Battle picture weekly - Terror Behind the Bamboo curtain

[geoff42]

Hi, Lew, thanks for your thoughts which did make me think: should I attach a "spoiler alert" before certain posts? On the one hand, i'm thinking about a comic of over 40 years ago - a bit like: I can tell the whole story of Wizard of Oz online and not spoil anyone's projected viewing. Of course, there's always those ten year olds who haven't seen it yet. And then, I recall Adam Eterno who has purchased the first two years at least of Battle - he certainly won't want to view my recent posts. Right, that's made me rethink: a spoiler alert will have to be exacted in future postings, especially if I happen to mention anyone's death I'm still quite a novice at this kind of thing, I hasten to add.) Sorry, Lew; sorry, Adam; sorry to the others who may have been affected. Spoiler alert in future.

[geoff42]

By the way, Lew, I'm aching to get my hands on a collection of Misty. I have one brilliant "white" issue that cost me a fiver. It could be some time before I realize a good collection My Battles are mostly good condition, but I have accepted the odd "iffy" one for completion. "2000 AD" is the worst as regards collection; they all have to be brilliant white and practically pure - I actually have attained 75% of the first 100 issues. But then, as regards the likes of victor, Bullet, Hotspur and Wizard, I will lower my standards. Action is another one where I have impeccable standards. It's all down to one's inane subjectivity that can never be rationalized, a bit like why do I jump out of my skin when I see a little spider crawling my way.

[Lew Stringer]

I'm not sure you need to use spoiler alerts, Geoff. There's probably only a couple of us here who hadn't already read those strips years ago who still intend to read them.

I was lucky to win the full year of Mistys as I got my bid in at the last second. They cost me nearly £100 but for two quid an issue I can't complain. All very nice condition too.

Like yourself, I also try to buy the best condition comics. I've even thrown some straight in the bin if they're stained and dirty when they arrive. I don't mind names on margins or the odd dog-eared copy, but not if they have mold or the remnants of a snack from 40 years ago compressed into the pages. Of course, this raises the old issue of "Good condition for their age" parroted by sellers who won't accept responsibilities for their own actions. It always makes me think "No, mate, age didn't rip a comic's page out, colour in the pictures, stack them in a damp shed or drip jam on them, you did." A better description would be "One previous careless owner".

[koollectablz]

Got to agree with that. Nothing annoys me more than someone describing stuff as 'good condition for the age'.

The condition is the condition no matter what the age.

I've spent over ten years on eBay buying and selling and up to this year I've never returned anything or asked for any refunds. But I decided this year to actually stick to what the description that sellers write and if things aren't up to scratch then I've asked for a refund or done returns.

So far I've returned 3 lots and had numerous partial refunds. There's just no excuse for blatantly misrepresenting items.

[Adam Eterno]

Hi, Lew, thanks for your thoughts which did make me think: should I attach a "spoiler alert" before certain posts? On the one hand, i'm thinking about a comic of over 40 years ago - a bit like: I can tell the whole story of Wizard of Oz online and not spoil anyone's projected viewing. Of course, there's always those ten year olds who haven't seen it yet. And then, I recall Adam Eterno who has purchased the first two years at least of Battle - he certainly won't want to view my recent posts. Right, that's made me rethink: a spoiler alert will have to be exacted in future postings, especially if I happen to mention anyone's death I'm still quite a novice at this kind of thing, I hasten to add.) Sorry, Lew; sorry, Adam; sorry to the others who may have been affected. Spoiler alert in future.

Thank you for thinking of me! I must admit that I'm only skiimming your posts currently as I don't want to hear about deaths of characters when I'm enjoying their lives. I'm currently about 30 issues in. D Day Dawson shouldn't still be around, along with his two sidekicks. Bootneck Boy can't die, he's got too much going for him! Most of the other stories are muddling along but not jumping out at me. I'll get a good run at them over Christmas as I'm off for a couple of weeks. I'm averaging a copy a day currently and still really enjoying it. Looking forward to the Valiant Merger issues. I now have every issue up to July 1978.

