Thursday 31 May 2018

World Cup All-Star Comic Book XI

The Best Fantasy Football Dream Team in the World... Ever! 

World Cup fever is set to grip the globe yet again, whilst even the more sensible and reasonable thinkers prepare to lose their grip on logic for an entire month. So what better time to dip into the world of comics and devise the greatest ever all-star XI.

Well, it wasn't an easy task, I can tell you; with so much talent to choose from, the hardest part was thinking of who to leave out. In the end, I decided to base my selection on team functionality and, as you can see, have opted for a somewhat attacking 3-4-3 formation. It is comprised of a three-man back line, a strong yet creative midfield, and with a playmaker sitting in the hole, just behind the trio of front runners.

Billy the Fish, Striker, The Hard Man, Biffalo Bill, Mighty Mouse, We Are United, Captain Tsubasa, Hot-Shot Hamish, Roy of the Rovers, Billy's Boots, Viz, The Hotspur, Tiger, Scorcher, Lags Eleven, Champ

You may notice that the vast majority of these characters are either of British origin, or at least based in the UK. Upon researching this article, I couldn't help but notice just how few football comics have ever been produced outside of the British Isles. There have been a few football-related titles, most notably in France, as well as Germany, Greece, Holland, and the Scandinavian countries. However, the one thing these publications have in common is that they all rely exclusively on reprinted material from properties of IPC Magazines. There has been nothing at all in Italy, which is most surprising when you consider how religiously and fanatically they follow their football over there.

There are a few famous names in the line-up, others perhaps less so, and one or two unknown quantities. So without any further ado, let's go ahead and meet the players, shall we?...

"Billy the Fish", Viz Comic (1984)
1. Billy Thompson (Goalkeeper)
"Billy the Fish", Viz Comic (1984)

It was a close call between Billy and Spike's tough guy, scrap-dealing custodian, Charlie "Iron" Barr for the number 1 shirt. In the end, Fulchester's own half-man, half-fish star goalie just edged it.

His legendary one-man performance (quite literally, as the rest of the team were blown up in a terrorist plane attack!) in not only keeping a clean sheet, but also beating crack European Cup outfit Bongo Gdaza, still hails today as one of the tournament's all time feats. Also taken into consideration was the brave keeper's handling of an unexploded bomb, in the penalty incident that decided the FA Cup Final against fierce rivals Barnton Wanderers, at Wembley. Such acts of bravery were not uncommon for the lad, and proves that he is able to react admirably under pressure in even the biggest of big game atmospheres.

It was also decided that Billy Thompson's piscine-like ability to change direction in mid-dive would come in very useful, and could prove decisive in penalty-shoot-outs, during the latter stages of the competition.



"Striker", The Sun (1995)
2. Scrapper Griswell (Defender)
"Striker", The Sun (1995)

Sebastian "Scrapper" Griswell is not exactly the sharpest tool in the box, but the 7ft centre-back more than makes up for his lack of intellect with his ability to win high balls at the back. His stature and courage also makes him a real threat in the opponents' area too. This could prove to be a vital advantage in the knockout stages of the World Cup, especially if the side were to find themselves behind in the final minutes of a game.

Scrapper's no-nonsense, but fair, approach to his defensive duties had taken years of careful honing, especially after suffering from severe anger management issues at the start of his professional career. His loyalty and wholehearted attitude has won him many admirers within the game, despite being convicted on no less than two separate occasions.

The big guy is as generous and brave off the field as he is on it. This was never more clearly demonstrated than by his efforts in aiding the survival of colleagues, after the team had been subject to the now customary footballing plane disaster storyline.


"The Hard Man", Roy of the Rovers (1976)
3. Johnny Dexter (Defender)
"The Hard Man", Roy of the Rovers (1976)

Despite Johnny Dexter's tough-tackling style, exceptional bravery and fiery temper, the boy can actually play a fair bit too. This means that his skill in getting forward and supporting the attacks could prove particularly useful in the group stages of the competition, especially against the smaller nations that prefer to adopt a more defensive mentality. He has the technical ability to play at left-back, and in central midfield, as well as in his usual position.

On his day, Dexter is up there with all the England greats, but he is own worst enemy. Frequent sendings-off and heated disputes, even with his own team teammates, have often hampered a promising career. Nevertheless, playing in the same side as none other than Roy Race could be the calming influence that is needed to get the best out of the player (even though he beat the living daylights out of Roy's own son Rocky, on one particular occasion). The Melchester Rovers star not only picked Johnny Dexter in the England team that thrashed actual World Cup finalists Holland in 1978, but also signed him for the club a few years later (after half the team were wiped out by another terrorist attack!).


