Boy’s World Revisited


I’ve already written about Boy’s World once, but that was based on two-thirds complete poor condition paper copies that excluded the first twenty-three issues of the comic that was supposed to replace the Eagle.
Why you should want to replace one of the most successful boys’ weekly comics that ever existed is a matter for speculation, but that was what Leonard Matthews, of Longacre Press, wanted to do from the first moment Eagle fell under his purview. But then again, Eagle was, even after three years in the hands of professionals like Odhams Press, the comic created by the amateurs, the C of E Vicar and the Southport Art Student, and a lot of people were put out by their success and thought it no more than one massive fluke.
So Boy’s World was going to be the professionals showing the amateurs how to do it. It would outshine Eagle, eclipse it and allow Longacre to close it.
We all know what happened. Boy’s World, which lost an editor before one copy was even printed, which had to be substantially revamped in less than six months, failed to last as many as two years, and suffered the ignominy of death-by-merger into Eagle, surviving only as a second name on the masthead of the comic it was meant to replace.
I find that heart-warming, don’t you?
This was my first chance to read the first twenty-three issues, which were missing from my original paper haul. Internally, there are no great differences between the original Boy’s World and the more conventional comic following the issue 24 revamp, but the provision of a full-bleed cover gives the paper a completely different feel. This first six issues featured boys in various, bright, shiny, ordinary circumstances that were more than a bit bland, then the ‘What would you do?’ series took over until the end of the run, dangerous real-life situations in which the participants only had a limited time in which to find a way out, a challenge the reader had to confront before turning page 2 and reading the solution.
The effect of the full-bleed is to make Boy’s World look more like a magazine than a comic, something simultaneously more serious and more parent-friendly, like it’s almost exact contemporary, Look and Learn (another brainchild of Leonard Matthews, its first issue came out six days before Boy’s World‘s).
For a comic, and one intended to usurp Eagle, with its long tradition of great and varied comics series, Boy’s World didn’t half carry a lot of print. An editorial page stretching over two pages, a short story series written by Donne Avenell, from the point of view of various animals, birds and fish, a prose serial, a complete short story AND the Ticket to Adventure series.
This left space for only four comics series, three at two pages, only one of which in colour, the last at one page. Taken in order, these were: Pike Mason, a sea-going adventurer with his Filipino assistant, Quarro, drawn in a dark and moody greywash style by Luis Bermejo: John Brody, science correspondent of the Daily Correspondent, a Dr Thirteen who didn’t debunk the impossible: Wrath of the Gods, a superb colour centrespread featuring all manner of adventures in Greek mythology, written by Jeff Hawke’s Willie Patterson and drawn by Ron Embleton; and The Boys of Castleford School, a conventional boarding school story with a suspicious new boy.

The Star Feature

Let’s be at bit more specific about these stories. Whilst the Brody, Wrath of the Gods and Castleford School stories were brought to a simultaneous conclusion in issue 23 (Castleford School in the form of a short second serial), Pike Mason’s adventure, ‘The Sea Ape’, couldn’t quite squeeze into that strait-jacket and needed a final episode in the revamp issue. It was well-drawn although its pages consistently looked dark and murky, but the story relied too heavily on superstitious primitive natives whose Gods could only be appeased by sacrificing white men (and Filipinos) for my liking.
Brody’s ‘What is Exhibit X?’ was about an invading intelligence trying to hypnotise and takeover the country, that could only be opposed by people who could hear ultra-sonics, whilst the Castleford School story featured the suspicions of Tom Bannister and Beefy Paget about their new study-mate, Benbow, about whom there was a mystery. Was Benbow a villain, working with crooks? No, he was the nephew of a British intelligence Agent, aiding Uncle to expose Diamond-Smugglers. The second, six week story, was about proving the local legend of the Phantom Rider true, though he was actually a guise to stop racehorse nobblers.
Both Castleford stories were straight schoolboy serials, neither better nor worse than any of their contemporaries, such as Sandy Dean in Lion, but their big problem was that this was 1964, and the boy’s boarding school story was all but played out. Castleford School would not survive the revamp, at least, not in this form.
Boy’s World‘s jewel was ‘Wrath of the Gods’. It starred Arion, a Greek warrior who, on finding his family and friends slaughtered in his absence at the wars, cursed Zeus and the whole rotten lot and found himself appointed a kind of mortal trouble-shooter drafted in by the Gods to carry out fantastic missions. But though Arion’s adventures were gorgeous to look at, the story seemed paper-thin. It had no structure beyond that of the daisy-chain: each week or so a new instruction o seek something else leads Arion into another encounter, with the Furies, the Minotaur, Atlas and so on. Willie Patterson is legendary for writing Jeff Hawke but I’ve always found everything else he wrote to be passionless and static.

