Today in pulp... I look back at that perennial Xmas stocking filler and all-round cheap and easy present from your Auntie the #Christmas Annual!
They're in the shops now...
If you're not from the UK you might be slightly baffled by the term 'Christmas Annual.' Basically it's a hardback A4 sized book themed around a comic, tv show or movie. It's full of stories, comic strips and various filler items for kids to read.
Christmas annuals have been around since the Victorian age, but it was in the 1920s that children's comic publishers began to monopolize the market. After all, they had a loyal readership, so sales were probably guarantee.
Over time the number of Christmas annuals began to rapidly increase, as more and more comics began to issue them to cash in on the Xmas market...
Even Britain's newspapers jumped on the Xmas bandwagon with their own annuals full of festive fun - though 'fun' might be pushing it a bit: long articles on 'how a newspaper is made' etc...
Up until the 1950s the children's Christmas annual was a somewhat middle class present: full colour printing was expensive, and not every child would be thrilled to receive a book from Santa instead of a cap gun or a tin of toffees.
But by the 1960s the market for Christmas annuals went through the roof, all thanks to one thing - television!
TV shows began to enter the Christmas annual market in a big way in the 1960s: whether they were shows aimed at children...
...or not! Basically if it was on the telly then there would be an annual at Christmas about it.
But were they any good?
Well by the 1970s the format of the Christmas tv show annual was pretty much standardised. First, you got an exciting cover, with either some slightly wonky artwort or some ropey stock photography...
There would be lots of big photos to pad out the page count (you could doodle on these when you were bored on Boxing Day)...
There would be some very dull stories featuring some truly terrible artwork, normally by an illustrator who hadn't seen the show...
There would be a fact file...
A board game...
Some rubbish puzzles...
A jokes page...
An extremely badly drawn comic strip...
Another bloody board game...
Another fact file, another quiz, more photos, a colouring page ... on and on until they'd filled 100 pages as cheaply as they could.
That was the problem with TV annuals: they were licenced by companies that had nothing to do with the show and didn't seem to care!
For example: the Doctor Who Christmas annual artwork has long been a source of puzzlement to children. "Who's that weirdo on the cover?" kids would cry every 25th December. "Has he regenerated into the Child Catcher?" They'd then proceed to draw a nob on all the Daleks.
By a country mile the biggest annual publisher of all was Fleetway! You name it, they'd stick together a 100 page hardback on it and sell it for £2.99 at all good newsagents.
So if you wanted a good Christmas annual you were better off sticking to one based on a comic: the art would be decent and the stories would be interesting.
Despite a dip in the 1990s I'm pleased to say the Christmas annual market is still alive and well. Whether modern annuals are as collectable as those of yesteryear only time will tell!
More pulp stories another time...
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Today I'm looking at a few books from New York publishing house Grosset & Dunlap...
London After Midnight, by Marie Coolidge-Rask. Grosset & Dunlap, 1928.
This is a movie tie-in version, although the last known copy of the film was destroyed in 1965 at a fire at MGM's vaults. It's one of the most sought-after lost silent films now.
A Thousand Years A Minute, by Carl H Claudy. Grosset and Dunlap, 1939. Cover by A C Valentine.
Part of the Adventures in the Unknown series, this is a time travel novel sending its heroes back to the prehistoric world.
One of the best #Christmas presents you could ever get was a View-Master! It sold over one billion reels across the world, but it's based on Victorian technology. How did one simple gadget get to be so popular?
Let's take a look at the toy that took over the planet...
Stereographs are cards with two nearly identical photographs mounted side by side. Viewed through a binocular device they give an illusion of depth. By 1858 the London Stereoscopic and Photographic Company had published over 100,000 of them.
Sawyer's Photo Finishing Service began in 1919 in Portland, Oregon. By 1936 they had teamed up with William Gruber, who had been experimenting with stereoscope photography using the new Kodachrome colour film.
Today in pulp I look back at a few forgotten '80s sci-fi movies and ask: is it time to reappraise them?
Spoilers: not all of these are available on Betamax...
There were a huge number of mid and low budget sci-fi movies released throughout the '80s, many of which went straight to video. Today they lurk in the far corners of your streaming service.
Should you watch them? Well let me take you through a few you might be tempted by.
Battle Beyond The Stars (1980) was Roger Corman's retelling of Kurosawa's Seven Samurai in space. James Cameron did an impressive job on the SFX with a small budget and the film certainly has a distinctive look.
"A dream to some. A nightmare to others!" As it's Christmas let's look back at a film that I think helped redefine an old genre, captivated the imagination and launched many successful acting careers.
Let's look at John Boorman's Excalibur!
For a long time the film industry found the King Arthur story amusing. Camelot (1967) was a musical comedy; Monty Python and the Holy Grail (1975) was pure comedy.
But director John Boorman had been thinking seriously about the Arthurian legend since 1969, particularly Sir Thomas Malory's 1469 telling of the story 'Le Morte d’Arthur'. The mythic theme greatly appealed to him.
Today in pulp I'm looking back at some Michael Moorcock books, and having a think about the New Wave of science fiction that started in the 1960s...
In Britain the New Wave is often associated with New Worlds magazine, which Moorcock edited from 1964 to 1970. Financial troubles caused the magazine to close in 1970, but it made sporadic comebacks over the subsequent years.
However he started as editor of Tarzan Adventures in 1957, where he introduced Sojan the Swordsman - perhaps his first stab at creating an 'eternal champion' character
Today in pulp I'm looking back at one of the greatest albums of all time.
What are the chances...
By 1976 Jeff Wayne was already a successful composer and musician, as well as a producer for David Essex. His next plan was to compose a concept album.
War Of The Worlds was already a well known story, notorious due to the Orson Wells radio play production. For Wayne it seemed like a great choice for a rock opera.