"Biffalo Bill", The Hotspur (1958)
4. Bill Willis (Defender)
"Biffalo Bill", The Hotspur (1958)

Not a great deal is known about the vintage story paper hero known as "Biffalo Bill" Willis, who was as elusive as a character on paper, as he is today on screen. He was listed in a Daily Mail report on comic book footballers a few years back, and has since appeared on many other blogs and articles, all of which include exactly the same short biography: "Biffalo Bill from The Hotspur was capable of performing some amazing physical feats for his team." It is doubtful whether any of them had actually read one of his stories. Well I have, and he is a beast!

To start with, I feel it is my duty to point out that the character first made his debut in a 1958 edition of The Hotspur and not in 1963, as referenced in Barrie Tomlinson's (otherwise brilliant) book, Football's Comic Book Heroes. Furthermore, his surname is not "Bradley", as a couple of online writers have erroneously pointed out.

If you can imagine Desperate Dan as a footballer, then that is probably all you need to know as an accurate enough description for this character. This is certainly all I needed to know to be convinced of the fact that he was the right man for the job, as a sweeper in my definitive world-beating eleven (even though he is a natural centre-forward).


"Mighty Mouse", Roy of the Rovers (1979)
5. Kevin Mouse (Midfielder)
"Mighty Mouse", Roy of the Rovers (1979)

"He's fat, he's round, he bounces on the ground", but unlike Liverpool's Sammy Lee, Kevin "Mighty" Mouse is often classified as yet another striker by trade. However, I could not help notice that he is the kind of player that tends to pick up the ball up from deep, sometimes from within his own half, and isn't afraid to get stuck in. He is also short, wears glasses, and is a part-time medical student. 

In any case, his low centre of gravity, speed, and dribbling skills suggest that he is more apt as a box-to-box midfielder, full of energy and running, and at least 10-15 years before the position had even been invented. The fact that he can score from long-distance, with unnerving accuracy and frequency, is obviously a bonus for the role.

It was probably easier (and more glamorous) to generally write characters in as either strikers or goalkeepers. However, due in no small part to his uncanny acrobatic ability, I feel that Kevin was probably inspired by players like Archie Gemmill, or more likely Leeds United's Billy Bremner, but without that horrible nasty streak.


"We Are United", Champ (1984)
6. Terry Evans (Midfielder)
"We Are United", Champ (1984)

D.C. Thomson's answer to the Roy of the Rovers 'universe' also spanned several comic titles, and incorporated characters from various series. However, unlike their IPC rivals, "United" stories were often injected with more realism inasmuch as last-minute penalties were missed, and cup finals were lost in the cruellest way possible. The front covers also resembled newspaper headlines, whilst the inside pages were packed with previews, match reports and general trivia.

The banter between the players was also particularly noteworthy, as it was as realistic as anything else you were ever likely to read. Perhaps the best example of this was central defender Josh Tee's memorable nickname, "Cuppa".

Despite their lack of trophy success (or at least, until their stories started appearing in Football Picture Story Monthly), the team was packed with international stars and generally tended to win, most of the time anyway. Their main strength lay in the midfield partnership of Terry Evans and Alex "Hedgehog" Jones, which was a curious pairing indeed, considering that they couldn't stand each other.

Only one of them could therefore make it into this team. In the end, I decided to go for the elegant, yet egocentric, Welsh international. The main reason was that a classy right-midfielder is exaclty what was needed to fill the inside-right slot, but also because of his involvement in foiling yet another terrorist plane attack.


"Striker", The Sun (1999)
7. Fabian De Guisson (Midfielder)
"Striker", The Sun (1999)

Admittedly, it was something of a risk putting another 'big head' in the team, but I stand by this decision to entrust the mercurial Frenchman with the number 7 shirt, and would expect no less from him than to make that left flank his own.

A player of tremendous individual talent, and a real crowd pleaser on his day. Although his technical ability has never been a topic for dispute, sections of the support remain divided as to his value as a worthy team component.

It is fair to assume that De Guisson was a character styled on a mix between David Ginola and Eric Cantona; just as capable of winning matches single-handedly, as he was of causing defeat. The player that he resembles the most in the modern game, for sheer arrogance alone, is probably the ex-Manchester United star Zlatan Ibrahimovic, although he isn't French, he's Swedish... but he looks French!


"Captain Tsubasa", Weekly Shōnen Jump (1981)
8. Tsubasa Oozora (Midfielder)
"Captain Tsubasa", Weekly Shōnen Jump (1981)

It would be wrong to omit an exponent of possibly the only other country in the world, outside of the UK, to take a serious approach to footballing comics. Captain Tsubasa is the (infinitely more successful) Japanese manga version of our own Roy of the Rovers.

This series also spans several decades, but with the added verisimilitude of actually having the player age (albeit slowly) during and throughout his distinguished playing career. The story follows the progress of an 11-year-old schoolboy as he advances through the professional league pyramid, and ends up becoming an international superstar, turning out for São Paulo and Barcelona (real clubs!), respectively.

