The British Comic Art Convention (usually known by the moniker Comicon ) was an annual British comic book convention which was held between 1968 and 1981, usually in London . The earliest British fan convention devoted entirely to comics, it was also the birthplace of the Eagle Awards .
87-615: Most editions of Comicon took place over two days, usually on a Saturday and Sunday. The convention featured floorspace for exhibitors, including comic book dealers and collectibles merchants. Along with panels, seminars, and workshops with comic book professionals, one of the highlights of Comicon was the Saturday all-night film show. Charity auctions of original comic book art were also usually held. Convention booklets produced in conjunction with each show featured original illustrations by comics professional and fanzine artists. Early editions of
174-425: A Star Trek blooper reel , Richard Corben ' s Neverwhere , an episode of The Avengers television show, and the U.F.O. television film. The event being abruptly canceled shortly before it was scheduled, however, the show was salvaged by Nick Landau and Rob Barrow , who by that time were promoters of the competing London Comic Mart shows. Landau and Barrow managed to put on a one-day Comicon on 22 July at
261-430: A complete set of the available variations. Collector editions are another way of supporting collectables. They typically are produced in limited amount and contain additional content that can be valuable for a collector. This practice is mostly popular in video games . Early versions of a product, manufactured in smaller quantities before its popularity as a collectable developed, sometimes command exorbitant premiums on
348-543: A decorative item. A manufactured collectable is an item made specifically for people to collect. A manufactured collectable (often referred to as a contemporary collectable) is an item made specifically for people to collect. Examples of items commonly sold as collectables include plates , figurines , bells , graphics , steins , dolls , and art . Some companies that produce manufactured collectables are members of The Gift and Collectibles Guild. Special editions , limited editions and variants on these terms fall under
435-537: A drawing style [in which] "[h]is likenesses could approach very close to the American ones produced by Harry Parks", consistent with Gifford's busy, comical style in other genres. Gifford and Monkhouse contributed cartoon strips to various magazines in the 1940s and 1950s, including Galaxy magazine (1946) (not to be confused with Galaxy Science Fiction ). Gifford drew the cover for Classics Illustrated #146 (British series), Adventures of Baron Munchausen (1962),
522-489: A lesser extent the US: "Curiously, only Great Britain, where the comic paper was born, takes its comics for what they superficially seem – ephemera to be discarded as soon as read." Although enthusiastic about comics of every era, Gifford had a particular passion for vintage comics, "earlier in the medium's evolution, when it was a chaos of one-offs, irregular schedules, and a comic historian's nightmare of inept publishers operating from
609-418: A mass market of children. As far as the people who produce Action are concerned, the children are simply a market and moral considerations do not apply." Despite 2000 AD (#1 published in 1977) producing iconic characters and innovative and critically acclaimed storyelling and art, Gifford had similar reservations about its violent content: "Whether children would actually enjoy living in [the future] ...
696-444: A modern readership had an awareness of early comic history. The Ally Sloper magazine was not a commercial success and lasted only four issues, but the innovation of Gifford's tone in the title was acknowledged by one cultural historian as "[w]ith his accurate spoof of the style of traditional British humour comics ... anticipat[ing] Viz by nearly three years." He produced artwork for advertisements for an Ally Sloper T-shirt, which
783-471: A more comedic and cartoon-like rendering than was conventional for the title's covers, which tended to be classically heroic and often painted. Gifford went on to produce several strips for the highly popular humour comic Knockout , including Our Ernie (1950), Stoneage Kit the Ancient Brit and his own creation, the gags and puzzles strip Steadfact McStaunch . He later revived Steadfast McStaunch for
870-1099: A number of strips in several titles in the Marvelman stable, and created the light-hearted backup features Flip and Flop and The Friendly Soul . He also wrote an editorial piece, Founding a Family , on the history of Marvelman Family for a 1988 reprint of the strip in Miracleman Family #2. When Anglo took on US reprint series Annie Oakley , Gifford was one of the staff of British and Spanish artists used to create new strips (1957–58). Gifford went on to provide Western strips for Anglo Features title Gunhawks Western (1960–61) and humour strip Our Lad for Anglo's Captain Miracle (1961) contributed several humour strips for Anglo's anthology of Silver Age DC reprints, Super DC (1969–70), as well as reprints of his humour strip The Friendly Soul from Marvelman in Superman Bumper Book (1970) and Super DC Bumper Book #1 (1971). Later in
