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First American Printing. In “ Top Traitor , ” Modesty and Willie are faced with the apparent defection of Sir Gerald Tarrant . In “ The Vikings, ” they battle a band of modern -day pirates.

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Lucky Chance and Destiny Blake help The Spirit track down The Man From Cairo . Then The Spirit is captured by the Nazis , unmasks the Cowled Killer , and proposes to Ellen Dolan .

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THE BEGINNING THE CHOSEN

Edited by Catherine Yronwode

Introduction by Maggie Thompson

FIRST AMERICAN EDITION SERIES © 1981 by Ken Pierce AXA “ The Beginning” and “ The Chosen ” © 1981 by Express Newspapers, Ltd. Published by Ken Pierce, Box 332 , Park Forest , 111. 60466 Complete lists for a stamp.

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INTRODUCING

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RlTlSH comic strips have a long and honorable tradition of removing clothes from women . In December 1932 , artist-writer Norman Pett , via the British newspaper the Daily Mirror , intro-

duced the world to Jane. Now , Jane was not the first artist’s creation to be designed to attract an audience looking for pictures of pretty women. In the field of pen and ink illustration alone , Charles Dana Gibson had done so well at drawing attractive women of his day that an entire generation of women imitated the appearance of the "Gibson Girl ” in the 1890s. And Gibson was hardly the first ; not even counting Jane , Gibson was certainly not the last .

Coulton Waugh ( in his 1947 The Comics ) stated flatly that Polly ( who began in Positive Polly for the New York Journal in 1912 - a strip which metamorphosed into Polly and Her Pals ) "was the first true girlie girlie in strip history . ” Cliff Sterrett’s masterpiece may or may not have been "the first true girlie girlie ” daily comic strip. The fact remains that Gibson and Sterrett were part of a line of descent that led , by World War II , to a number of strips and panels in the U.S. Those were the strips and panel cartoons which featured shapely women in revealing costumes — from strips like Milton Caniffs Miss Lace to Edgar Martin’ s Boots and Her Buddies.

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In the U. $., Waugh ’s '"girlie girlie” strips were common enough , and it ’s possible to research their roots and branches via the San Francisco Academy of Comic Art 's collection of American strips . It is not possible at tliis time to give similar treatment and study to British strips , unfortunately , nor to find out why it was considered proper for “ family papers” in England to run comic strip art that couldn 't be found in the U , S. outside publications aimed at ‘Tor men only ” audiences.

No matter how it happened , Jane became well known almost at once for its title character’s ability to shed her clothes at the slightest excuse (a bath , an accidental dunk in the river , a change of clothes , or an attempt to climb through barbed wire ). Poor Jane might be carefully secreted from the curious eyes of the strip’s other characters ( though she wasn 't always safe in that regard, either ), but the readers watched her assume a state of deshabille about once a week By early June 1942 , she was seen skinny -dipping with little left to the readers * imaginations.

Accidental or deliberate disrobings aside , Jane was basically a Sweet Young Thing. Her relations with her dear Georgie Porgie were dis

-

creet — and seemed pretty much limited to moonlit romantic clinches. Her sexual innocence was preserved , though occasionally threatened . In 1959 she finally rowed into the sunset with her Georgie. ( Later strips weren ’ t by Pett ; the last strip by Mike Hubbard even borrowed liberally from Alex Raymond . )

Jane may have been the first to shed her clothes in the interests of building morale in the pages of "family ” papers. But she certainly did not long remain alone . In fact , above-the-waist nudity in British papers is almost a matter of routine ; it is also one thing which helps keep British strips from being widely syndicated in U. S. papers . When Modesty Blaise , for example, was in fairly common U. S . syndication , her original scanty apparel was covered for “ family ” consumption . At least Blaise operates in a world primarily controlled by logic and plot necessity. Her scripts ( by the great Peter O’ Donnell ) are carefully done , and she does not usually appear in skivvies unless she is doing something requiring such apparel . Likewise, the London Daily Express Syndicate’s contemporary adventure series Amanda contains frequent scenes of scanty dress and even semi-nudity (effectively barring it from American distribution ). But as with Modesty Blaise , these are always dictated by the story line , rather than serving as a feeble excuse around which to construct a plot.