Pike Mason

The revamp made no difference to the cover except to make Boy’s World look like a comic by introducing a half-inch band of white paper around everything. Inside, however, the number of comics series went up, although as the paper gained an extra four pages, this didn’t diminish the prose features.
Pike Mason, John Brody and Wrath of the Gods remained, although the latter was for some reason ripped out of the centrespread and dropped onto the back pages, with a young and initial somewhat rough and ready John Burns taking over art duties, albeit still in colour, as Arion found himself charged with finding the Nameless God in order to have the plague-carrying Chalice of Apollo destroyed.
For Mason, it was the same again, hired to find a lost civilisation’s treasure protected by the Curse of Zentaca, whilst Brody dealt with the House on Scar island, going ghost-chasing.
Castleford School wasn’t so lucky. In theory, it continued, but it underwent a comprehensive change of style, tone and art by turning into ‘Billy Binns and his Wonderful Specs’, a comedy strip about a useless, fumble-fingered swot who came into possession of a spare pair of glasses that filled him with confidence and overwhelming athletic prowess at every sport he tried. Benbow and Tom Bannister made a few token appearances in the early weeks but were rapidly forgotten as Binns became the target of the jealous school bully, Middleton, and his cronies.
It was undistinguished fare that never developed from one week to another, nor did the supposedly highly-intelligent swot, or anyone else at the school, ever make the slightest connection between his radically differing states of confidence and athleticism depending on whether he wore glasses A or glasses B. It was neatly drawn – far better than the unspeakable ‘Cornelius Dimworthy’ – whilst the stories were generally unexceptionable but I can’t for the life of me understand how it’s supposed to be an utterly hilarious, laugh-a-panel comedy, which was how the comic kept billing it.

John Brody

‘Brett Millions’ pushed ‘Wrath of the Gods’ out of the centrespread, though only until the stories began in issue 24 finished in the same week, whereupon they swapped back. This was written by SF writer, Harry Harrison, the first tale, ‘The Angry Planet’, adapted from one of Harrison’s own novels. It’s dull fare, drawn competently but to no better standard, and Millions has the personality of a pancake. He’s supposed to be a gambler, but turns into an interplanetary troubleshooter without any real qualifications.
What turned out to be Boy’s World‘s most successful series in terms of longevity was ‘The Iron Man’, who would survive for years once transferred to Eagle. The Iron Man, as I’m sure you recall, was an international crime-busting robot whose mechanical nature was concealed by an amazing suit of plastic skin. He was initially drawn by Ron Embleton’s younger brother Gerry, who gave the robot a naturalistic look that could be mistaken for human. For Robert’s second story, Embleton Jr was replaced by Martin Salvador – Spanish artists were so much cheaper – and the robot’s features slowly became much more, well, robotic.
Harry Harrison had a second string to his bow in the form of ‘Merlo the Magician’. Merlo was both a highly-skilled, internationally famous stage magician and a highly-secret Interpol agent, tackling high power, fantastic crimes and criminals, usually backed by secret organisations. He’d debuted in issue 13 as the second prose serial, but was popular enough with the readers to be retained as a page and a half strip, cleanly drawn, all black lines and white space and no shading, good but not outstanding.
One final new feature was the mild comedy from ‘Private Proon – the Barrack ‘Square”, about which nothing need be said. It was better than Eagle’s ‘Fidosaurus’ or ‘XYZ Cars’ but not as good as Lion’s ‘Mowser’, though equally as repetitive.
A couple of Boy’s World‘s minor features should be mentioned before we go any further, the first being the extremely short prose ‘Mini-Mystery’ starring Detective Inspector Nixon. These were micro Spot the Clues that were Howdunnits rather than Whodunnit, since the villain was almost always the only other person in the story. ‘What’s in a Name?’ was an etymological series in words and pictures about people’s surnames, though the honourable name of Crookall was never featured.
The Hand of Fate was a one (sometimes half-)page real lifestory whose theme was the intervention of Fate in unusual circumstances, usually but not exclusively to save the life of someone who would normally have been expected to die. And towards the end of Volume 1, the great Frank Humphris began a b&w half-page feature on real-life Western tales, ‘The Flaming Frontier’, which once again brought Humphris’ knowledge and enthusiasm into play.