957-430: A possible increase in value. In a financial sense, collectables can be viewed as a hedge against inflation. Over time, their value can also increase as they become rarer due to loss, damage or destruction. One drawback to investing in collectables is the potential lack of liquidity, particularly for very obscure items. There is also a risk for fraud. Digital collecting takes place in the blockchain , and it got popular at
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#17328589048061044-513: A run in IPC's new title Whizzer and Chips (1969), which itself merged with Knockout in 1973. After working with Mick Anglo on the ABC science-fiction title Space Comics (1953–54), Gifford began work for Anglo Studios when it was set up in 1954, including a long stint writing and illustrating early Marvelman , the superhero reinvented in the 1980s with a darker vision by Alan Moore . Gifford worked on
1131-505: A secondary market and sometimes became the subject of "collectable crazes". Eventually many collectable items came to be sold separately, instead of being used as marketing tools to increase the appeal of other products. To encourage collecting, manufacturers often create an entire series of a given collectable, with each item differentiated in some fashion. Examples include sports cards depicting individual players, or different designs of Beanie Babies . Enthusiasts will often try to assemble
1218-541: A special fascination for Gifford: he was an active figure in horror fandom of the 1950s, 60s and 70s, including the Gothique Film Society, and in the 1970s he had regular columns in Dez Skinn 's House of Hammer magazine, first a serialised Golden History of Horror and later History of Hammer . However, Gifford had been deeply critical of Hammer Studios , especially the productions of its later years, preferring
1305-431: Is also big business is memorabilia , which includes collectables related to a person, organization, event or media, including T-shirts, posters, and numerous other collectables marketed to fans; but also includes ephemera from historical, media, or entertainment events, items that were meant to be thrown away but were saved by fans and accumulated by collectors. Collectibles have become a huge market globally coupled with
1392-451: Is another matter, for as depicted ... the future is a world of unrelieved violence." Gifford was clear that his preferences in comics writing and art were informed by his nostalgia for UK comics of the 1930s, reflecting that "I look back to the days of my youth ... when comics were things of joy and pleasure, rather than blood and guts." However, Gifford's concerns were limited to comics intended for children and adolescents, and he
1479-439: Is in the form of prizes (items of nominal value packaged with or included in the price of a retail product at no additional cost) and premiums (items that can be "purchased" by redeeming coupons, boxtops , or proofs of purchase from the product along with a small fee to cover shipping and handling). Also, collectables have played an important role in tourism, in the form of souvenirs. Another important field of collecting that
1566-459: Is no point [in the history of comics] where we can pick up a paper and declare it Comic Number One." He identified the first comedic narrative periodical, as an antecedent to the comic as The Comick Magazine (1796) which although all text included a single William Hogarth print per issue, which Gifford suggested when combined formed a "narrative sequence ... [so that] they could be described as an early form of comic strip." Gifford identified
1653-500: Is recommended reading in these disciplines. Along with several other pioneering film archivists, Gifford's 'encyclopaedic work' was recognised by the Institute of Historical Research as having "provided thoroughgoing maps of British film personnel and production histories". Gifford compiled a comprehensive reference work of British-made films, The British Film Catalogue, 1895-1970: A Reference Guide , listing every traceable film made in
1740-615: The Guinness Book of Records as a comics expert, Gifford had to qualify his recommendation that The Dandy be regarded as the world's oldest comic (first issue December 1937) after the entry was challenged in 1999. The first issue of Italian comics magazine Il Giornalino was cover dated 1 October 1924, US comic book Detective Comics (March 1937) began nine months earlier, and the Belgian comic magazine Spirou had more issues. Gifford admitted that "[i]t may be that we will have to insert
1827-551: The London Evening News , continuing in Rex magazine (1971–72), and on bubblegum and cigarette sweet packets. Other newspaper strips were produced by Gifford for Empire State News and Sunday Dispatch . Gifford's early work was with D.C. Thomson and the majority of his work was for humour strips, but he went on to cover various genres and styles, including adventure, detective, science fiction, Western and superheroes. Gifford