[geoff42]

Hi, Adam, the merger between Battle and Valiant is a watershed moment, indeed but before this union there was at least two strips that should engage your interest: Major Eazy and Darkie's Mob. The main reason as regards Valiant that brought so much quality to Battle lies in the artists: John Cooper, Eric Bradbury and Joe Colquhoun. All of a sudden "Battle & Valiant" had an incredible stable of consistent artists that could do no wrong - saddled with Mike Western, Pat Wright, Jim Watson & Carlos Ezquerra - the quality herein was fantastic. Not even the early 2000 AD issues could beat this team.

[Lew Stringer]

Hi, Adam, the merger between Battle and Valiant is a watershed moment, indeed but before this union there was at least two strips that should engage your interest: Major Eazy and Darkie's Mob. The main reason as regards Valiant that brought so much quality to Battle lies in the artists: John Cooper, Eric Bradbury and Joe Colquhoun. All of a sudden "Battle & Valiant" had an incredible stable of consistent artists that could do no wrong - saddled with Mike Western, Pat Wright, Jim Watson & Carlos Ezquerra - the quality herein was fantastic. Not even the early 2000 AD issues could beat this team.

Yes, an increible line up. Also, some fantastic cover designs, far more dynamic than the rather sedate covers of Lion and Pre-Wagner Valiant that had preceded the new wave.

[geoff42]

At the end of June, halfway through the year of 1977, Battle with and without Valiant had featured 36 series, not counting either complete or series of complete stories, of which only ten had eclipsed 20 episodes. Three of these were presently ongoing: Bootneck Boy, Johnny Red and Joe Two Beans. My musings as the latter two have been minimal at best but then, there was no hurry for Joe had almost another ten months to run whereas Johnny had a destiny that would transcend a decade.

The first arc of Johnny that ran for 20 episodes was a cracking good read wherein Joe Colquhoun fabulously wove the harsh, cold surroundings of Russia's Winter into the war-torn, embittered expressions of the afflicted. He basically carried on from where he left Soldier Sharp. The reader could practically feel the icy blast from many of those scenes that which he depicted where such agonizing features would not have looked out of place in a horror comic. Every time I now read Johnny Red, I soak in the cold, the bitterness, and the suffering that is so detailed in his small panels. And then I'm left wondering what he could have done for 2000 AD with their generous use of bigger panels - Fiends of the Eastern Front springs automatically to mind.

Joe Two Beans started alongside Johnny - a story of a true descendant from Red Indian heritage who was reluctantly brought to the pacific to fight the Japanese. In the first ten episodes, Joe didn't speak one word but John Wagner, the writer, found this type of storytelling too taxing and, in the end, decided to give Joe a voice. While the earlier mystique was removed, Joe (who still retained a degree of stoicism, at least) was commended with a character that would engage the reader more intimately. The second arc of this series concerning "Hell Island" begins with a mystery element which, I feel, encourages the reader to accept Joe as a full-blooded member of an ongoing Battle Series. His promotion to the opening strip of ongoing issues would seem to corroborate this assumption. With the end of Darkie's Mob, the duel as regards the popularity stakes currently lie between Joe and Johnny.

[geoff42]

There were two letters from Battle and Valiant's "Crossfire" segment that made me smile. The first letter concerned that rogue Steven who dissed a young lady who had the audacity to complain about too much killing in Battle. Of course, there had to be a follow up:

[geoff42]

Then there was a second letter that actually concerned Gerry Finley-Day who was currently writing "The Sarge" and "The Bootneck Boy". At the same time, he was also writing for 2000 AD's "Invasion". On the face of it, the letter and its reply, with regard to "2000 AD's Tharg", would have left the reader somewhat perplexed. To educate the reader, he/she would need an understanding of Gerry Finley-Day's notorious typing skills that left the sub-editor rather confused or exasperated in deciphering the submitted script that was also rife with typo errors; one of these infamous typo's heralded a unique word that 200 AD went on to embrace: "Scrotnig". Originally, Gerry was meant to type "Escorting" and left Pat Mills expending a lot of time and energy in figuring this out.