It is surely only a matter of time before Tsubasa will eventually fulfil his dream of leading Japan to World Cup glory. Every great international side needs a world-class leader; an attacking midfielder and influential schemer to build the side around. Think of Pelè in that wonderful Brazilian team of the '60s and '70s, or of Maradona's role in that formidable Argentinian side of the 1980s. This would very much be his role in the Dream Team XI; the heartbeat, the symbol, and the captain par excellence.


"Hot-Shot Hamish", Scorcher (1973)
9. Hamish Balfour (Forward)
"Hot-Shot Hamish", Scorcher (1973)

There could only be one choice as target man for this fantasy starting line-up, "Hot-Shot" Hamish Balfour, the greatest goalscoring hero of them all.

The huge Scottish striker possesses such a mighty shooting ability, that it is often the goalkeepers themselves that end up in the back of net, as well as the ball itself (on those occasions where either the net or the goalie haven't sustained irreparable damage, of course!).

Indeed, it would be difficult to imagine leaving "the man with the most powerful shot in the world" out of a selection of heroes such as this. At the end of day (Brian), the aim of the game is to score more goals than the opposition, and his marksmanship is vitally essential for any team with aspirations of winning the tournament.


Hamish Balfour's 6ft 10, muscular build will make him very difficult to mark. It should also be said that the player possesses an equally impressive aerial ability, which would cause real problems for the opposition defence, particularly in set-piece situations. His sensational twelve goals against Wellbeck Wanderers in a 1982 league match remains a comic book record to this day, and must surely mark him out as a favourite to win the World Cup's top goalscorer award.


"Roy of the Rovers", Tiger (1954)
10. Roy Race (Forward)
"Roy of the Rovers", Tiger (1954)

If you've made it this far, chances are that you're not someone who needs an introduction to Roy Race. Suffice to say that he is, without a doubt, Britain's most famous footballing comic character, and the stuff schoolboy dreams are made of. His career has spanned decades, and he's already won everything there is to win at club level. Roy will be desperate to finally get the chance to prove himself on an international stage, and to win the one trophy that has eluded him thus far, in what could be his last opportunity.

The Melchester Rovers ace would be very well suited on the outer side of this three-man attacking line. I feel this would be the right position to make the best use of his cultured left foot, and for linking up with De Guisson for some scintillating plays in the final third of that left-hand channel.

Expectations will be high from the veteran forward, who has survived assassination attempts, the umpteenth terrorist bomb attack, a helicopter crash, and a hefty chunk of retroactive continuity rewrites. His uncanny knack of scoring crucial last-minute match winners will be a distinct advantage for the team, should extra time be required en route to the final.


"Billy's Boots", Scorcher (1970)
11. Billy Dane (Forward)
"Billy's Boots", Scorcher (1970)

Technically speaking, schoolboy Billy Dane is a cheat! However, there is nothing in the FIFA rules that says players cannot wear items of clothing that belonged to deceased footballing legends, provided they conform to regulatory standards.

The boots in question were previously owned by a certain Charles "Dead Shot" Keen, who was a prolific centre-forward some decades earlier. Billy owes all of his unnatural striking ability to this extraordinary footwear, and without them he is, quite frankly, shit!

Nevertheless, I feel that the burden of centre-forward would be far too great for the lad, so decided he would be best utilised in the outside-right position. The advantage of this is that he could draw defenders out of position, therefore allowing more maneuverability for the target man up front.

I'm certain that the youngster will feel that his time has finally come, and will be ready and eager to prove himself in the professional game... just don't let him sign a sponsorship deal with any sportswear manufacturers, for God's sake!


"Lags Eleven", Scorcher (1970)
Willie Smith (Manager)
"Lags Eleven", Scorcher (1970)

With the starting eleven completed, all that was needed next was someone to coach the side to success. There were a few candidates for what is probably the most important ingredient of all. I had considered several possibilities such as Roy Race himself as player-manager, Viktor Boskovic (The Hard Man), Warbury's Nick Jarvis, and even thought of bending the rules a little bit by appointing Sir Alf Ramsey, due to his brief stint in the Melchester Rovers hot seat.

In the end, I decided that there was only one man who could demand the respect that was needed, and to be in possession of the kind of strategic acumen that was necessary of carrying off a big job like this. That man was Willie Smith, the little-known star of one of the greatest footballing comic strips I have ever had the pleasure of reading.

Willie Smith, affectionately known by the inmates of Bankhurst Prison as "Brilliant Genius", was apparently based on Peter Sellers' character in the 1960 Ealing comedy, Two Way Stretch. A master tactician who was not only responsible for guiding his side to a prolonged success in the prison football leagues (and to formulate an audacious escape plan), but was also the brains behind some of the country's biggest ever heists and robberies.