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#17328589048061914-547: The Marvel Comics Film & Fantasy Convention , held at Lawrence Hall, London . True to its name, however, the show and its guests had very little connection to the comic book industry. In the early months of 1981, flyers appeared at the Comicbook Marketplace promising a Comicon '81, but there were concerns that proper permissions to use the name had not been acquired. In the end, the final incarnation of Comicon
2001-641: The Rare Pepe or the CryptoPunks are amongst the first cases of digital collectibles. Digital collecting also applies to digital artworks . The urge to collect unusual and fascinating objects is primeval and not limited to humans ( bowerbird , pack rat ). The Renaissance Cabinet of Curiosities was an antecedent both of modern museums and modern collecting. The earliest manufactured collectables were included as incentives with other products, such as cigarette cards in packs of cigarettes . Popular items developed
2088-513: The "visual conventions" of comic art, informed by an intense awareness of the cultural heritage of the medium. In the period Gifford drew for them, D.C. Thomson and most British comic publishers had a strict policy that artists could not sign their work but exceptionally, he was allowed to clearly sign his art. Gifford created at least three of the earliest British Golden Age superheroes, Mr Muscle for Dynamic Comics (1945), Streamline , whose #1 tagline proclaimed him "The speediest fighter in
2175-516: The 'straight man'. Gifford continued drawing during National Service in the Royal Air Force (1946-8), in which he served in the clerical position of 'AC1 Clerk/Pay Accounts', and went on to draw the Telestrip cartoon for the London Evening News . Gifford's prolific career as a cartoonist included both newspaper strips and comics, almost entirely for British publishers. His first published work
2262-571: The 1902 French trick film A Trip to the Moon by Georges Méliès and the 1918 Danish A Trip to Mars up to contemporary films such as the 1951 The Day the Earth Stood Still , screen shots from recent science fiction films The Man from Planet X , Rocketship X-M , The Day the Earth Stood Still and When Worlds Collide . Astronomical facts and diagrams of imagined spacecraft and spacesuit, drawn by Gifford, were also included. Horror held
2349-462: The 1930s, including D.C. Thomson's The Dandy (4 December 1937), The Beano (30 July 1938) and Magic (22 July 1939) and Amalgamated Press's Jingles (1934), Jolly (1935), Golden (23 October 1937), Radio Fun (15 October 1938), Happy Days (8 October 1938) and Knockout (4 March 1939). The start of the Second World War in 1939, and the resulting paper shortages, marked the end of many of
2436-414: The 1940s meant that many issues and even titles were lost without effective records, no university courses were dedicated to the study of the medium, and serious research and debate had not taken place into the origin and development of the comic as a form. Gifford was determined that the comic should gain a credibility in mainstream culture and academia which it already possessed in continental Europe, and to
2523-474: The 1940s, 50s and 60s. Although these were largely humour strips, he worked in a range of genres including superhero , Western , science fiction and adventure . Gifford was born in Forest Hill , London, the only son of William Gifford, a printer, and Amelia née Hutchings. He grew up in the prosperous South London suburb of Sydenham , but was evacuated during the war to Tonbridge, Kent. Gifford attended
2610-617: The 1950s and 1960s, he directed and photographed a number of short films, most of which were publicity and public information films commissioned by the British Government. He also produced and directed the Pathe newsreel Highlight: The Singing Cinema (1964), a compilation of extracts from British musical films from 1929 to 1964. While at Pathe, Gifford married Angela Kalagias, a fellow Pathé employee. The couple, who later divorced, had one daughter, Pandora Jane, born in 1965. Gifford scripted
2697-533: The 1950s, which he regarded as the period in which the genre gained maturity in the cinema: "it was the 1950s before sci-fi really got started, first with George Pal 's astounding semi-documentary Destination Moon pipped at cinematic post by Robert L. Lipert 's B-movie Rocketship X-M . Where the cinema led, comics followed." He had attempted to spur early science fiction 'fandom' with his 1952 Space Patrol Official Handbook , an introduction to science fiction that included an index of 'films of future fantasy' from
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2784-597: The 1960s, Gifford also produced the one-off News of the Universe Television Service and regular humour strips Dan Dan the TV Man and the collection of one or two-panel gags, Jester Moment for TV Tornado (1967–68) where Mick Anglo was editor. Although Gifford did not have an academic background, he was an acknowledged authority on film history who is respected by academics in film studies, media studies and social and cultural history. Much of his reference work
