In an attempt to emulate the success that Fleetway had had with girls' magazines, the relaunched Eagle initially contained a large number of photo stories such as Doomlord, Sgt. Streetwise, Manix and Walk or Die, but this style was soon replaced by the more traditional comic-strip format. Other stories included Bloodfang, The House of Daemon, Computer Warrior and Detective ZED.

Eagle managed to avoid the problems caused by the countrywide paper shortage, by absorbing the quotas of other publications. [31] Steve Holland" With regards the Eagle and Dan Dare covers: I wonder if they could have been painted by someone like Barrie R. Linklater? David Roach" Techno- OK, That all seems clear enough that they weren't Howarth. It would have been weird him moonlighting over at Odhams. Do we know for certain that the 65 isn't Bellamy? The painting style is very like his. That said, the Dare book is painted in a very similar style as well, though the drawing underneath is nothing like Bellamy . The 65 is a big favourite of mine- I think it's a stunning cover. Jones, Dudley; Watkins, Tony (2000), "A necessary fantasy?: the heroic figure in children's popular culture", Garland reference library of the humanities: Children's literature and culture, New York: Routledge, vol.18, ISBN 978-0-8153-1844-6 Morris was instrumental in launching the short-lived Society for Christian Publicity, formed to take control of The Anvil and to perhaps produce further Christian publications, [13] and in January 1949 the Daily Mirror published an optimistic piece about the rumoured publication by the Society of a "new children's comic". This intrigued local journalist Norman Price, and the following month he met Morris, and helped him express his desire to see such a magazine by co-writing with him "comics that bring horror to the nursery", published in the Sunday Dispatch. [10] [14] Morris's article provoked a strong reaction from its readers; letters of support flooded into his home. [15]Eagle was a British children's comics periodical, first published from 1950 to 1969, and then in a relaunched format from 1982 to 1994. It was founded by Marcus Morris, an Anglican vicar from Lancashire. Morris edited a Southport parish magazine called The Anvil, but felt that the church was not communicating its message effectively. Simultaneously disillusioned with contemporary children's literature, he and Anvil artist Frank Hampson created a dummy comic based on Christian values. Morris proposed the idea to several Fleet Street publishers, with little success, until Hulton Press took it on.

The popularity of comics which depicted war faded after the end of the Second World War, and Eagle's previously unheard-of circulation figures helped define the content of most comics produced during the 1950s, including war. In contrast to other, earlier publications, Eagle attempted to educate the reader with factual, text-based historical stories, such as the life of Winston Churchill, as presented in "The Happy Warrior". A detailed account of the Second World War was given, while one strip lambasted German paratroopers, who on seeing British infantry below them, shouted "Donner und Blitzen! Der Englander!" [67] During the mid-1950s however, comics began sensationalising their covers with war imagery, and Eagle followed suit in the 1960s. [68] These guys (and Paul Holder) inspired me to work a bit harder (and the previous embarrassment mentioned above!) and I trawled through my Eagle comics to see where this unusual spaceship was used...and guess what? Sources disagree on the precise date on which Hampson left the comic, and therefore this article remains ambiguous on the subject.a b c d e f g h Varah, Chad (October 2006) [2004]. "Morris, (John) Marcus Harston (1915–1989)". Oxford Dictionary of National Biography (onlineed.). Oxford University Press. doi: 10.1093/ref:odnb/40164 . Retrieved 16 June 2010. (Subscription or UK public library membership required.) Khoury, George (2004), True Brit: a celebration of the great comic book artists of the UK, North Carolina: TwoMorrows Publishing, ISBN 978-1-893905-33-7

Gill, Alan (8 August 1989), How Eagle brought Christianity to the newsstands, The Sydney Morning Herald, p.14 , retrieved 25 June 2010 Ramsden, John (January 1998), "Refocusing 'The People's War': British War Films of the 1950s", Journal of Contemporary History, Sage Publications, Ltd, hosted at jstor.org, 33 (1): 35–63, doi: 10.1177/003200949803300103, JSTOR 260996, S2CID 220066711 great deal of convincing that it’s Frank himself – you’re one of the few people who will understand? – theThe character of Dare is described by author Ann Lawson Lucas as embodying "many of the qualities associated with the male hero of nineteenth-century boys' adventure stories, while displaying others which arise from the ideological discourses of postwar Britain". [35] Authors Dudley Jones and Tony Watkins describe Dare as being part of the "'powerful sense of beleaguered hope' that characterised not only the campaign against horror comics but other aspects of British post-war culture". [36] Techno Delic" That's what I mean - an original Frank Bellamy is very distinctive in terms of figure dynamics, and he also had a very distinctive way of drawing 'space'. That has neither of those qualities. a b c d e f g Varah, Chad (2004). "Hampson, Frank (1918–1985)". Oxford Dictionary of National Biography (onlineed.). Oxford University Press. doi: 10.1093/ref:odnb/31192 . Retrieved 16 June 2010. (Subscription or UK public library membership required.) Techno Delic" Thank you Steven. I have to confess I would not have put either of those down to Walt Howarth - the 1965 one looks like someone trying to emulate Frank Bellamy's style, and the 1963 one, possibly a cross between Frank Hampson and Don Harley. It is also odd that the 1963 annual credits all the internal illustrators but omits any mention of Howarth?