Is this the part where I say, get some tea with some comics? Oh great, now I sound stereotypical. Let’s just get to the details. My earlier comic post on American comics mentions its origins from the UK. Well that’s the start not the end of British Comics. Unlike their American counterparts there is a sense of sophistication in these pieces. Or at least they don’t keep themselves in a niche.
The First British Comics: Only A Penny
Like most comics, the British variant start as satirical art in newspapers. Most of them were inspired by story papers called Penny Dreadfuls since that’s all they cost. Back then I’m pretty sure that was a good fraction of average pay, pretty dreadful if you ask me. They tended to put a supernatural taste in these publishes like Varney the Vampire. Comic strips then started pretty soon, costing the same price but these were mainly aimed at adults. I think that’s because of how topical it was, especially with Ally Sloper’s Half Holiday.
But in a twist of irony, one sneaky publisher came about from underhanded tactics. Amalgamated Press, Britain’s first major comic magazine publisher reprinted British and American strips without permission. What American’s did the same; and it does have original material, featuring underclass vagrant heroes. So successful, the Press started its own newspapers. Pay attention, this publisher’s story is wild.
Newsprint to Magazines
Youth tended to be more profitable; because let’s face it kids like to laugh more than adults. The first magazine on record was (Funny) Wonder At least that’s the case with DC Thomson’s premiere anthology magazines The Beano and The Dandy. This Scottish print has been running for over 80 years. Back at England, they try to compete with DC Thomson’s success but didn’t have the longevity. I’m going to go out on a limb and guess it’s because they lack anti-authority and class conscious content.
Besides it wouldn’t be until the 50s where comics started to develop. Arguably the most famous title to come out of this is DC Thomson’s Dennis the Menance (and Gnasher). This title as well as its many imitators connect to children’s most digestible fantasies. From consequence-free mischief, eating so much food without barfing it up, to fantastic holidays.
What About The Big Boys and Girls?
When it comes to different demographics, the Brits like to pick their audience. For older boys, Hulton Press’s Eagle was an example to follow in more ways than one. The gravure-print gave the comics a more collectible… slick look. It was more expensive, and the only way the creators pulled it off was an elaborate ad campaign. At the very least, the beginning of Dan Dare, Pilot of the Future hooks readers in. The prose writing, characters with layers, and world building science was all there. It was enough for a lot more imitators to show up and cash-in on the craze. Of course, they often missed what made Eagle so important. Some comic journalist probably says it best:
Our superheroes were our dads, uncles and grandfathers, and there is something rather touching in that.
Provided by Kent Worcester
Of course girls have their own magazines. Although most of them aren’t in the public consciousness. I’m not gonna pretend to know why, I’ll just tell you what others say. Unlike the guy comics who push against the norms, most girl comic magazines were less rebellious. You know prim and proper boarding schools that teach girls to be ladies. Well that, romance, cut-out dolls, and moral coded messages without the grey areas. It’s probably why Bunty and her rivals were so notable. With their secret societies and clubs, there was freedom in expression. One in particular Misty (by Marshal Law‘s Pat Mills no less) was a straight up horror in defiance to some censors.
Oh Joy… A Comics Code
Strangely enough, British Comics don’t have a big history in censors. Or at least nothing where publishers vainly try to police themselves. The most the UK’s got is the government’s crackdown on horror. One where despite legal loopholes, the Children and Young Persons (Harmful Publications) Act was made permanent in the 1969. The only difference between the Comics Code and this law, horror could still be published, just not at kids.
The British Bronze Age of Comics
The 70s were a pretty rough time for comics for a lot of different reasons. It wasn’t just the above acts comics had to deal with, the underground press found problems of its own. This movement has ties to global counterculture, taking content and art that commercial publishers would reject. They were also some of the reasons why Marvel wanted to set up shop in the UK. Because some of the zines were about American superheroes.
But it was because of some of the counterculture, that the British government took action. The excuse they used in these cases are the adult parodies violating some law. Thankfully the defendants were appealed years later. If only the underground press was so lucky. Still, it did allow for the development of Britain’s small press.
Plus when TV came around, comics had to adapt. From tie-ins, football comics, and mergers comics had to pool their resources. Of course it helped to lessen expenses. No more slicks, more photo comics, and officially bringing American superheroes around. No more illegal exports… or fan recreations… for a while.
British Comics Are Not Just For Kids
American comics started to influence British ones, and I don’t just mean Marvel UK originals like Night Raven. With US imports getting popular, the Brits needed something to appeal to new audiences. Specifically the adolescent audiences going towards zines with action-oriented content.