2871-824: The Charlton Comics character Mr. Muscles , created by Jerry Siegel . Tiger-Man should not be confused with Tiger Man, the Street & Smith Golden Age hero, Tigerman, the Fiction House Golden Age hero, Tigerman or Trojak the Tiger-Man, the Marvel/Timely Golden Age heroes, or Tiger-Man, the Atlas/Seaboard character. Gifford created, wrote and edited several comics in the 1940s and 1950s. These included detective title Ray Regan (1949), with art by Ron Embleton ,
2958-494: The IPC comic Action , Gifford controversially drew parallels with the Wertham censorship of the US comics industry in the 1950s, remarking that "Perhaps its time we had another outcry against products like Action . Action is a new kind of comic geared to the lowest form of behaviour in children. Just as pornography caters for a mass market for adults, stuff like this provides violence for
3045-512: The Rembrandt Hotel, Thurloe Place . The guest of honor was Jim Starlin . The Birmingham edition of Comicon '79, officially known as the "U.K. Comic Art & Fantasy Convention," was organized by Rob Barrow's former convention partner Colin Campbell, previously the editor/publisher of Fantasy Advertiser (and later to become a co-owner of Forbidden Planet International ). Campbell's convention
3132-509: The South London private school Dulwich College (1939–44), and while a pupil there was an avid comic collector and cartoonist. He produced a comic, The Junior , using heated gelatine and hectograph ink, which he sold for 1d around the school, but had published comics art by the time he was 14 (1942). Gifford became friends with Bob Monkhouse , a Dulwich schoolmate, fellow schoolboy cartoonist and later TV comedian and presenter, who studied in
3219-497: The Space Race spoof Carry on Spaceman in 1962, but although scheduled, the film was not shot. Gifford was regarded by many as the UK's pre-eminent comics historian, particularly of early British comics. The British Library provides catalogues and reference works written by Gifford as assistance to researchers of its British Comics Collection , and indeed most of the reference works on
3306-578: The UK market and creators, and do not acknowledge key differences in British comics of the period, notably the preponderance in Britain of humorous anthologies rather than the genre titles, most especially superheroes, that predominated in the US. Gifford observed that the "Thirties were the Golden Age of British comics" due to the profusion of successful, high quality and specifically British humour comics beginning in
3393-470: The UK, and of early animated films in the US. He compiled the first comics catalogue attempting to list every comic ever published in the UK, as well as the first price guide for British comics. His research into the early development of comics and cinema laid the groundwork for their academic study, and his reference works remain key texts in the fields. Gifford was also a cartoonist and comic artist who worked for numerous titles, mostly for British comics in
3480-451: The UK, including short films generally omitted by film catalogues, with detailed entries including running time, certificate, reissue date, distributor, production company, producer, director, main cast, genre and plot summary. It was a labour of many years, as Gifford tracked down retired industry professionals and researched back issues of trade publications, fanzines and directories. The Catalogue's third (1994) edition revised all entries and
3567-432: The back rooms of run-down bookshops on a shoe string budget." Gifford provided the first reliable, detailed account of early comics in works such as Victorian Comics (1976) and The British Comics Catalogue, 1874–1974 (1974), with a detailed overview in his International Book of Comics (1984). He also advanced debate on the origins of comics, including what the first comic and comic characters were, arguing that "there
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3654-429: The category of manufactured collectables and are used as a marketing incentive for various types of products. They were originally applied to products related to the arts—such as books, prints or recorded music and films—but are now used for cars, fine wine and many other collectables. A special edition typically includes extra material of some kind. A limited edition is restricted in the number of copies produced, although
3741-532: The characters of Edgar Rice Burroughs was given by Frank Westwood of the British E.R.B. society, and Dez Skinn gave a slide show on the artist and the comic book. An underground comix panel featured Hunt Emerson and Chris Welch . 1978 was a complicated year, as organizer Barrow scheduled two editions of the show: the main one in London, and a subsequent edition — "Comicon II" — in Birmingham . The convention booklet