So there we have it. I hope this has given you something to think about as you struggle to keep your eyes open after an hour of watching Iceland play Saudi Arabia, or as you look forlornly into your pint glass, whilst everybody discusses the previous evening's refereeing decisions. I tell you what though, you can keep your Messis, your Ronaldos, and your Neymars. This squad of soccer superstars would take some beating, and I'd seriously fancy their chances to even go on and win the bloody thing, hands down.

Not sure if this gimmick will catch on or not, and I don't really care to be honest, but you can download the full set of eCards from this post here.

All visual content is for demonstrative purposes only and is the property of the respective owners.

Tuesday 22 May 2018

The TNT Group: Mission Improbable

Alan Ford - Max Bunker & Magnus (Editoriale Corno, 1969) 

The spy-chedelic world of slapstick secret organisations, demented urban terrorists, and a rather curious case of mistaken identity.

Alan Ford is given a warm welcome by his future colleagues, Bob Rock & Geremiah (Gruppo T.N.T.)
Alan Ford is given a warm welcome by his future colleagues.
International Lampoon

Many of you will have known of the famous Italian comic artist, Magnus, or at least be familiar with his work and influences. Some of you will have heard of prolific writer, and exponent of the fumetti noir movement, Max Bunker. However, very few will have much knowledge of the pair's most prominent creation, Alan Ford.

The comic was first published by Editoriale Corno and hit the Italian stands in 1969, and is still enjoying immense popularity even today as it nears towards its 600th issue. It is possibly the country's best-loved title after Tex, Dylan Dog, Topolino and Diabolik. It was very much considered a slow starter when it first came out; people just didn't know what to make of it. 

As far as I know, it has never been translated into English, and is never likely to be. Indeed, even the French attempts at providing their own reprinted version led to cancellation after just twelve issues, and this is a fair indication that the comic was never due to succeed abroad. However, it did prove to be quite popular in the former Yugoslavia, and this is perhaps hardly surprising as many states, primarily Slovenia and Croatia, traditionally maintain strong ties with Italian culture.

In fact, this is the precise reason why Alan Ford was unlikely to ever gain popularity as an exported comic title. Much of the humour and vernacular commentary, although incredibly well-observed though it is, tends to be rooted firmly on aspects of Italian society... even though it's based in New York City!

That being said, this is perhaps the closest attempt to a traditional, British sense of humour I have seen in Italian comics. It succeeds in satirising the spy thriller genre in pretty much the same way as the Pink Panther series of movies, as well as Austin Powers did years later. Although these are of course American productions, the focus is very much on James Bond and related British TV series of the late 1960s. Furthermore, Bunker and Magnus (both of whom were self-confessed anglophiles) were very careful to inject just the right amounts of anarchic, dark humour and visual japery necessary to appeal to an audience brought up on classic English-language television reruns.

Any older readers of The Beano may find something familiar about this scene. Bob Rock fights a Mouse (The Nibblers, The Mouseketeers)
Any older readers of The Beano may find something familiar about this scene.
Fairly Secret Barmy Army

"So why am I reading this?" I can almost hear you ask. Well, the interesting thing about the titular protagonist is that, not only is he by no means the main character, but his very presence within the series is a complete accident. Not bad, eh?

The first issues dealt primarily with the series of events and coincidences that led to Alan Ford (a graphic designer by trade and something of a bit of loser, despite his straight man image), being induced into a bizarre society of secret agents, on the strength of a major misunderstanding. Although he is possibly the only 'normal' person in the whole series, and the one readers are clearly meant to associate with, he soon settles comfortably into his originally intended role as a somewhat passive, secondary character.

The secret society known as Gruppo T.N.T. ("The TNT Group") are an odd bunch of idiosyncratic, and often penniless, secret agents that operate from the back room of a run-down florist's shop in Central New York. Their flawed characteristics are extremely well-defined, as are their complex personality interactions. If you were to think of them as Dad's Army meets Mission: Impossible, in the style of Monty Python, you wouldn't be at all far off.

Comedy deaths are a frequent occurrence, except that they stay dead of course.
Comedy deaths are a frequent occurrence, except that they stay dead of course.
The Goodies

