwork vividly and I don't just mean because it's of the usual exemplary standards of the insanely talented J.T. Dogg.  I can remember there being a green version of a certain late former Prime Minister, for example:

Don't fret, I'm not leaving it there.  There's some great strips in this issue, not least the one attached to the cover, Ye Prophecies of Nostrahamus, as well as some great full-page one-offs from Davy Francis, a three-page Horace (Ugly Face) Watkins which has him meeting the Abominable Snowman, Pete gets a magic spell cast on his greasy appendage and gets to 'meet' his Pimple and there's a very funny look at the TV of the time with a page from the Radio Swines.

However the reprint content goes up by a couple of pages and takes the sheen off an otherwise great issue, it has to be said.  But let's keep positive and surely no amount of reprints could wipe the smile off your face after reading this next half-page, as we take a quick break from all the 'Hog action and enjoy this little addition to Haldane's Bizarre World series:

I also see Haldane's Torture Twins, despite being only half a page as well, get front page billing again as with the previous two monthlies.  Perhaps torture as a comedy tool was seen as something which might appeal to the audience they were going for.  They're always comedy gold, we know that already, but it's interesting to see out of all the varied content they're up front and centre again.

But now it's back to the one-issue serial that is Malice in Underland.

So in the parts above did you get the same feeling as I did when reading this recently?  The comedy references to the characteristics of members of parliament seem a little out of place in a comic we've been used to appealing to both young and old.  Despite watching Spitting Image as a child I very much doubt the above jokes made much of an impact on me.  To me it's definitely something which the teen market would appreciate more than the readers who were my age at the time.  This shifting of the target audience did have good intentions, just as it had when it shifted with the weeklies, but instead of attracting newer readers it just meant those who had grown up with the comic (yes it was only a couple of years but you get my drift) to this point were leaving it.

We'll cover that next time though as we prepare for the final issue, for now let's concentrate on the here-and-now and roar back into the thick of it with Dirty Harry, Hi-Fat and Emma Pig... though unfortunately no Hoggy Bare.  Surely a spoof of a pimp character from Starsky & Hutch would've been perfect for the older audience?

Something I found annoying about the first handful of the modern day Marvel movies, and which was one of the reasons I personally stopped watching them, was that each villain was yet another 'bad version of the good guy'.  (Only Knight Rider can get away with doing that three times!)  For me it became boring and repetitive, but in the days of cliffhanger TV serials we loved seeing the same bad guys again and again, always coming back from the dead in more elaborate ways with increasingly daft plots for world domination.  Readers of the previous stories will probably know where I'm headed with this:

Ah yes, Don Poloney the mafia butcher is back and it's great to see some continuation from the previous story with his appearance linked to The Triffics.  He was a brilliant baddie for Oink! and written in a way by Mark which perfectly captures the nuttiness of those television series he's taking the hand out of superbly.  But also in its own way the StreetHogs strips were now beyond simple spoofery and had come to own this style of storytelling by this point.  So much so I keep forgetting they were initially a spoof at all!

We've been building towards this climax and as per usual the final episode is a bit bigger, taking up the final three pages of the comic.  It makes for a suitably funny ending with a twist and it's such a pity they'd never return in the promised fourth story.  We can only imagine what schemes Don would've cooked up next after reading this:

I've had to leave out a few other strips I had originally intended to include here because of the amount of pages the StreetHogs took up, but to be honest there was no contest when I saw this next one nestled inside the comic.. oh sorry, "magazine".

In the last issue and before that in #61 we saw the results of partners Mark Rodgers and Helen Jones' holiday to the Bahamas to visit Oink! writer Graham Exton.  It was a delightful surprise to see yet another photo spread here and this could be the best one yet.  Starting off with a GBH madvertisement, then a deserted island tale, now we're covering music videos, ghosts, a dog and an atomic bomb.  Naturally.