3828-427: The convention were intimate affairs where comics enthusiasts gathered to socialize, network, and educate each other about the form. As the convention evolved and grew, it increasingly focused on comics dealers and professional guests. The first Comicon was organized by 18-year-old fanzine publisher Phil Clarke and was held 30 August – 2 September 1968 in Birmingham, England . (Clarke paid £111 of his own money to rent
3915-409: The creators, performers, characters and history of popular media; devised, compiled and contributed to popular programmes for radio and television ; and directed several short films. Gifford was also a major comics collector, owning what was perhaps the largest collection of British comics in the world. Gifford's work in the history of film and comics, particularly in Britain, provided an account of
4002-635: The early 1950s which published reprints of other Golden Age superheroes such as Captain Might and Masterman . Only Streamline Comics #1 had story and art by Gifford, although he contributed the one-page humour strip Inky the Imp of the Inkpot and the adventure strip Search for the Secret City in #4. Mr Muscle should not be confused with the later DC character Mister Muscle of Hero Hotline , created by Bob Rozakis , or
4089-549: The end of 2020 with the NFT craze of 2020-2021 . Collectors can buy, trade and exchange digital items (NFTs) usually associated with images or artworks. These items are usually bought using cryptocurrency , although many marketplaces have made it possible to purchase NFTs using standard credit cards as well. Just like in physical collecting, items can hold value due to different reasons, but they are not necessarily monetarily valuable, rare, uncommon or aesthetically pleasing. The Curio Cards ,
4176-625: The film, television and comics industries. The Denis Gifford Collection is held as part of the BFI National Library. The BFI ran a Denis Gifford Tribute Evening at the National Film Theatre in January 2001 to mark his work on film history. As well as vintage comedy, Gifford had a particular interest in genre films, favouring the origins of those genres and the lower-budget B-movie output. He had written for science fiction fanzines since
4263-459: The form, such as the speech bubble, while it had accompanying text for each image. Debate continues, but Gifford's research and conclusions into the origins of comics as a medium have gained considerable academic acceptance. Ally Sloper was championed by Gifford as the world's first ever comic character, and became a totemic figure for him, being revived and sometimes drawn by him in a number of comics and other publications that sought to ensure
4350-422: The growth in adult readership of comics since the 1970s was due to nostalgia, but did not foresee the potential for a development of the medium. When children's comics began to reflect changes in cinema and mass culture, he was unafraid to speak out, even where this might involve constraints on the comics industry and creators. After media outrage at the 1976 Look Out for Lefty strip about football hooliganism in
4437-475: The late nineteenth century, tracing development through various stages that included Judy - The London Serio-Comic Journal (1 May 1867) featuring Ally Sloper , the first recurring character in a text and picture serial. He observed in Victorian Comics that Sloper "was the first to appear in comic book format ... a paperback reprint collection ... the first to have his own comic paper ... and
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#17328589048064524-405: The more understated examples of early British and Hollywood horror. He found Hammer's relatively explicit use of blood-letting and sexuality to be cynically exploitative, noting in his 1973 A Pictorial History of Horror that "The new age of horror was geared to a new taste. Where the old films had quickly cut away from the sight of blood, Hammer cut in for a closeup." A Pictorial History of Horror
4611-450: The number may be arbitrarily high. Manufacturers and retailers have used collectables in a number of ways to increase sales. One use is in the form of licensed collectables based on intellectual properties , such as images, characters and logos from literature, music, movies, radio, television, and video games. A large subsection of licensing includes advertising, brand name, and character collectibles. Another use of collectables in retail
4698-433: The pantomime-themed Panto Pranks (1949), which Gifford wrote and drew, Fizz Comics (1949) and Star Comics (1954), which he drew and edited with Monkhouse, featuring strips of contemporary entertainers Morecambe and Wise , Bob Monkhouse himself, Jill Day and movie character Tobor The Great . These titles created by Gifford often ran for just a single issue, to take advantage of a loophole in postwar paper rationing, but