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Adventure strips are not the only ones to feature half-clothed British womanhood . Even the light domestic comedy series , such as Michael Kelly’s George and Lynne, provide regular displays of flesh. One shudders to think of Dagwood and Blondie reading such comics in their newspaper .

-

Usually excuses for stripping British comic strip heroines are as flimsy as their clothes. Even

readers accustomed to the off-with-her-dothes tradition protested when Tiffany Jones appeared in her scanty underwear in the very first issue of her strip. But when it comes to science fiction series, the clothes really come off , and inhibitions with them . The Superman of British sf / fantasy comics, Garth , routinely has a long nude bedroom sequence with the heroine of each adventure.

And Scarth , a futuristic model who gets involved in espionage and interplanetary travel , rarely appears with clothes or without masculine attention for any appreciable length of time .

Which brings us to Axa ,

This is a strip which recently began running in the London Daily Express , and it brings us the latest in stripper strips, not to mention “ girlie girlies.” ( It’s about time to put that term to rest ; and if you’re talking about Axa , you might even consider referring to her as a “ laidy lady.” )

You just can’ t call Axa stunningly original , though stunning she may be in other ways. Her plot seems bom of Logan 's Run and any number of after-the-foul-up sf stories - with a world divided between the regimented few in the city , and the brutal , barbaric, free-but-endangered ( and often mutated ) life outside. The artwork on the strip is by Enrique Romero, who is probably best known to American

comics fans as the artist who took over Modesty Blaise after the death of Jim Holdaway ; he did that strip for an even longer time than Holdaway ,

It is probably Romero’s art that will most please most readers . One dealer , announcing the upcoming publication of this very volume , commented , “ The poor girl can’ t seem to keep her clothes on , making this surprisingly adult material for a daily strip,” As a matter of fact , she tends to pop her clothes off and on at the slightest excuse. It can almost become a game , working out what has happened to them from panel to panel - playing Follow the Bouncing Bra for example . She strips all her clothes off in the third strip but is already using the torn-off fragments to fashion a loincloth in the fourth ; by the next day she has managed to rig a strapless bra - why isn’ t clear - but half of it pops off by the eighth strip. And so it goes. On again , off again , partly on , etcetera.

-

She also manages to do a fair amount of bed hopping for a “ family ” newspaper heroine . No doubt about it , this is not a comic strip you ’ ll be likely to find next to Blondie and Peanuts in your local daily.

Donne Avenell ( who also once wrote Tiffany Jones , as well as the comics adaptations of Hammer horror films ) tends to write very straightforward stories, getting Axa from sex to violence and back with few pauses for memorable speeches or sophisticated science fiction concepts .

Enjoy these first two stories in the Axa saga. They’ re part of a British tradition , though not the British tradition that would occur to most people. Comics fans who know about Jane and Modesty Blaise and Romeo Brown and Scarth and the many other British strips with displays of female skin will recognize influences and fit Axa into its proper comics niche.

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5N i \ WAS SO , - 50 DESPERATE • * IS A MIRACLE * V

F*

WE LL TALK IN THE

MORNING, AXA » * + YOU'RE EXHAUSTED kSLEEP NOW

»

11

SLEEP . . .

AKA 'S ASLEEP AT LAST...

I THOUGHT SHE SUSPECTED SOMETHING WHEN SHE SPOTTED MY TRANS - Z CEIVER . . .

^

MEN IN UNIFORM.' WITH LASER GUNS

mm J1

J

iDa

m.

Ax A BROUGHT BACK, A PRISONER , TO WE DOMED CITY.. .

TOO DON' T KNOW WHAT'S GOOD FOR YOU, WOMAN /

ENOUGH OF THIS

FREEDOM NONSENSE / GET HER INSIDE /

BUT YOU'RE A CITIZEN OF THE

.

SUE WILL BE WHEN WE 'VE SANITIZED HER . . .