The following letter demonstrates that not only did Gerry have a tendency to proliferate his Polish with typo's but also that the sub-editor (Steve MacManus in the guise of Captain Hurricane) was more than enjoying a private joke at Gerry's expense. I can visualize Steve, banging his desk and howling with laughter while his other hand waved the letter hysterically above his bobbing head. As for Tharg, he gained such innovative alien literacy, courtesy of Gerry.

[geoff42]

El Mestizo was created primarily out of Dave Hunt's ambition to lure Carlos Ezquerra away from 2000 AD's clutches. The early conflict over Ezquerra and his joint creation of Judge Dredd is well documented and ensured, for at least another year, that Battle would keep one of its "Magnificent Seven" artists (This will be extrapolated in a separate post). Still, El Mestizo was a curious entry in Battle's history. Both Ezquerra and writer, Alan Hebden, had had a brilliant run on Major Eazy, who had proven such a big hit with the readers, and would combine again on the same character for another lengthy run after Mestizo. Why didn't they just continue with this "Hollywood-styled" maverick character instead of Mestizo?

Set during the American Civil War, El Mestizo is a black character (formerly a slave) who takes no side during the conflict but has no morals in playing either side off against each other to achieve his objectives. Hebden's writing is solid as always and most of the stories were engaging despite the apparent difficulties in such a prohibited landscape for action; no tanks, no aircraft, no big guns to satisfy the
readers who demanded such criteria to appease their explosive lust. In mitigation, there were two issues of Battle within which the letter pages were divisive: three letters to two were in favour of Mestizo's departure from Battle's main theme of world wars. Up to this point, no story had elicited so many published letters in such a short space of time.

The series definitely had potential but not in the pages of Battle. It should have been developed in another title, perhaps in Action. But then, Action was due to merge with Battle within the next couple of months. Inevitably, Mestizo's problematic theme would not gain another series. With hindsight, it was a brave experiment but, compared to series from the past, it was nowhere a bad one. In the end, however, Major Eazy was demanded. He would return very soon.

[geoff42]

One week after concluding in Battle 17/09/77, the division over El Mestizo was still rumbling among the readers. Although Julian Knight is outvoted here, the overall published letters yielded a 50-50 split over Mestizo. Still, such statistics weren't comforting for our Mexican friend.

[geoff42]

Back in September 1977, a letter of this nature was surprising to behold. Kevin O'Neil was still around one month away from his surreptitious move to attach creator's credits to 2000 AD's stories. Yet, not only had the letter expressed knowledge of artists whose names were supposedly cloaked in secrecy but also its response was openly informative, appearing to wedge apart a seal whose cast iron surrounding had suddenly corroded to the elements. In short - this was a statement that had no problems in telling everyone about the fantastic stable of artists that Battle currently had.

The strict policy of whitening out the signatures of any cheeky artist had elapsed considerably. Massimo Belardinelli and Carlos Ezquerra had repeatedly signed their "Rat Pack" and "Major Eazy" stories, respectively, without apparent fuss. From around the Spring of 1977, the signatures of Mike Western and John Cooper were appearing in every issue, unchallenged. Was it so surprising how N. Quigley had managed to obtain the names of these artists? Within the cover dated issue of 15/10/77, still two weeks away from O'Neil's stealthy rebellion, Joe Colquhoun and Pat Wright deigned to add their monikers to their "Johnny Red" and "Sea Wolf" strips along with Cooper's "Gaunt" and Western's "The Sarge". Ezquerra was due to return with "Major Eazy" and, as stated earlier, he had qualms in broadcasting his surname. As for Eric Bradbury and Jim Watson (Joe Two Beans and Red Baron, respectively), the above letter had already removed the mystery as to their identities.

Ah, yes... combining all the aforementioned artists... you have "The Magnificent Seven".

[geoff42]

After the cover dated issue 1/10/77 issue, Battle divorced Valiant and enjoyed a 6 week period of "singleton" before engaging in a nuptial agreement with Action. Naturally, the marriage meant that a few stories would need to step aside. John Wagner's "Gaunt", at this point, had gained an inkling of momentum and, but for the merger, could have developed into a strong series. Yet, from David Bishop's "Blazing Battle Action" articles, Wagner stated that he was far from happy with the series and was content to wrap it up. Needless to say, no follow-up series occurred. "Sea Wolf" had pursued a claustrophobic drama within a German U-Boat for five months under the equally tense art of Pat Wright, and also had a potential to develop further.