4785-523: The pre-World War II era. As he was to attempt with the history of comics, Gifford sought to correct inaccuracies in cinema history that gave undue credit to the US industry, citing Dudley Buxton "who [in 1915] first animated the sinking of the Lusitania in all its terrifying drama, three years before Winsor McCay tackled the same subject in the United States. Yet according to film history, McCay's version
4872-601: The presentation of the Society of Strip Illustration Awards, and the Ally Sloper Award . The following year saw Comicana 82 , held in late September at London's Regent Crest Hotel. Produced by Rob Barrow 's Fantasy Domain and Comic Showcase, the special guest was Frank Miller . The next British comics convention to be staged with any regularity was the United Kingdom Comic Art Convention (UKCAC), which
4959-413: The rise in application of Non-Fungible Tokens (NFT) which are now used as a medium for digital collectibles sales. The collectables market size in 2020 was $ 360 billion with an estimated increase of 4% by 2028. Digital collectibles may become a reliable revenue stream for creators as NFTs evolve and spread. Collectables can be items of limited supply that are sought for a variety of reasons, including
5046-533: The secondary market. Dolls and other toys made during an adult collector's childhood can command such premiums. Unless extremely rare or made as a one-of-a-kind in a mature market, collectables rarely prove to be a spectacular investment. Denis Gifford Denis Gifford (26 December 1927 – 18 May 2000) was a British writer, broadcaster, journalist, comic artist and historian of film, comics, television and radio. In his lengthy career, he wrote and drew for British comics ; wrote more than fifty books on
5133-502: The shortlist. All editions of the Catalogue omitted animated films, but Gifford's British Animated Films, 1895–1985: A Filmography provided a similarly completist approach. Over 1200 films were detailed, attempting to include every British animated film of the period with a cinema release, whether full-length feature, short, public information film or advertisement. Gifford also provides an historical overview, giving particular attention to
5220-533: The significant stage of "the first continuing cartoon hero" as Rowlandson 's Dr Syntax in the serial The Schoolmaster's Tour in The Poetical Magazine (1 May 1809). He argued that "in Europe, perhaps the world" the first caricature magazine, an important prototypical form of the comic, was Hopkirk 's The Glasgow Looking Glass (11 June 1825). Gifford located the origin of the modern graphic narrative in
5307-479: The subject provided by the British Library were written by Gifford. Comics scholarship, still relatively undeveloped in comparison to other media, was almost non-existent in 1971, when Gifford published his first book on comics history, Discovering Comics . At that time, no comprehensive archive of British comics existed, no fully researched cataloguing had been attempted, the mass pulping of comics in Britain in
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#17328589048065394-733: The succession of short projects suited Gifford's diverse interests as it enabled him to flit from genre to genre. Gifford drew and often wrote a number of Western comics strips in the 1940s, 50s and 60s, including ' Ace High' Rogers versus Redmask (1946), Bill Elliott in Republic's Old Los Angeles in The Sheriff #3 (1948) and strips for Annie Oakley (1957–58) and Gunhawks Western (1960–61). Gifford provided art for movie adaptation strip Roy Rogers in Western comic The Sheriff Comics (no date, 1950s), signing himself 'Gus Denis Gifford' and offering
5481-503: The titles, a definable end to the era and the beginning of what Gifford termed the "Dark Age". Gifford's The British Comics Catalogue, 1874–1974 (1974) was the first comprehensive index of British comics, and his later British Comics, Story Papers, Picture Libraries, Girls Papers, American Reprints, Facsmilies, Giveaways Price Guide (1982) the first attempt to offer a price guide for British comics (US comic books had been covered by The Overstreet Comic Book Price Guide since 1970). It
5568-532: The usual location of the Waverley Hotel. Barrow (and his corporate entity Fantasy Domain) organized the convention for at least the next four years. Barrow's first solo convention, Comicon '74, was co-billed as "Comicon/Comic Mart Summer Special 1974." Returning to being a two-day affair, it was held at the Regent Centre Hotel. The only industry guest was Denis Gifford , who delivered a presentation. There
5655-560: The venue for the show, the Midland Hotel.) The first show attracted both professional and amateur creators of the time, including, Paul Neary , Jim Baikie , Steve Moore , and Nick Landau . It also featured a "fancy dress" contest, in which contestants dressed up as characters from the comic books. Comicon '69, held in London , was organized by retailer Bram Stokes , "Godfather of British fandom" Frank Dobson , and Steve Moore . Comicon '70