U

U

n [ LSI Illy ramiEJii

CLOTHES NOW . , .

HYGIENIC ONES * * • NOT THOSE FILTHY ft AGS YOU WERE WEARING . - -

ONLY

SAVAGES EXPOSE THEIR BODIES ... AND YOU'RE A

WOMAN OF THE DOME

.

WHERE YOU WENT.. .

NOW REBEL AX A + + WHAT DIO VOU GET UP TO OUTSIDE ?

I WANT TO KNOW

HOW YOU LIVED .. .

EVERYTHING

AxDOMED ary... "

—

A INTERROGATED M TNE

*. — y

f

r r

vs

/

—1

i

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<

fe

*

I MET A X HUNTER CALLED X MATT- . HE TOOK \ ME TO HIS SETTLE- 1 MflNT OF THE MIDDLE .

1 PEOPLE . . . ^

—

mm

'

'

«

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MATT AND I

VOU RE WATCHING r DIRECTOR ? THE REBEL WfA IS EMOTING . . .

TRIED ID BEGIN A NEW LIFE IN THE WILDERNESS ,

k

. AND THEN

BECOMING

PERSONALISED , AGAIN . . . J

**

.. . AND

THEN

V

. k

GOODJ THE REBEL AXA WITH ALL HER SAVAGE WfTS ABOUT HER , (S NOT } . TO 8E TRUSTED; >

WHAT SHALL WE â&#x20AC;&#x17E; DO WITH VOU NOW ?

HOW CAN WE DE'

PERSONALISE VOU PERMANENTLY ?

r

X

I VE GOT TO GET OUT OF THE DOMED CITY...

'

L. s

v

m

IS

I

m

Lv

"

i

IT WON'T BE EASY.. . BUT AT LEAST 1 CAN GET OUT OF THIS SEXLESS

WHY DO I HAVE

THIS FEELING . . .

THAT HIDDEN EYES ARE WATCHING L EVERY MOVE t MAKE ? J

I TOLD YOU

SURVIVAL

TkYfNG TO ESCAPE

m

WE DOMED CITY, OPENS A DOOR . *

f JDONT

BELIEVE THERE S A

' WAYOOTOP THE DOME THROUGH THIS EXIT CONTROL CENTRE * +

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AM

NOT LIKE THESE MECHANICAL

MENACED BY A NEW TERROR IN WE DOMED CfTY...

MONSTROSlTfES

Of THE DOME. . is

P

A

MUTANTS - - .THINGS

in

o

* . INTO WHATEVER HORROR'S WAITING BELOW.. -

BUT I'M NOT DROPPING WITH

THE MINH

CftUfSER- .

AIND

I STlLL COULD BE... IF

I LET

GO .. -

\

& HAVE BEEN

MANGLED LIKE THE WH '\ CRVt5ER SAWS HED TO PULP. . .

CANT CLING ON MUCH LONGER

m AND PRA7 I DROP CLEAR OF THE # #I

CRUSHfNG PLANT...

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m so

TIRED OF

FIGHTING...

SO DEADLY TTRED

m

**

PEACE OF MIND.. . PLEASURE

TAKE OFF THOSE RAGS YOU'RE WEARING...

WE DO

HAVE RULES ,

AXA . YOU'RE

REQUIRED TO OBSERVE

VTHEMJ

D

'

-J

"

. .- Lj LI .

Tlonr Ja J

THIS

WOODEN BOX I'VE FALLEN INTO ... LS A

IT S AN EXIT , ALL RIGHT.. .

TO EXTINCTION / .

'

AY A HAS ESCAPED FROM

THE DOMED CITY 'S MORTUARY . .

'

THE DOOR S UNLOCKED - . .

OPEN :

.

( AND

THERE

TO BE PRECISE , REBEL AVA , YOU 'RE IN THE PRIVATE OBSERVATION

CAPSULE OF THE DOME DIRECTOR >

THE DIRECTOR ? .

UfMSElF ?

.

^; fNTTREST IN YOU , REBEL AXA I TAKE A PERSONAL

I

WITH SKILL

I/; l

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