This time written and photographed by Helen, starring Mark and Graham and a bucket, it's time to meet the terrifying Ghost of Voodoo Island:

With the other strips above feeling very much like they were targeting the newer readers, this instead is classic Oink! at its absolute best and a genius piece of comics work.  Can you imagine being in the Bahamas, running about taking these photographs for a kids' comic and knowing you're getting paid for it as part of your job?  Fantastic.

We come to the end of another issue and that's us halfway through the monthlies already.  When I flicked forward to get a gist of what they would include so I could give you a little preview, one of the things I mentioned was the later issues having huge, multi-page strips written specifically for this new format, featuring some of your favourite characters who previously wouldn't have been given as much space.  There's one such character who certainly suits a BIG amount of space that's for sure!  He only made a handful of appearances but comes back big-time in #66.  It's none other than Pigswilla, as you can see in this next issue page from Lew Stringer:

Not quite sure how he's "raunchy" though... (that bit wasn't written by Lew.)

You'll notice the next issue goes on sale 20th August which is actually five weeks away instead of four, but hey that's how the calendar works out when you're releasing your comic on a specific day rather than a specific date.  If the giant metal porker's past is anything to go by it'll be worth the wait...

Wednesday, 8 July 2015



Before 1987 I'd never really read any comics annuals and Thomas the Tank Engine and Friends were the main reading material over the Christmas period.  Their annuals were highlights of that fortnight off school every single year with prose stories and activities, not comic strips.  But then towards the end of 1986 I started to collect my first comic from #14 of Oink! and within a year I'd started reading Thomas' own brand new fortnightly title too.  It was clear to my parents that comics were going to be a big thing for me.

1987 was also the 50th anniversary year for The Dandy and The Beano (well The Beano's was 1988 but the big year was marketed as 1987 - DC Thomson had a book to sell for Christmas) and my brother was the one who in all previous years had been bought both their annuals as he read the latter every week.  I'd read bits and bobs of them but had never really gotten into them like he had, not due to a lack of quality or anything but more because I didn't really read comics.  However, he was now growing out of comics (we all make mistakes) and with me collecting two of my own by that stage I'm now certain his moving on from them was why the special double-celebration book was given to me that Christmas morning.  Not that I'm complaining, I absolutely loved it!  (I still own it.)

But another book had also caught my parents' eye in the shop when they were making their list to Santa Claus for me.  A book containing a whopping 256 large pages with a solid hardback cover and all for just £3.25?:

Picture from Comics UK

To put that into context the 84-page Oink! Book 1988 was only 30p cheaper.

This book was awesome and that's a word I wouldn't normally use, but as a child I remember it was the only way I could describe it.  I hadn't spotted it in the shops or anything before that morning when I lifted it out of my stocking.  The sheer size and weight of it in my small hands was staggering and as I flicked through it the excitement rose at the amount of comic strips inside.  No wonder Santa had put this in my stocking, separate from my Thomas and Oink! annuals downstairs in the living room, as it kept me in bed for a lot longer before rushing to wake the rest of the family up.


Only now as an adult and searching the internet for a copy of this brilliant book have I discovered there was one the year before too, The Big Comic Book 1987!  I'd no idea, I thought I'd jumped on at the starting point but obviously not.  While the 1988-dated one was the first of three giant Big Comic Books I'd end up with, the Big Comic wouldn't keep itself confined to just a collection of hardback treasures, because six months later Fleetway took this very successful book of former owner IPC's material and turned it into a brand new comic.  I for one was overjoyed to see it pop up on my newsagent's shelves in a fortnightly 52-page format for only 35p:

Picture from Comic Vine

Well I say "brand new" but the reason this comic could provide so much content for such a low price was simple - it was all reprints.  The books and then Big Comic Fortnightly were packed from front to back with reprints from Buster, Cheeky, COR!!, Jackpot, Krazy, Monster Fun, Whizzer and Chips, Whoopee, WowKrazy and Jackpot.  I'd no idea which strips were from which original title and to be honest for a lot of them I still don't, but that wasn't the point.