  • Numero Uno ("Number One"): The ancient, wheelchair-bound leader of the gang. He is extremely tight-fisted and manipulative, often blackmailing his recruits into obedience.
  • Bob Rock: A snappy, violent and desperately unfortunate little man. He always wears a trademark Sherlock Holmes-style deerstalker and cape, and is sensitive to jokes about his unfeasibly large nose.
  • La Cariatide ("The Pillar"): The original leader, and owner of the flower shop that serves as the group's HQ. After being ousted of his role following an internal power struggle, he is still resentful at being relegated to second-in-command. He also happens to be exceptionally lazy.
  • Geremiah ("Jeremiah"): An ageing hermit and chronic hypochondriac. He is one of the few characters actually of Italian origin, although his condition is such that he is often left behind on guard duty.
  • Otto Grunf: The stereotypically loyal and oblivious German World War veteran, who is particularly noted for his incompetence as a mechanical inventor, as well as prone to bouts of latent cowardice.
  • Conte Oliver ("Sir Oliver"): A disgraced English nobleman, complete with bowler hat and monocle. Famed for his stiff upper lip, ability to turn on the gentlemanly charm, and for being an outrageous kleptomaniac.
  • Clodoveo ("Clovis"): Numero Uno's intelligent pet parrot, who is not only a reformed alcoholic, but can also speak a vast range of languages and regional dialects.

As you have probably realised by now, the comic falls somewhere between humorous parody and crime noir, with frequent dips into either extremity. However, what really keeps the series ticking are the evermore eccentric and acutely surreal villainous elements.

The Baddies

  • Superciuk ("Superdrunk"): Undoubtedly the group's most (in)famous recurring villain. Often described as a "Robin Hood in reverse", he is an overweight drunkard that actually robs from the poor to give to the rich. He is equipped with a lethal halitosis, due to a special combination of cheap alcohol and a rich, onion-based diet.
  • Gommaflex ("Rubberflex"): A mysterious and dastardly individual, with a face so malleable that he is able to accurately impersonate any living being. Definitely one of the more sinister and dangerous foes of the series.
  • Aseptik: The mad scientist who is convinced that humankind is not doing its bit in polluting the world's environment quickly enough.
  • Dr. Alsar: A professor of medicine that attempts to worsen the condition of his patients, instead of trying to cure them.
  • Arsenico Lupon ("Arsenic Lupin"): The dashing master thief and gentleman poisoner. A real lady-killer, in the literal sense of the term.
  • I Mangia ("The Eaters"): A secret sect who are bent on world domination. They are specifically based on the concept of the Illuminati, although are in fact a satire of the Italian political system.
  • Anten-Man ("Antenna Man"): An explicit parody of Silvio Berlusconi in his former career as a media mogul. His intent is on achieving a broadcasting monopoly by simply wiping out all of the opposition.
  • Diamond Fitzgerald: A billionaire entrepreneur that only ever communicates to the world via live broadcast. He often comes up with ingenious, yet highly unethical, ways of forcing people to buy his latest products.
  • Katodik: ("Cathode Ray") Another criminal mastermind that takes advantage of people's over-reliance on television. He has the ability to travel in and out of people's TV screens, and therefore attempting the most audacious robberies.

Krime Pretention

The more culturally aware members among you, may have noted the excessive use of the letter K within the naming of some of these characters, and that the character itself does not actually form part of the Italian alphabet. This was a light-hearted attack on the previous generation of noir comics of the 1960s (of which Bunker and Magnus were themselves primary exponents of), in which using the letter K had become synonymous within the genre, such as Kriminal, Satanik, and Diabolik, to name but a few.

The other thing to note is that it was traditional for Italian comic creators to visually style their main characters on famous celebrities. Alan Ford is no exception to the rule; the creators, in this case, deciding to model his specific likeness on that of the actor, Peter O'Toole.

So there we have it. If you have managed to last this far, you probably know a lot more about one of Italy's most treasured comic creations than you did before. However, what I really wanted to achieve was to share with you the concept and thinking behind what I, and many others, consider a truly original masterpiece.

If you are a creator yourself, I hope that this piece will have somehow inspired you, challenged you, and encouraged you to experiment with your characters and ideas. If you are a consumer, then I hope it will have convinced you to demand more; get in touch with publishers, like Europe Comics (even though they never respond to their emails), editorial houses, or app providers. I will even provide the translations, if someone would make it worth my while. And if you are simply a reader, or just a lover of all comics like myself, then why not pick up a copy next time you visit Italy, or on Ebay... even if just to admire the wonderful artwork.

Well, you've heard of The Singing Detective, haven't you?...
Well, you've heard of The Singing Detective, haven't you?...
Post Scriptum

I think it is only fair to mention that the comic has taken a dramatic turn for the worse in recent years. Since his marriage in issue 500, Alan Ford has very much become the centre of attraction, as the editorial staff have done away with many of the original characters. The pair now very much operate as a husband and wife investigative team, and the series has lost much of its edge.

Not sure if this gimmick will catch on or not, and I don't really care to be honest, but you can download the full set of eCards from this post here.

All visual content is for demonstrative purposes only and is the property of the respective owners.

Sunday 6 May 2018

The Greatest Doctor Who Comic Strip of All Time?

Doctor Who and the Iron Legion - Pat Mills & Dave Gibbons (Marvel UK, 1979) 

An in-depth look at what is possibly the greatest Doctor Who comic serial of all time.

