new comic

The British weekly girls' comic, Valentine, published by Fleetway from January 19th, 1957 to November 9th, 1974, appears to have been something of a forerunner to the subsequently highly successful Jackie. The first story in this December 21, 1963 issue of Valentine kicks off on the front page of the comic, and like the rest inside, is short and based on a song title. There's a few interesting components to this story - a hint of Islamophobia, and the girl also escapes a potential life of domestic abuse (her boyfriend Brian exhibits some of the signs - he's certainly controlling, unwarrantedly jealous, and blaming) for a future with a nice guy (a copper!).



While most of the stories are self-contained, this next one is an installment in an on-going serial. All I can say about this one is, Tom, with a love like that, you know you should be glad! But I've got a feeling you're going to lose that girl!



The whole comic is very pop icon focused:



From what I've seen of the digest-size British romance comics, the art in some of these Valentine stories, like "For You, For Me", seems to be drawn by some of the same artists. But the moodier panels in this story are even reminscent of Gene Colan's romance work for DC. It's interesting to note the universal romance story device of having the girl going over her situation while lying awake in bed. Some very nice art in this story about the importance of compatibility in a relationship.




Some of the familiar romance comic elements here - horoscopes, an ad for a remedy for pimples, and a jewelry ad. There's also promotion of some of Fleetway's digest-size romance titles for older readers.


Again another romance comic standard - the fashion feature. This time it's in the form of a sequential strip, however. I like the text at the end where the prices and sources of the clothes and other fashion items illustrated in the story are provided.



The centerfold of these Valentine comics is a poster of one of the heart throb musicians of the time. Here it's Billy J. Kramer of Billy J. Kramer and the Dakotas, a performer from Liverpool also managed by Beatles manager Brian Epstein and who achieved stardom singing Lennon/McCartney compositions.


This next 2-pager is also a serial feature, and has an unusual format. Lot's of suspect goings on!



The letters page and more ads:



The art in "What About Me?" is reminiscent of Italian or Spanish artists' work, and sure enough, it's signed Julio Vivas Garcia:




More pop stuff:


Next is a moral tale, "Dear Stevie", that seems to be a regular feature. Like some golden age American romance comics, it turns the problem page into a sequential art story.



This last three page story finishes on the back cover, and, while a little inconsistent in quality, contains some very nice panels, like the one in which Jean says, "I do know I love him but how can I marry someone who cares so little for the future?", while sitting in a fortune teller's tent:




All this for just a tanner! And that about wraps it up. I think it's time for me to scarper!

Australians! A pretty good story even though the artwork is a bit bumpy at times. Take our friend to the left here. Despite the fact that he doesn't appear in the story and he's the only shirtless Australian to be found in The Digger Breed - look at his slouch hat! What the hell is going on there? That hat is an abomination. Now that I've got that off my chest - here's the plot.

The Digger Breed starts off with Australia's baptism of fire at Gallipoli. A young soldier (who we only get to know as "Rusty") is facing battle for the first time doubts his own courage. He survives his first encounter with the enemy and through the guiding hands of his comrades he manages to find his place. However he panics while out on patrol causing all his comrades to be killed.

Fast forward to World War Two. Three Australian veterans are disembarking in North Africa. One of them is "Rusty" - but which one? Is it Lieutant-Colonel Bradbury or Sergeant Shaw or Private "Croc" Wheeler? There's a hint is given early in the story and then followed up with a red herring or two.  I found myself saying "of course!" when his identity is revealed. But that is only my ego compensating for the fact that I didn't figure it our for myself. 

The Italians in North Africa receive a favourable treatment from the author. But the Australian slouch hats don't deserve the treatment they receive from the illustrator. They are just awful. There are also some very odd looking German tanks. Some of the panels appear incomplete and the composition at times is messy. However at the same time there is also some truly outstanding artwork. The illustrator obviously feels really comfortable when he (sorry for the assumption) gets to leave the ink in the well and sets out to convey the action in as few lines as possible.

The Digger Breed is a well written story and shows that a good drama can be achieved in 64 pages.





My oath sergeant what is wrong with that man's hat?




Why are those boots in the air?




Bad hats again. These really make me mad!










Now this a great panel. Feel the white space.




 An unusual panel for a pocket war library comic. Having said that it looks unfinished.



This is a good one. Gives you an appreciation for the vastness of the desert.



 Now that's an AAAGH!



 Here's one for the good guys handbook. If you're out on patrol with a guy called Jimmy odds are you'll be coming back alone.



Feel the fear.

This is a very tidy story about seeking redemption and accepting repentance with a touch of the supernatural thrown in to make things interesting.

As Eight Platoon prepares for their assault on Chateau de Ruhl on old Shepard greats the platoon with a premonition that there will only be one survivor from the ensuing battle. The local villagers dismiss the old boy as being crazy but Eight Platoon’s morale is shaken his comments.

The platoon’s morale is already in trouble as their new officer, Second Lieutenant Mark Nichols, panicked in his first action during an artillery barrage and lost both his own confidence and the confidence of his men.

The platoon was only saved during the subsequent battle by the leadership of the veteran Sergeant Burke and a gutsy display by private “Rusty” Grant. The sergeant is ready to report Nichols’ cowardice to company command but he is persuaded by Grant to give Nichols a second chance.

Soon enough the platoon is ordered to occupy a chateau where they are promptly surrounded and cut-off by the enemy.

So when Nichols formulates a plan to save the platoon by volunteering to go through enemy lines to get help it is met with cynicism. What follows is a dangerous escapade as Nichols and “Rusty” Grant (a fluent German speaker) work their way through enemy lines.

The story ends as it starts with the old Shepard witnessing the eerie spectacle of ghostly British troops marching towards the front.

This is a nicely crafted story. Action sequences contribute to the narrative the whole way through and there’s no need for superfluous exploding trucks, trains, boats, buildings, bridges or tanks. A lot could have gone wrong with the introduction of the ghostly element but thankfully it is used well. There’s strong pathos to this story as even though the good guys are heroic it is not enough to enable their survival.



 Fear. I'll show you fear if you can catch me!

Here's a man who loves his job! There's also one of those rare dead guys you find in wars - with blood!











An even better aaagh!












The classic short aaagh!










 Where's the side order of fries?



A great looking panel.