I can vividly remember every other Saturday settling down to this big hefty comic and silence would fall over the chair in my corner of the living room for a good while until I'd finished every single page.  I'd start by flicking and reading my favourite characters before starting again from the beginning and working my way through.  Those were good days.

In fact I recall there was a children's Saturday morning show on at the time called On the Waterfront and the theme tune to it has stuck in my head ever since.  This is because I'd be up early in the morning watching cartoons before the show began, then I'd watch a bit while having my breakfast, before rushing to the shop to pick up my latest comics.  On the way to the shop one morning the theme tune had become stuck in my head and on my way home I'd replaced the words of the show in the song with the title of this comic.  It's been in my head ever since.

I never kept any issues of Big Comic Fortnightly so for this post I went scouring the internet just like I had for The Real Ghostbusters and instantly found it impossible to get a hold of the first issue and, more importantly, that first book of mine the 1988 annual, hence the screenshots above.  I was, however, able to secure a lovely dozen or so editions from various points in the comic's run of issues that I collected from 1988 to 1990.  Below are a selection of the covers I've scanned in and instantly you should be able to get a feel for what the comic was all about - fun:

Ah, the obligatory Christmas issue with the snowy logo.  I miss them.

The cover came on a lovely glossy, thick, high quality paper stock and contained coloured strips with the interior 48 pages printed on black and white newsprint, but with these all being strips from classic comics from previous years it just seemed to suit it a lot better than if it was printed on the same paper as early Oink! for example.  Does that make sense?


Below I've included some of those pages I'd have read first every fortnight but I just can't show you them all, there's far too many.  Some favourites I don't have the room to include would have been the likes of Frankie Stein, Odd Ball, Mustafa Mi££ion, Sweeney Toddler, Book Worm, Paws and Joker.  But as hard as it has been to leave them out, the decision to include the classics below was a no brainer for the ten-year-old in me, starting with some unwilling billionaires.

Unwillingly rich?  The Bumpkin Billionaires were indeed mega-rich but they didn't want a penny of it and each issue we'd see their latest ploy to get rid of all of their money to the chagrin of their bank manager, only for them to ultimately end up with even more by the end.  Drawn by Mike Lacey here's an example of this Whoopee (then later Whizzer and Chips, then Buster) take on The Beverly Hillbillies:

Anyone who knows me will know of my love of sharks.  Even though it'd be a couple of years later before I'd see Jaws for the first time properly, which would see the beginning of that lifelong fascination, I was aware of it from my family watching it when I was a lot younger and just looking out for the big scary fish.  So when Gums popped up in the book and comic here I may not have been aware of how much more I'd enjoy him later on in life, but there was still something which pulled me right in (or is that 'right under'?) with this rather pathetic great white shark.

John Geering has brought his charming art style to Oink! and you can see his contributions on this very blog by clicking here (obviously scroll past this post as it'll pop up again too).  Usually he'd be making a joke out of the other comics he worked for but his work in them was always fun.  Gums in particular is a treat and these strips first appeared way back in the 70s in Monster Fun, a fondly remembered title among fans which unfortunately didn't last too long before merging with Buster.  This brings me on to my next point about Big Comic Fortnightly, but first take a little dip into this character's world:

Gums even made a kind of unofficial cameo in a comic from a completely different publisher!  John drew a certain superhero for DC Thomson and when a story called for Bananaman to outwit a shark there's an uncanny resemblance to the outcome.  You can read the strip in question by visiting Peter Gray's Comics and Art blog right here.

One thing which could stick out like a bit of a sore thumb was the fact some strips hadn't aged all that well.  The strips were already quite old at this stage, many coming from the previous decade and you could tell.  Teachers caned pupils, the speech patterns of some characters could sometimes be a bit twee and in some the humour itself just seemed old fashioned with an outdated joke winding up a story.  This wasn't a huge problem, it only reared its head now and again, perhaps a few times per issue but with such a huge amount of content there was always going to be a few which wouldn't quite hit the mark as much as others.  (I hope you'll agree the ones I've chosen don't fall into this category.)