Brett Millions

Last and best of these other features was a weekly prose account called ‘Ticket to Adventure’, an historical feature homing in on famous events, written in such away as to place the reader in the middle of the action, all because he’d received his Ticket to Adventure. Week-in, week-out, this was consistently Boy’s World‘s best feature.
There was another general change round in issues 45 to 47, new stories for Pike Mason, John Brody, Wrath of the Gods and Brett Millions, the latter two series exchanging places again to wind up where they first began. Merlo had only just edged into the Army of Crime. Ron Embleton returned to draw Arion’s latest adventure, whilst none other than Frank Bellamy was selected for Million’s ‘The Ghost World’.
It’s probably the least known of all his Fifties and Sixties work. Aside from a couple of his ‘Great Adventurers’ stories from Eagle, it’s the only strip that hasn’t been reprinted, and it’s rarely mentioned in bibliographies of his work, which is not surprising because Bellamy still has no more instinct for SF than he had on ‘Dan Dare’.
Boy’s World‘s first volume consisted of 49 issues, it’s second and last of 40, starting from the first week of January 1964. That the title was struggling could be seen when another free gift was given away in issue 18, and there was a mini revamp, with a temporary change of logo box, and new stories starting for Merlo and John Brody. The latter shifted to the back page and into colour, with art by Luis Bermejo, whilst Brett Million was replaced by Raff Regan, a WW2 RAF strip, which didn’t amount to much, certainly not in comparison to Lion‘s Paddy Payne.
A new prose feature debuted, featuring schoolboy dodger Tricky Jones: the name should be enough to clue you in to how awful this was going to be and it was not misleading, though I suppose the kid I was then enjoyed it.
Bermejo wasn’t called upon to draw two series for long, because Pike Mason went back to sea for good after issue 21, being replaced by a weird little series, ‘What is my Name?’, in which RAF Flight Lieutenant Jimmy Pierce is saved by a Scottish shepherd known only as the Nameless One, and in repayment has to find out the Nameless One’s name. The story soon started to get involved with supernatural stuff, drawings forecasting doom appearing in a blank book, and ultimately an ancient curse, little of which made any great sense, but which lasted until the somewhat abrupt decision to merge Boy’s World into Eagle.
Another, and final new series started alongside ‘What’s in a Name?’, Dr What and his Time Clock, which was a parody of Dr Who, In fact, the first ever parody of the classic BBC series. Sadly, nothing else distinguished it.
Other than some minor art changes – Frank Langford soon replaced Bermejo on John Brody, Eric Kincaid filled in on some Flaming Frontiers, Humphris drew one in colour – there was little else to the story.
Boy’s World ended on 2 October 1964, after only 89 issues: the comic that was to replace Eagle was swallowed up by it. This was an unpopular decision in one boy’s household because I was getting both, and I was not best pleased that two of my weekly comics were merging to one, especially as I didn’t get a new title to replace it. Gone for good were Merlo and Inspector Nixon, John Brody, Tricky Jones, Private Proon and Dr What. Billy Binns, Wrath of the Gods, Raff Regan and Th Iron Man carried over, although only The Iron Man lasted. Boy’s World continued in Annual form, running parallel with the Eagle Annual, for far more years than the comic lasted, ending only in 1972.
I had a few of those Boy’s World Annuals too, and kept one longer than I would normally have done for some Frank Bellamy art, illustrating a short story about an ageing Matador. Browsing it, I happened to notice that writers of these short stories were credited, and one of them happened to be credited to Michael Moorcock! When I met him for the only time, going to a signing session for his novel, Mother London, I took the Annual along, asked if he minded signing the story. I didn’t actually write that, he told me: he’d been commissioned but hadn’t the time, so he’d passed it to Barrington J. Bailey, who needed the money. He still signed it, mind you, but with a proviso that Barry Bailey had written it!
Moorcock is reputed to have written a lot of small features for Boy’s World, including the ‘What’s in a Name?’ snippets, etymologising surnames: here was one instance when his name was taken in vain. Not that the editor knew…
In the end, a comic stands or falls upon one thing: the strength or otherwise of its comics series. It’s what we buy them for. What failed Boy’s World more than anything else was that its stories just weren’t good enough. They had strong artists, but none of the characters were memorable in themselves and, with the exception of the entirely too prosaic Merlo, everything went too far overboard into fantasy. Even John Brody, supposedly a Science Correspondent, dealt only with the irrational and unreal.
And where it should have all have fit the best, in Wrath of the Gods, the stories were thin and lacking in any structure.
On top of this, Boy’s World was the wrong type of comic for an increasingly anarchic time, a time exemplified by the much ballyhooed Wham! (with which it shared Billy Binns) launching in the last three months of Boy’s World‘s life. It launched in a declining market, with a stodgy, stilted name, and it just wasn’t good enough. It lacked a strong editorial figure who could, perhaps, have imposed a greater vision on something that was largely conceived as a copycat. In short, it was the only one not to benefit from the editing of the Reverend John Marcus Morris.
I’ll just leave that one there.

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