Finally, after 140 episodes, "The Bootneck Boy" drew to an end. Debuting in Battle's first issue, this strip was highly popular. The first 18 episodes generally depicted Danny's domestic tribulations while he tried desperately to join the Marines; these stories eschewed a charming appeal that had the reader rooting for the little guy all the way. Unfortunately, once he had set sail for his numerous campaigns, the appeal was gradually eroded and a familiar pattern followed throughout the series: Danny would set off on a mission and a massacre would ensue, leaving Danny either alone or with a couple of friends to strike back in triumph. It's interesting to note that Garth Ennis was quite dismissive of "The Bootneck Boy" in his recent involvement with "The Best of Battle" books. "Too repetitive" was a cited criticism.

Another interesting note is that Giralt, who drew every episode of Danny's exploits, would not draw another story (let alone a series) for Battle. His drawings, especially when they entailed a lot of activity and action, could appear confusing but, in the main, contributed much of the charm that was associated with Danny. Sadly, there isn't much information around with regard to Giralt.

Though "The Bootneck Boy" survived Battle's former merger, the likes of "Johnny Red", "Joe Two Beans", "The Sarge" and the return of "Major Eazy" were all odds-on to outmuscle poor Danny for this merger and, besides, the series had nothing more to add. Still, at least it bucked Battle's previous trend of killing off long-running heroes.

[geoff42]

13 months after its merger with Valiant, Battle ushered in Action over its threshold by which time, with the exception of Captain Hurricane who was overseeing the letter pages, Valiant's heroes had long departed the scene. Battle's ongoing series: Johnny Red, Joe Two Beans and The Sarge were bolstered with the return of Major Eazy, and Action offered a variety in its accompanying three strips. The first, "Dredger", conjured up a sense of de-ja-vu: a 70's cop turned secret agent for a covert government agency under the urban orientated strokes of John Cooper. Unlike Valiant's One-Eyed Jack, Dredger would run for more than seven months.

Unlike Valiant, Action had but one war-themed story to offer: Hellman, another of Gerry Finley-Day's German protagonists. The third story, Spinball Wars, was more incongruous than El Mestizo, a former strip that had created a great division among the readers. Spinball's futuristic setting might have ruffled a few feathers and elicited cries of: "Taxi to 2000 AD!", but it outlasted both Hellman and Dredger.

Considering the earlier alliance with Valiant, its difficult to assess the value that Battle gained from its union with Action. While the Action stories enjoyed a greater longevity than Valiant's, the latter contributed a rich pool of artists. Throughout 1977, Battle and Valiant's "Magnificent Seven" (Messrs Jim Watson, Pat Wright, Mike Western, Carlos Ezquerra, John Cooper, Eric Bradbury & Joe Colquhoun) had galloped imperiously across page after page, leaving meagre pickings for any other artist with Giralt over Bootneck Boy as the anomaly. The "Seven" monopoly is none more illustrated when John Cooper immediately wrestled Dredger away from Geoff Campion who had drawn the strip consistently for the last eight months for Action. Interestingly, before Battle and Valiant merged, Geoff was then the second most featured artist for Battle with 235 pages to his name. During 1977, he provided not one single page.

Mike Dorey heralded Hellman's first adventure in Battle and Action. Thereafter, another member of the "Seven" promptly replaced Dorey. In concession to Dorey, who had drawn Hellman's original run in Action, Jim Watson covered Hellman in its final month for Action. Although Dorey was more than capable of flexing his muscles with the "Seven", he would but return sporadically for another nine episodes of Hellman and, therefore, lacked in either creating an impact or an offer of any competition.

Effectively, Ron Turner was the only long-term artist that Action brought to the table. While an accomplished artist whose style complemented Spinball Wars, Ron was always riding "shotgun" with the "Seven". In summing up, Battle's merger with Valiant was far more than a pivotal period in Battle's history whereas Action basically shored up an already solid foundation from which a formidable title would see out the rest of 1977.