Although hardly a little-known comic, what better way to kick off my blog with a piece that I wrote a few months back for the Whobackwhen podcast site. If you're a fan of Doctor Who, enjoy intelligent company, and like a chuckle, then check them out.
“They fought their way across a thousand planets – robot warriors of the eternal war – destroying, with ruthless discipline, all who stood in their way! And now, the peaceful tranquility of the English countryside is rudely shattered as they appear – as if from nowhere – brutally dragging people out and razing their houses to the ground! And yet… for all the robots’ strangeness, there is something… grimly familiar about them!”
All seems quiet in a small grocery store, on the outskirts of rural English village.
All seems quiet in a small grocery store, on the outskirts of rural English village.
Doctor Who in Comics

The Marvel Brexit

Doctor Who Magazine started life as a weekly title on Thursday 11th October 1979. It was very much a comic strip-based publication back then, similar to other Marvel UK TV/film tie-in productions of the time such as: Star Wars Weekly, Planet of the Apes, Conan, Dracula, and all the usual super-hero fare. However, unlike these other titles, Doctor Who Weekly began including the work of original British homegrown talent. Reprinting obsolete American comic book material had very much become the norm up until that point. The decision was down to the editorial control of Dez Skinn, a hugely influential figure within the British comics industry. Skinn had become something of an expert at understanding Britain’s changing cultural demands of the era.

Thrilling the Void

There was nothing new about seeing Doctor Who in comics, of course. Each and every reincarnation of The Doctor had already featured in their own strip, since the show began. They appeared most notably within the pages of TV Comic: a weekly paper very much aimed at the juvenile market. There was also always the licensed Doctor Who Annual, a long-standing Christmas tradition that outdates even the Cybermen. Naturally, the quality of this content was questionable, to say the least. Furthermore, these books tended to rely heavily on providing illustrated stories and in large print. Comic strips were few and far between, and were prone to descending into unintelligible psychedelia as the 1970s progressed. 

There was clearly a need for something new and fresh to hit the newsagent shelves. Something that catered to a TV show at its peak (or thereabouts), and with a growing army of dedicated fans. The success of 2000 AD had demonstrated that science fiction in comics was not a bad idea. Marvel executives where quick to realise this, and Dez Skinn sought to provide a similar edge to their own content.

Definitely not a local shop for local people. Tom Baker's Fourth Doctor
Definitely not a local shop for local people.
The Men Behind the Story

Meet the Artist

Anyone with even a passing interest in comics may well be familiar with Dave Gibbons; a hugely talented artist. He provided a consistently high level of output for various UK titles, before being headhunted to work in the States. The US market was (and still is) infinitely more lucrative and creator-friendly. Gibbons became one of Britain’s greatest exports and is most famous for collaborating on Alan Moore’s highly acclaimed series, Watchmen. However, I personally feel that the art he produced on Iron Legion is possibly amongst his finest work to date. I would strongly recommend searching out the original serialised strips in monochrome. The colour reprints (although good as they may be) do not do the artwork complete justice, and tend to detract slightly from the original impact of black print on white

Meet the Author

The script credits go to the highly prolific writing duo of Mills & Wagner, both of whom have made a tremendous and lasting impression on the entire panorama of British comics, as well as a marked contribution to popular youth culture itself. If you have ever picked up a comic in the UK (or even beyond), the chances are high that you will have read something of theirs, or at least been influenced by their work.

It was in fact Pat Mills that took the creative lead on this particular occasion. Often cited (and with good reason) as the “godfather of British comics”, he is best known for creating 2000 AD. It would, however, be impossible for me to acknowledge his other achievements without dedicating an entire article on those alone. Let us just say that if you were to think of him as the UK’s answer to Stan Lee, you wouldn’t be far off the truth.

The scene is set, as the terror unfolds and the nightmare begins... Dave Gibbons' legendary splash page.
The scene is set, as the terror unfolds and the nightmare begins...
Doctor Who and the Iron Legion

Love at First Sight

The story began on the first page of the very first issue of the weekly, with a highly impressive and intriguing splash illustration. It features a chaotic scene of mayhem and destruction. The backdrop is of an English rural countryside laying in utter ruin. An army of fearsome, robotic zombies populate the foreground, making their way threateningly towards the fourth wall; it is almost as if they were challenging the reader’s very own security.

The Battle of Time

At first glance, you would be forgiven for assuming that you were observing a German WWII ground attack. The evident use of stick grenades, MP-40s and a giant Panzer in the background would suggest as much; the strange figure at the helm of the approaching tank even appears to be performing a Nazi salute (he isn’t!). It would be entirely plausible to assimilate these elements to the “grimly familiar” reference within the caption. Nevertheless, it does become apparent, upon closer inspection, that these invasive forces are actually bearing the hallmarks and insignia of Ancient Rome.

