A'Beckett and Leech were original contributors to "Punch, or the London Charivari" magazine, established 1841. It became the famous "Punch" magazine and remained in publication to 2002. A'Beckett also wrote editorials for a similar concept magazine, "Figaro in London" that ceased publication in 1839. "In commencing this work, the object of the Author was, as he stated in the Prospectus, to blend amusement with instruction, by serving up, in as palatable a shape as he could, the facts of English History. He pledged himself not to sacrifice the substance to the seasoning; and though he has certainly been a little free in the use of his sauce, he hopes that he has not produced a mere hash on the present occasion. His object has been to furnish something which may be allowed to take its place as a standing at the library table, and which, though light, may not be found devoid of nutriment."--Preface.

"Comic History of England" by Bill Nye is exactly the type of book the title represents it to be. Written in the late 1800s, Nye produces and history of England with a comedic tone of voice. With the dry humor and sarcasm that the British are known for, and punctuated with illustrations, this book will make readers of all ages and interests chuckle. This mix of history and comedy was saved from being lost to time, which is fortunate for all modern readers.

Arguing that British comics are distinct from their international counterparts, a unique showcase of the major role they have played in the imaginative lives of British youth—and some adults. In this entertaining cultural history of British comic papers and magazines, James Chapman shows how comics were transformed in the early twentieth century from adult amusement to imaginative reading matter for children. Beginning with the first British comic, Ally Sloper—known as “A Selection, Side-splitting, Sentimental, and Serious, for the Benefit of Old Boys, Young Boys, Odd Boys generally, and even Girls”—British Comics goes on to describe the heyday of comics in the 1950s and ’60s, when titles such as School Friend and Eagle sold a million copies a week. Chapman also analyzes the major genres, including schoolgirl fantasies and sports and war stories for boys; the development of a new breed of violent comics in the 1970s, including the controversial Action and 2000AD; and the attempt by American publisher, Marvel, to launch a new hero for the British market in the form of Captain Britain. Considering the work of important contemporary comic writers such as Alan Moore, Grant Morrison, Ian Edginton, Warren Ellis, and Garth Ennis, Chapman’s history comes right up to the present and takes in adult-oriented comics such as Warrior, Crisis, Deadline,and Revolver, and alternative comics such as Viz. Through a look at the changing structure of the comic publishing industry and how comic publishers, writers, and artists have responded to the tastes of their consumers, Chapman ultimately argues that British comics are distinctive and different from American, French, and Japanese comics. An invaluable reference for all comic collectors and fans in Britain and beyond, British Comics showcases the major role comics have played in the imaginative lives of readers young and old.