Hot to Go!

Snip and Snap, D. C. Thomson's original duo of postman-pillorying dogs, enjoyed a stint in the Sparky for just shy of two years, from October 1972 to August 1974.

As you may have immediately guessed from other posts I've done on this subject recently, for a brief spell beginning in the summer of 1999, the twosome were dusted off, colourised and reprinted in the Dandy as the Red Hot Chilli Dogs:

Knock on Wood

This is the very first edition of The Haunted Wood, a strip which appeared in Fleetway's Knockout across its two-year run from June 1971 to June 1973. Like some other Fleetway strips of the time, it does not appear to have had a terribly consistent artist; some sources say this first strip was the work of Reg Parlett, other strips were apparently by Sid Burgon, and other editions have artists who cannot be identified. (Another Knockout strip, Beat Your Neighbour, is notorious for being so inconsistent it can be difficult to find two editions which were definitely drawn by the same person, but that's another story.)

To cut to the chase: The Haunted Wood is not renowned for experimentation or breaking its format. Every subsequent edition follows a very familiar set-up: someone takes wood from the Haunted Wood, doesn't listen to the unnamed boy's warnings that this will lead to disaster, and the haunted wood, no matter what form it has been sawed, nailed or whittled into, comes to life and wreaks havoc until it returns to its home.

Red Lines

This is a very early example of Ali's Baba, a strip which appeared in D. C. Thomson's Sparky from January 1970 up until the comic's end in July 1977; it was drawn by Malcolm "Mal" Judge, better known for D. C. stablemates such as The Numskulls and Billy Whizz. This particular strip is taken from the Sparky Book 1971; the Christmas books were usually finished at least a year before publication, and Baba and his guardian angel must have just sneaked in before the deadline to debut in the weekly comic and the accompanying annual in the same year.

In this particular strip, Ali's invisibility to the other characters is represented by making him transparent. Which seems fair enough. However, it appears very unlikely this method was used in any other strip.

For the vast majority of editions (this example is from the 1973 book),¹ they did something more interesting -- having the outline of Ali and his speech balloons appear in colour: