Original Novels and Comic Books
Several original novels based upon Danger Man were published in the UK and US, the majority during 1965 and 1966.
- Target for Tonight – Richard Telfair, 1962 (published in US only)
- Departure Deferred – W. Howard Baker, 1965
- Storm Over Rockall – W. Howard Baker, 1965
- Hell for Tomorrow – Peter Leslie, 1965
- The Exterminator – W.A. Balinger, 1966
- No Way Out – Wilfred McNeilly, 1966
Several of the above novels were translated into French and published in France, where the series was known as Destination Danger. An additional Destination Danger novel by John Long was published in French and not printed in the US or UK.
The adventures of John Drake have also been depicted in comic book form. In 1961, Dell Comics in the US published a one-shot Danger Man comic as part of its long-running Four Color series, based upon the first series format. It depicted Drake as having ginger hair, a trait shared with Patrick McGoohan, but which was unseen as Danger Man had been made only in monochrome at that time. In 1966, Gold Key Comics published two issues of a Secret Agent comic book based upon the series (this series should not be confused with Secret Agent, an unrelated comic book series published by Charlton Comics in 1967, formerly titled Sarge Steel). In Britain, a single Danger Man comic book subtitled "Trouble in Turkey" appeared in the mid-1960s and a number of comic strip adventures appeared in hardback annuals. French publishers also produced several issues of a Destination Danger comic book in the 1960s, although their Drake was blond. Spanish publishers produced a series titled 'Agent Secreto'. The Germans were particularly prolific, using 'John Drake' and a picture of McGoohan, as the cover for hundreds of "krimi" magazines.
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Famous quotes containing the words original, novels, comic and/or books:
“Every man is a creative cause of what happens, a primum mobile with an original movement.”
—Friedrich Nietzsche (1844–1900)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“Wit is often concise and sparkling, compressed into an original pun or metaphor. Brevity is said to be its soul. Humor can be more leisurely, diffused through a whole story or picture which undertakes to show some of the comic aspects of life. What it devalues may be human nature in general, by showing that certain faults or weaknesses are universal. As such it is kinder and more philosophic than wit which focuses on a certain individual, class, or social group.”
—Thomas Munro (1897–1974)
“The trouble with most problem-solving books for parents is that they start with the idea that the child has a problem. Then they try to tell us how to fix the child, or else, after blaming the parent, they suggest how we can fix ourselves.”
—Polly Berrien Berends (20th century)