But again because magazines like Warlord and Battle Picture Weekly got in kids hands, pressures mounted. The UK needed to keep the action going while not being taken too seriously. Enter 2000 AD, a sci-fi magazine parodying dystopian sci-fi films like Logan’s Run. It certainly helped that 70s UK had real social strifes happening. Featuring Great Britain’s rebellious spirit and war story exploits, came its most iconic character. Judge Dredd remains an icon for its satirical nature on both British and American culture. When it comes to guns and state authority in such an epic fashion nobody can forget it all.
But even this and the first British trade collection wasn’t enough to compete with TV or video games. So the magazines had to work with them.
Evolutionary Pressures of British Comics
Throughout the 20th century, British Comics have plenty of challenges. The 80s sees the rise of small press practices like mail order services. In fact small press comics are the one trying their hardest to stand out. Some bring in Bande Dessinee material, others try graphic novels. Naturally only a few of them manage to break the mold like Viz. No not the Japanese-American company, the adult anthology magazine parodying the big players. The strips are so bizarre and alliterative, even more copycats show up.
Of course by the 90s, most of these players don’t stick around. Turns out these ‘mature’ audiences weren’t as big as people hoped. But at least some players manage to make a name for themselves. Tank Girl with its absurd avant-garde post-apocalypse remains a popular title publishers fight to have in their label. For that matter, a lot of the creators of this era go to the United States as part of the British Invasion. Thankfully, the Brits found a way to avoid relying on the direct market by making connections through widespread subcultural scenes. Relax, they still use Diamond.
Stepping into the Modern Era
By the 21st century, these efforts pay off by stabilizing the comic industry. Unfortunately, there wasn’t much growth, preventing some new launches in the mainstream.
But that didn’t stop British comics completely. If anything talent from the smaller press, started to get noticed by the mass market and big players. It certainly helps that these zines started to look more professional in art and affordability. How? Truth is they networked to form distribution systems like London Underground Comics. They even use more modern advertising like YouTube and the ever affordable Radio 4 broadcast. It’s a great combination between newer and older marketing.
It comes as little surprise that some of the big publishers get bought out despite these efforts. On the flip side, that means people understand the value and potential of British Comics. That’s what Sniper Elite’s makers Rebellion did with 2000 AD. They even went the extra mile with shelf-friendly, east-to-follow, collected volumes.
What Do You Mean People Still Think They’re For Kids?
The only problem of course is the age old typecast of being for kids. It took forever to convince the uptight masses to see comics as an artform. So with a bit of creative trolling, graphic novel adaptations of classical literature make it more digestible. Plus with the growing OEL British manga scene doing stuff like Shakespeare, it opened a lot more people up to different art styles.
But apparently that was still not enough to convince people British Comics could stick around. The Dandy itself had to try appealing to the growing video game journalism scene with reviews. But that didn’t last too long because it tried too hard to reach out to immature boys. Thankfully The Beano managed to avoid this fate by sticking to its strengths.
British Comics and Digital Dominance
Speaking of strengths, let’s look at the publishers surviving the first quarter of the century. The magazines of DC Thomson, Egmont, Rebellion, and Metropolis International still continue their subscriptions. Their legacy and fanbases remain steady, especially with overseas audiences. But apparently, the newsagent selling platform isn’t what it used to be. Because of a lot of cost factors, publishers are trying to fill in whatever news spaces they can with the least amount of cash. Very few publishers come in with new magazines or material.
But there are a couple of exceptions like The Phoenix The Weekly Story magazine. This as well as Shift and returning magazine Monster Fun take full advantage of the internet. By establishing fanbases digitally for a fair price, they’re able to get through the thresholds a little easier.
As for actual comic books from Titan Books, most of the content tends to be licenses. Think icons like Doctor Who, Tank Girl, acquired characters like Fighting American, and a few video game adaptations like Bloodborne. Others like Cinebook focus on bringing other countries stories to the biggest audience possible. Which is also why it chases the digital market with services like Comixology and izneo.
Finally let’s talk about the publishers that went from small press to mainstream alternatives. Nobrow Press and AAM Markosia found their audiences in certain markets after developing their unique styles. One graphic novel series called Hilda proved so popular that it was given a show on Netflix. That’s not even including how crowdfunding replaces small press.
Quick Sidenote
For that matter, there are plenty of webcomics like Scary Go Round that have even gotten printed serials stateside. All the British humor like you’d see on a sitcom with the fun interactions but mundane solutions. Even the surreal happenstances are little more than backdrops for the small everyday drama that comes around.
Cheers
It’s still hard to believe that Great Britain actually started up the concept of comics for the US. Some can look as serious as the action in Judge Dredd or as whimsical as The Beano. Nowadays, the US could learn from the UK on how to print and distribute comics effectively. British comics adapt to the challenges they face by embracing a broader market while carving their identity.
Thanks for coming to the end and as always remember to look between the panels.