It is possible that the story was originally intended to feature the Third Reich as its antagonists. It’s more likely that the writer’s intentions were to present us with a terrifying force that seemed all too real. Three decades on, the memories of conflict still lingered in the mindset of the British public. Furthermore, Mills was already more than familiar with the genre, having begun writing Charley’s War a few months earlier. Described by actor Andrew Harrison as “the greatest British comic strip ever created”, the strip featured in Battle (Picture Weekly) and ran from 1979 to 1986. It attracted wide acclaim, mainly for its frank depiction of the horrors of war.

Lights, Camera and… Action!

The portrayal of a young family being dragged out of their home, still in their nightclothes, is by no means adventitious. Similarly, the brutally cold-blooded slaying of an aged shopkeeper, a couple of pages later, is just as deliberate. This is a classic Pat Mills trademark: weaving distinctively relatable elements of real life into the terror of his storytelling. Although it seems rather tame by today’s standards, you may rest assured that it most certainly was not in 1979. This gritty approach to violence and realism had caused Mills some controversy a few years earlier with his comic, Action. A sustained and concentrated media campaign had abruptly forced the title into cancellation. A copy was once even sensationally torn up by Frank Bough on the BBC’s Nationwide programme.

Murder and mayhem in the arena. But it's all right, they're only aliens!
Murder and mayhem in the arena. But it's all right, they're only aliens!
Here Comes the Summary

The concept behind Doctor Who and the Iron Legion is based on quite an original and interesting premise. The Fourth Doctor finds himself in an alternate contemporary reality, where the Roman Empire had never fallen. Consequently, the technological advances of humanity had progressed at such an accelerated, exponential rate that the Romans were able to conquer the galaxy. The story itself, however, actually begins in our own universe; invaders from the parallel timeline launch an attack on a small English town, and the TARDIS gives chase.

Modern day Rome is a truly fascinating place and incredibly well devised. It’s a fusion of past, present and future all rolled into one, and held together by some irresistibly sumptuous concepts of science fiction. There is also a strong element of satirical irony, the kind that is essential to good Doctor Who, and that fans of Judge Dredd will recognise instantly. Like Mega City-One, we are able to take a glimpse at an unconventional, post-futuristic society. However, this vision extends further than a commentary on the absurd realities of contemporary culture. The concept of deities is also explored, and the mythology of Ancient Rome is contemplated in the same hypothetical context. Furthermore, the power of religion as an effective method of control becomes an essential plot device. All is not as it seems as we become aware of a greater, even more terrible force at play.

The story proceeds at a brisk pace that is spread over a series of eight skilfully crafted, 4-page set pieces. It’s an epic that works on several levels and manages nevertheless to maintain a consistent narrative structure throughout. Each episode culminates seamlessly into an intriguing cliffhanger ending that never appears banal or forcedly shoehorned. In fact, everything seems relevant to the plot and nothing is thrown away.

Friends and Enemies

The Doctor Who comics universe has a long history of purposefully omitting companions from its strips, usually due to licensing restrictions. A series of stand-ins, cloned with similar attributes to their TV counterparts, would often take their place. It was decided on this occasion that The Doctor would face this particular adventure alone. At any rate, he still manages to find accomplices in a couple of memorably bizarre underdogs: Morris, a hideous cyborg slave with a penchant for failed escapology; and Vesuvius, the Empire’s oldest surviving robot. Both characters are uniquely defined, and to great effect, by an irregular speech pattern and a somewhat peculiar turn of phrase, respectively.

We are also introduced to a rich tapestry of other such curious and interesting cast members along the way, including: Adolphus Caesar, the spoilt child ruler of the Roman Galactic Empire; Juno, the mysterious mother with a dark secret; a fearsome(!) and putrid beast known only as The Ectoslime; and above all, a truly memorable adversary in the eagle-headed General Ironicus, the ruthless automaton and commander of the Iron Legion. I could continue, but to do so would force me into spoiler territory. Let’s just say that even this comic strip is capable of providing its "behind the sofa" moments…

The Good Doctor

Tom Baker turns out a truly wonderful, classic performance in this serial. The Fourth Doctor is at his scintillating best, and delivers some great lines from start to finish. In fact, the dialogue rivals anything that ever came out of the BBC script department (or indeed from the actor’s own ad-libs). The characterisation is spot on and as close to the real thing as you are ever likely to see. You can almost hear Baker’s bellowing voice as you read through each speech bubble. The skill of Dave Gibbons should also not go without mention. It can often be quite tricky for an artist to capture a likeness convincingly, let alone ensuring it adheres to his own personal style. Some artists may get it right a couple of times here and there, or even over a couple of pages. Gibbons practically nails it in every single panel. He even manages it in long shot, with very little detail to play with.

