Carter Winston, from "The Survivor", has a small but important role late in the 1984 tie-in novel The Final Reflection by John M. Ford. In recent years, references to The Animated Series have also cropped up again in the licensed books and comics. M'Ress and Arex, characters from the animated series, appear in the Star Trek: New Frontier novels by Peter David, in which M'Ress and Arex are transported through time to the 24th Century, and are made officers on board the USS Trident. (David's previous use of these characters, in TOS movie-era comics published by DC Comics, had been ended by Gene Roddenberry's office.)
Hey, what's up? I hope you are still keeping up to date with this as it's been so long. I enjoyed your blog, luckily it was being read by an English major, albeit one who grew up in the sanctuary of comic books. FF #176 is a great mag though, and I appreciated your very well thought-out missive! Peace.
The first was via reprints from Alan Class. This company has several titles devoted to reprinting American comic strips. The problem with these is they would often be a pretty random selection of titles, considering these superheroes not really as ongoing stories, just the same as one-off horror and SF tales to sprinkle occasionally through issues. Also, at a shilling these are at the more expensive end of the comic book market, where around sixpence is the usual price.
Secondly, as this is in the standard British weekly anthology style of comic book, it does not often have the space to reprint an entire story. As such they have to be broken up into multiple issues. At the same time, British comic dimensions are slightly different, so some panels have to be either rearranged or modified to fit.
What is the reason for this? Some have cited some of the technical innovations with more serialization, crossovers and soap opera dynamics. However, many of these are elements already present in many British comics and certainly seen in more recent DC titles like Doom Patrol and The Legion of Superheroes.
These comics were created in black and white, published magazine sized, and often illustrated with ink wash or pointillistic techniques. For those reasons, the stories in Blazing Combat aimed higher than most comic books. Indeed, their audience was mainly adults. Tragically, that selfsame adult audience spelled doom for Blazing Combat. Reportedly publisher Jim Warren had to pull the plug on BC when PX bases across the world canceled their orders after author Goodwin penned a story critical of the war in Vietnam. Sales were too poor to sustain a money loser for long.
Sometimes it seems the only constancy in British comics is change. Whilst there are some long running strips like Garth, Dan Dare and Roy of the Rovers, the contents of most magazines are largely revised every few years, whilst new comic books spring up and others merge.
I am not sure what to compare this to as it is probably the most bizarre use of the comic book format I have ever seen. Also, it is hard to get a handle on where it is going when I have only been able to acquire one issue of The Long-Hair Times so far. Perhaps more will be revealed as future publications come out? Alternatively, it could just be a single piece of bizarre satire, but still an engagingly made one.
Whilst it can often feel like comic books lag behind literature (most science fiction strips seem to be barely coming to grips with the Golden Age), Modesty Blaise often feels like it is closer to the new wave of British espionage literature. Rather than the old-fashioned heroics of James Bond, Blaise owes something to the George Smiley tales or The IPCRESS File, with a certain level of cynicism about intelligence operations.
US comic books only focus on a single character or group. The French-Belgian industry is different, since it focusses on anthology magazines, which contain several different serialised comic strips. The most popular comics are later collected in books known as albums.
Western comic books also found their way across the iron curtain, to the delight of East German youths and the despair of the Communist authorities. And so in 1955, the East German publisher Verlag Neues Leben created their own comics magazine called Mosaik. Initially, the magazine appeared quarterly and switched to a monthly schedule in 1957. Due to the vagaries of Socialist paper production, Mosaik issues are not easy to find on the newsstands of East Germany and always sell out quickly, unless you know someone who will reserve a copy for you. 2b1af7f3a8