Reading it now though the surprising thing is how little it's all aged since the 80s.  Perhaps that's because I'm in the right frame of mind when reading back over these comics from my childhood - rose-tinted glasses and taking myself back to those days when writing this blog - and perhaps today's kids would think it all a bit safe, but it's still quality stuff.  At the time I did think it was a more conventional kind of humour comic, it never made me laugh out loud in the way Oink! did, but I was certainly grinning from ear-to-ear every issue.

From rose-tinted glasses to x-ray ones (you saw that coming didn't you?) and another alumni of the Monster Fun comic and once again from the pen of Mike Lacey.  When his optition Mr I. Squint gave him a special pair of glasses, young Ray found himself able to see through anything from walls to skin and he used this to his advantage like any good comic star, in X-Ray Specs.  He never used them for anything other than good natured fun and wouldn't get into trouble for using them, often helping others instead in some comical way where everyone would come together in a happy ending.  The one I've included here though is one of those rare occasions where he uses them in a more selfish way and in the end has to take cover because of the outcome.  For that it's a great little addition to his huge array of strips and another favourite of mine:

Something you'd often see were little edits to strips which had mentioned the title of the original comic they were made for, or the year in which they were published.  One example is the Krazy Awards page in one of these issues which blatantly blacks over the left-hand side of the letter 'K' to make it into an angular 'C'.  Below is another, drawn by Oink! editor Tony Husband by the looks of it, which I've scanned in at a slightly larger scale so you can zoom in and take a look at every time the words "Big Comic" are mentioned.  You can see they don't quite fit and how they've been stuck over the original words.

Above, the Santa Claus cover by Sid Burgon may look like an originated cover but it's actually a reprint too and the comic he's reading has been edited.  Out of all the issues and books only the very last annual would have an original cover.

The comic didn't try to hide the fact these strips were all from classic comics so it was funny to spot these little changes when they cropped up:

Something else Big Comic Fortnightly included was a lot of the original first appearances of fan favourite characters but without the first few issues to hand I didn't think I'd get to see any of these.  I'm very glad to see I've been proved wrong.

Robin Good was a take on a very obvious English legend and was a very funny one to boot.  Starring in Jackpot comic he made a great choice of reprint here even if he didn't appear in every issue.  Drawn by J Edward Oliver to great effect with that typed speech which was very 'in' at one stage, this is his first appearance from Jackpot, although not his first in Big Comic Fortnightly, which ran strips out of order and for the most part that never really mattered and added to the random nature of each issue.  Note the large caption at the top to explain it though.

You'll enjoy this one, even if just for the opening paragraph which has got to go down in history as comic strip gold!:

When picking these I'd no idea which comics they came from so it's nice to see upon researching them I've actually chosen a varied selection, with the next one being from Cor!!.  To back up what I said earlier about the age of the material, Cor!! ran from 1970 to 1974 before merging with Buster like so many others, but I find Chalky's strips have stood up to the test of time.  They may look aged when you see how people are dressed or the old-fashioned policeman in this strip below, but the humour is still spot on and could be written today and just set in the 70s.  Brilliant stuff from Dick Millington here:

Chalky went with the transition to Buster and in 1981 was actually voted by the readers as more popular than that comic's title star.  Buster also appeared in every issue of Big Comic Fortnightly but I have to say I preferred the creative little guy above too.

Funnily enough, when Buster finished in the year 2000 after quite a few years as a reprint-only title the very last page was a new one with several panels describing what happened next for some of the top stars now there was nothing more to merge into.  Oink!'s own Tom Thug appeared, as did Chalky who we saw being arrested for vandalism after all those years of drawing on public spaces.  He accepted what he'd done and asked for another 92,487 cases to be taken into account too!