5742-440: The work in those media of previously unattempted scope, discovering countless lost films and titles and identifying numerous uncredited creators. He was particularly interested in the early stages in film and comics history, for which records were scarce and unreliable, and his own vast collection was an invaluable source. Gifford produced detailed filmographies of every traceable fiction, non-fiction and animated film ever released in
5829-668: The world", co-created with Monkhouse for Streamline Comics (1947) and Tiger-Man, debuting in Ray Regan #1 (1949). Gifford himself credits "the first British superhero in the American comic book style" to Derickson Dene by Nat Brand in British anthology comic The Triumph in 1939, but both Mr Muscle and Streamline were early attempts to introduce British characters in a characteristically American genre, prompted by severely limited imports or reprints of US superhero titles due to wartime paper rationing and import restrictions. Gifford and Monkhouse set up their own publishing company, Streamline, in
5916-413: The year below and also had cartoons published while at the school. Gifford and Monkhouse collaborated on comics writing and drawing, a partnership that was to continue for many years in various forms, including as radio scriptwriters. The two toured together as a comedy act in the south east of England in the late 1940s with Ernie Lower's West Bees Concert Party, giving charity performances with Monkhouse as
6003-418: Was Magical Monty for All-Fun Comics (1942) at the age of 14, with a contribution to The Dandy the same year, and briefly worked as junior cartoonist for the newspaper Reynold's News (1944–45). He collaborated on comics writing and drawing with school friend Bob Monkhouse while they were still pupils at Dulwich College together. After his National Service, Gifford drew the Telestrip cartoon for
6090-466: Was also a keen Sherlock Holmes enthusiast, and was a member of the Sherlock Holmes Society, writing various reviews and articles on films featuring the detective. Gifford wrote numerous articles on film and popular entertainment, both professionally and for fanzines. Although a highly respected film historian, Gifford's professional involvement in cinema was relatively limited. However, in
6177-471: Was an all-night film show on Saturday, and films were shown Sunday evening as well. The tenth anniversary show, Comicon '77, hosted the first presentation of the Eagle Awards , organized by Mike Conroy , Nick Landau , Fantasy Advertiser 's Colin Campbell, Phil Clarke, and Richard Burton . The Comicon '77 program booklet featured interviews with special guests Brian Bolland and Dave Gibbons . A talk on
6264-505: Was an influential work for a generation of film and horror enthusiasts, described in The Paris Review by author and journalist Dave Tompkins as "the most important book of my childhood". Gifford was a lifelong fan of Laurel and Hardy , and founded 'Film Funsters', the first British branch of the Laurel & Hardy Appreciation Society, as well as writing several articles on the duo. He
6351-488: Was held August 31–September 2 at the Birmingham Metropole, National Exhibition Centre . The guest of honor was Jim Steranko , and other guests included Marshall Rogers , Chris Claremont , Terry Austin , Paul Levitz , Howard Chaykin , Len Wein , and Joe Staton . The British Comic Art Convention did not take place in 1980. To fill the void, Starburst magazine (at that point owned by Marvel Comics ) produced
6438-444: Was held annually from 1985 to 1998. Collectibles A collectable ( collectible or collector's item ) is any object regarded as being of value or interest to a collector . Collectable items are not necessarily monetarily valuable or uncommon. There are numerous types of collectables and terms to denote those types. An antique is a collectable that is old. A curio is something deemed unique, uncommon, or weird, such as
6525-455: Was held in late October 1981 at the old location of London's Regent Centre Hotel, organized by Dez Skinn and Frank Dobson . Skinn and Dobson organized the show as a more intimate convention, "with the fan in mind;" an art exhibit featured comics from Alex Raymond to the present. In addition, the Saturday "ComiCon Banquet" featured the fifth annual presentation of the Eagle Awards, as well as
6612-519: Was most productive as a comics artist in the 1940s, 50s and 60s. By the early 1970s Gifford's writing career, mainly on the subjects of comics and film history, began to take over from his work as a cartoonist in his own right. Gifford had a distinctive, simple drawing style with a light-heartedness evident even in more action-orientated strips. Panels were often bustling and dynamic, with individual characters vying for attention. His humours strips were dense with conspicuously labelled puns and 'sight gags',
6699-637: Was organized by Sam Plumb and held in Sheffield . Comicon '71 returned to London (where it mostly stayed from that point forward), and was organized by Bram Stokes and Dez Skinn . The guest of honor was Frank Bellamy . An underground comix panel featured cartoonist Edward Barker , and editors Mick Farren and Graham Keen . Comicon '72, the fifth annual show, was organized by Nick Landau / Comic Media . Attendees included comedian Bob Monkhouse and Monty Python member Terry Gilliam ; Brian Bolland made his first professional contacts. The all-night film show