Relative Dimensions

Sliding (TARDIS) Doors

It should perhaps come as no surprise that Mills & Wagner had in fact originally intended this story for television. Word has it that the writing pair eventually withdrew the script (and others), after becoming increasingly irritated with the script editor’s constant requests for endless rewrites. In his book, British Comics: A Cultural History, James Chapman elaborates on the BBC’s reasoning by stating that, “its narrative scale was beyond the budgetary resources of the television series at the time.”

Whatever the reason, it remains a huge shame. Iron Legion would have surely become an instant hit, and regarded to this day as one of the best classic Doctor Who serials in the show’s history. On the other hand, it is probably for the best, given the decisively spartan production values of the era. I’m sure that nothing at all was an infinitely more desirable prospect than the unfulfilled, diluted interpretation that we would have undoubtedly ended up watching. At least we are able to enjoy the complete and unrestrained version in all its sequentially-panelled glory.

Try doing that on a BBC budget... actually, on second thoughts, don't! Tom Baker's Fourth Doctor
Try doing that on a BBC budget... actually, on second thoughts, don't!
Parallel Worlds

Although the reasons why Doctor Who and the Iron Legion never made it onto TV are entirely plausible, I can’t help feeling that there may be an ulterior motive, other than what has gone on record. Could it be that the show’s editorial executives were against the possibility of exploring alternate universes? Would such a move have upset that nucleus of hardcore fans that are constantly threatening to stop watching the show?

Throughout the series’ history, The Doctor has always travelled backwards and forth through time (and space) in relatively linear fashion. Doctor Who has never really utilised the concept of parallel realities. Script writers (editors) have often approached the subject with great caution, using it all too sparingly. The prospect of alternate timelines has been looked into on occasion, but only marginally. Except for Inferno, it has certainly never been proposed as the basis, or indeed a setting, for an adventure.

The potential is overwhelming and limitless. It would add a far greater scope to the Doctor’s adventures and open up many more possibilities; especially when you consider that an often cited criticism is that the Whoniverse has become rather "small". Many people would no longer suffer trying to piece together the show’s vast inconsistencies into some form of (ludicrous) logic. Paradoxes would become less awkward and worrisome. Moreover, expecting people to believe that "humanity has a short memory”, would become a thing of the past.

Conclusion

The Legion of Merit

So what is it that makes Doctor Who and the Iron Legion so intrinsically good? After all, there are no recurring monsters or villains, no multiple Doctors, origin stories, revisitations or story arcs. In fact, there is nothing at all of that continuity-obsessed fan wank that appears to creep into so many other non-canonical productions. It is quite simply just an expertly constructed, classic Fourth Doctor yarn. All the ingredients are there that make up the definitive golden era Tom Baker serial: action and adventure, mystery and suspense, humour, horror, memorable characters, great dialogue, clever ideas and mischievous parody.

The people at Marvel knew they were onto a good thing too with Iron Legion; the full strip reappeared almost immediately, in the 1980 Summer Special. It went on to get colourised and repackaged for the US market, enjoying a successful 2-issue run in Marvel Premiere the following year. This colour version of the story enjoyed five further reprints: in the Marvel UK 1985 Summer Special; as a complete graphic novel in 2004; as a free gift with issue 350 of Doctor Who Magazine; and again on two further occasions by IDW in their Doctor Who Classics and Doctor Who Classics Omnibus series.

There's only one thing worse than a killer zombie robot, and that's one that won't stay dead.
There's only one thing worse than a killer zombie robot, and that's one that won't stay dead.
The Final Word

I managed to get in touch with Pat Mills himself. He was extremely kind enough to take the time away from his busy schedule and offer his own thoughts on the subject. Despite a long and successful career, it was very interesting and exciting to learn that he still regards this piece so fondly.
“It’s one of my personal favourite stories. Every so often a ‘natural’ story comes along that almost writes itself and this was one of them. The role of Tom Baker makes it. It wouldn’t have worked as well with a different Doctor.”
Mr. Mills did not ask for anything in return, but I would very much like to take it upon myself to strongly recommend his book, Be Pure! Be Vigilant! Behave! 2000AD & Judge Dredd: The Secret History. Anyone even vaguely interested in comics, and not just 2000 AD, will find this a thoroughly informative and entertaining read. It’s a real eye-opener and compulsive page-turner, with a wealth of content and material that you won’t have found elsewhere. In addition to exploring the tragic plight of the creative vs. the executive, there are some fascinating insights and perspectives on the creator/audience relationship… something which won’t be lost on Doctor Who fans!

Check out the latest news from the Millsverse here.

Not sure if this gimmick will catch on or not, and I don't really care to be honest, but you can download the full set of eCards from this post here.

All visual content is for demonstrative purposes only and is the property of the respective owners.