Here's a quick treat for Oink! fans:

That's none other than Ed McHenry bringing us a little one-off (so I've no idea which IPC comic it appeared in) the likes of which we could easily have found in the pages of Oink! itself.  Indeed there's a few funny quiz sections in Big Comic Fortnightly from Ed, which should come as no surprise to pig pals everywhere.

Speaking of Oink!, with it being a relatively new comic at the time and the oldest issue having only been released two years previous I knew its characters would never appear.  Of course these days I now know Oink!'s contents was creator-owned and this was a fundamental difference between it and its stablemate comics, so Fleetway didn't own them, the writers and cartoonists did.


Big Comic Fortnightly was a lucrative comic for the publishers alright.  They owned all of these characters, all of these years and years of hard work and they didn't have to pay out any royalties or pay to use any of it.  It was extremely cheap to make so while "52 pages for 35p" may have sounded like a bargain (and it was), you can guarantee Fleetway were still laughing all the way to the bank.

In one I do remember it plugged a very special issue to come and my young brain hoped it would see the addition of characters from other comics to give it a bit of a shake and reinvigorate it.  Not that it needed it, but I longed to see Oink! stars in there as I'd missed those early issues.  However, while I was disappointed initially to see what that special issue was, upon reading it I changed my mind and it was a brilliant issue!  The reason?  It was ace cartoonist Reg Parlett's 85th birthday and the comic celebrated by having an issue dedicated to his work.  It was a lovely thought.

I'm going to show you my final scan and then round off the post with what happened to this superb comic in the end.  Back in the post for #27 of Oink! writer Graham Exton left a comment in relation to the Jake's Snake strip which was a spoof of Sid's Snake from Whizzer and Chips.  Graham mentioned how he found the original snake a bore to write for and it'd be given to new writers to try them out for a while before moving them on to other characters.  Reading back over these now they are all pretty average but this one I actually particularly like so I've included it, as we see the invention of the selfie about 30-odd years before anyone else:

As per usual with 80s comics Big Comic Fortnightly had its fair share of summer specials etc. and the books would carry on until the 1994 edition.  The comic itself lasted for a whopping 170 issues, remaining fortnightly right the way through to #169 before relaunching itself with #170 as a 100-page monthly for £1... for all of one issue.

It never turned into a weekly but instead had a sister publication called Funny Fortnightly join it on the shelves which was identical in everything but name.  Released on alternate weeks it was like having a weekly title which was great, until the latter comic turned into Funny Monthly and folded a while later.  The former kept going strong for a few years more though.

Then after that first (and last) monthly issue of Big Comic Fortnightly (well, Big Comic Monthly) it too disappeared, as did The Best of Buster Monthly, The Best of Whoopee Monthly and The Best of Whizzer and Chips Monthly and a few weeks later BVC appeared on the shelves.  Short for "Big Value Comic" it contained 68 pages of reprints for 95p every fortnight.  Got to wonder why they bothered changing it instead of just stopping the other monthlies and keeping Big Comic Fortnightly going, don't you?  BVC lasted six months before it disappeared too.

I stayed with the comic for a couple of years.  I remember the 50th issue and my final book was the 1990 one, released for Christmas 1989.  I've very fond memories of this particular comic and its books and I'd highly recommend it for any comics collectors out there.  If you'd like to sample a whole load of IPC's classic range they're all here so it'd still save you a fortune even today, instead of trying to collect a wide selection of different titles.  It could be a very collectible comic and for those of us born around a certain time it'd make for a very long-lasting ear-to-ear grin, that's for sure.


For my next Beyond Oink! the title of this series of posts couldn't be more accurate, as you'll find out in two weeks.  What is it?  Well again I'm only going to hint with this little section from the cover of #1.  Nothing like starting small and building from there, eh?:

See you soon.