6786-604: Was presented by Chris Welch and Hunt Emerson . In 1979, long-time organizer Barrow turned his focus away from Comicon and toward his comic mart business in London and elsewhere. Ultimately, two Comicon '79s ended up taking place — one in London and one in the originating location of Birmingham . Comicon (London) 1979, the official "British Comic Art Convention 11," was sponsored by Valhalla Books of Ilford, Essex , and organized by Ian Starling, Neville Ferris, and Ian Knox (who promised future conventions, none of which seem to have occurred). It took place August 11-12, 1979, held at
6873-537: Was produced by OVR Comics. Comicon II, the Birmingham edition, held September 2–3, 1978, at the Imperial Hotel, was a disaster. First of all, one of the guests of honor, Dave Cockrum , did not show up. Secondly, a local smallpox scare kept dealers and crowds away. Thirdly, there were mix-ups by the hotel. Nonetheless, Barrow went forward with the show, including film showings and panels. An underground comix slideshow
6960-563: Was published in several Alan Class Comics titles in 1976, to promote the Ally Sloper magazine. Gifford also initiated the Ally Sloper Awards in 1976, an annual prize for veteran comic artists. At a summit on comics history convened by the 1989 Lucca Comics Festival in Italy, Gifford was invited to be one of the eleven 'international specialists' to sign a declaration that The Yellow Kid
7047-486: Was published in two volumes, The Fiction Film, 1895–1994 and The Non-Fiction Film, 1888–1994 . It became a seminal work for British film historians, acclaimed by The British Film Institute (BFI)'s curator of Moving Image in a Sight & Sound magazine shortlist of the best ever film books: "The nearest we have to a British national filmography was created not by any institute or university but by one man." Gifford's popular work A Pictorial History of Horror also made
7134-705: Was sponsored by the Electric Cinema Club and Richard Williams Films. Comicon '73, planned and promoted by Bram Stokes and John Mansefield, was scheduled for the weekend of 21–22 July at London's Regent Centre Hotel, with special guests Frank Bellamy , Morris , James Warren , Peter O'Donnell , Bruce Pennington , Jim Cawthorne, Yaroslav Horak , Eddie Jones , Philippe Druillet , Jean Giraud , and Albert Weinberg ( Dan Cooper ). A cadre of famous American Marvel Comics comics creators — including Stan Lee , Jim Steranko , and Neal Adams — were also tentatively scheduled to appear. Films planned to be screened include
7221-633: Was the antecedent of works such as the Official Comic Book Price Guide for Great Britain (1989). Gifford had a particular interest in children's comics. Although his collection included 1960s underground comics , the alternative comics of the 1970s as well as the more experimental mainstream of comics' Modern Age , he was not initially convinced by changing conceptions of comics as a medium suited to addressing adult themes such as sexuality, violence and storytelling techniques influenced by literary fiction, cinema and art. He recognised that
7308-409: Was the first comic character having been first published in 1895. Gifford signed, but pointedly did so in the name of Ally Sloper, first published in 1867. Gifford sought to draw a distinct definition for British comics history, as the Golden Age and other historical eras of comics were first defined to describe US comics history. These eras relate to UK comics only as a result of American influence on
7395-461: Was the longest lived [character] in comic history." He suggested a key contender as the first comic as being the paper Funny Folks (12 December 1874), which had an unprecedented half-picture, half-text per page layout. Sloper's debut was certainly a series of panels, but it lacks "interdependence as a sequential narrative strategy" with images each relaying a single joke without forming a narrative with other panels, and it lacked some key features of
7482-511: Was the world's first dramatic cartoon film!" Gifford's writing also included biographies of cinematic figures, including Karloff : The Man, The Monster, The Movies and The Movie Makers: Chaplin , with his meticulous research and detailed knowledge well suited to the form. Gifford was a judge at the Sitges 1977 International Festival of Fantasy and Horror. The BFI holds an extensive archive of interviews recorded by Gifford of various figures in
7569-410: Was well aware of a development of the medium for an adult audience. He collected and was able to appreciate the content of underground and Modern Age comics, offering sophisticated and sometimes sympathetic analysis. Gifford's own Ally Sloper comic (1976) offered a combination of vintage and alternative strips for an adult audience, although the nostalgic strips were his primary interest. Working for
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