Review by Frank Plowright
As they have done since the 1940s, publishers DC Thomson issue collections of their Oor Wullie strips on alternate years, and the 2024 volume collects strips originally published in the Sunday Post during 2022 and 2023.
During the 21st century Oor Wullie has undergone considerable change. It’s still the good natured fun and misunderstandings of Wullie and his pals getting into trouble, but it’s no longer a timeless strip. Items like a mobile phone, a garage band and Olly’s motorised wheelchair acknowledge the presence of technology, and a more diverse cast represent the world as seen even on the streets of Dundee.
Even more noticeable is the change in the art as newish artist Mike Donaldson becomes more settled. Dudley D. Watkins, artist for the first thirty years devised a look followed by all successive artists. Given Watkins’ total workload, it was probably a necessity that backgrounds were always white, shading was minimal and Wullie’s dark dungarees were the major contrast. Even strips that took place at night were indicated by the merest shading on the background, and that’s the way it’s remained ever since. Donaldson, though, alters the formula. Entire strips take place at night, rich in spooky detail, or silhouettes, and at times he also breaks free from the rigid application of small panels. A lovely large family portrait ends a Christmas strip, New Year fireworks are a treat and there’s a magnificent floral display. Donaldson’s line is tighter than that of other artists over the years, and these are attractive looking strips, bursting with personality.
While the art is fantastic, the writing is uneven. Morris Heggie, writer of the feature for most of the 21st century, has retired, and while Donaldson is credited, there’s a shyness about the writers. The best guess is Leah Barton, Georgia Battle and Michelle O’Donnell are responsible, noted as “editorial”. There’s certainly evidence of diverse hands involved in the actual writing, and of them taking time to work into the series as the collection’s second half is stronger than the first. One writer is fond of awkward puns, and there’s one egregious violation of the reality principle always applied to Oor Wullie by including a fanciful gag of crabs running away with jam sandwiches and drink bottles, more the province of The Beano. Some strips are also almost wilfully parochial using dialect to a degree not seen since the Wullie’s earliest days. It’s either a method of reinstating a unique selling point, or a way of alienating anyone not prepared to research the phrase or two that’s always been needed. The very dab or sassenach’s nightmare? You decide.
That said, the occasionally iffy contribution is far outweighed by the many strips where everything comes together beautifully in an unexpected ending. A couple of strips have guest appearances from the Broons, including a shared Christmas strip, and there’s much mileage achieved from a new character. Steely MacNeilly is Auchenshoogle’s version of Evel Kneivel, daredevil motorbike stunt rider, possibly sourced via Lance Murdock of The Simpsons, and equally accident prone. There’s the danger of a more sensational character pulling the strip in the wrong direction, but he’s smoothly incorporated into Wullie’s world.
There’s no nastiness here, just consistent good-natured humour, and with Donaldson as artist Wullie’s a decade away from his centenary in strong health.
