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Friday, November 30, 2018

Eagle [Vol.21] #2

03 Apr 1982. Cover price 20p.
32 pages. Colour & B&W contents.
IPC Magazines Ltd.

Edited by David Hunt.

Photo cover by Gary Compton.

Free Golden Eagle badge.

Contents:

 2 Eagle Hotline The Eagle Has Really Landed! text introduction by David Hunt. / Your Free Gift / Get Ready For... Roar film preview / Eagle Book of Records reader feedback requested. / New This Week introduction to The Money Page and The Adventures of Fred. / Odd Spot photograph (uncredited). / Happy Birthday / Last Minute Department reader feedback requested.
 3 Doomlord UNTITLED [No Trace of the Spaceship], part two, w: Alan Grant; photography by Gary Compton.
 7 Wellie of the Week Terry Wogan photograph (uncredited). / Eagle Sweet Talk Scarey Sticks / Things that Go Chomp in the Night! / Rocky Horror! / Caught by the Camera Boeing 727 photograph by Hans Wendt. / Ernie UNTITLED [Being a Star Comes Naturally] w:/a: Dave Follows.
 8 Squadron Leaders advertisement for Humbrol 1/48 and 1/72 scale models.
 9 Eagle Data File Sea King Har 3 fact file; illustration (uncredited).
10 The Adventures of Fred UNTITLED [Read the Signs] w: UNKNOWN (uncredited); photographs (uncredited).
11 The Collector Assassin w: Brian Burrell; a: Pat Wright, photography by Sven Arnstein.
14 The Unexplained! Demon Guard (one third page) text feature by UNKNOWN (uncredited); a: UNKNOWN (uncredited). / The Symbol of Excellence (one sixth page) newsagent order form.
26 Daley's Diary It's Best by Boat! / Forgotten Losers / Lauda's Crown? / The Dutch Master / The Last National? text features by Daley Thompson.
16 Dan Dare Return of the Mekon, part two, w: John Wagner & Pat Mills; a: Gerry Embleton.
18 Sgt. Streetwise UNTITLED [The Thames Gang], part two, w: Gerry Finley-Day; photographs by Dave Watts.
21 The Tower King UNTITLED [Lord Spencer's Arrival], part two, w: Alan Hebden; a: Jose Ortiz.
24 Free with Battle in-house advertisement for Battle and Strike Force sticker album; a: UNKNOWN (uncredited).
25 Eagle Interview Bob Champion (three fifths of page) interview by UNKNOWN (uncredited); photograph by UNKNOWN (uncredited). / Kids are Tough! Michael Goes on Parade (two fifths of page) text feature about Michael Webb by UNKNOWN (uncredited); photograph (uncredited).
26 The Money Page: Glamorous Teacher Miss Palmer, Magna Carta School, Staines; photograph (uncredited). / Big Mouth Belt Up, Jim! / School Uniform readers' mail. / Superdad! Nick and Matt Oakley photograph (uncredited). / Brothers & Sisters Get it Taped! / Super Sis readers' mail.
27 Thunderbolt and Smokey! UNTITLED [West Against North], part two, w: Tom Tully; photographs by John Powell.
31 Read Mike Read UNTITLED [The big mistake that I've always made with any sport I've participated in...] (half page) text feature by Mike Read; photographs (uncredited); illustration (uncredited). / Shopwatch It's Looking Good for Spring [Wrangler; Palitoy Pocketeers games] shopping feature (uncredited). / Next Week
 9 Personality Plus Clare Grogan pin-up and mini-bio (uncredited). / 10 'Happy Birthday' LP's Up for Grabs! competition.

Eagle says a special thank you to the following for their help this issue... The Magna Carta School, Staines. Epic Records.

There's still an educational element to Eagle's remit, with surprising success. One such fact is that penguins can catch colds, as the Antarctic is so cold it is germ free, thus penguins have no immunity to the sniffles. Non-fiction highlight of the issue, and I can't get the image of penguins sneezing out of my head - smiling each time I imagine them wiping their beaks on their wings, grumbling away. This is the Eagle of old shining through the new paint job. Barely visible, but still there.
At the offices of the Cranberry Argus, reporter Howard Harvey - the only witness to Doomlord's arrival on Earth - tried to convince his editor that his story was true.
If you are even minimally aware of series such as The Invaders you will know that attempting to convince superiors, or authorities, of alien activity is likely to end in failure. Worse, it might be seen as an eccentricity which points to instability, losing the character their safety nets of regular income and credibility. It is never a good sign when a character jumps straight to his "They're coming... They're coming..." act, rather than patiently investigating and collecting evidence.

Alan Grant is a great writer, but here panders to a degree of clichéd writing which doesn't feel real. In only two installments of the story, Harvey has lost all credibility as a reporter. Tailing the police officer, Harvey loses him at a train station, though sees a vaguely-familiar man get on the train - a closer look reveals that he is wearing the same distinctive alien ring. Arriving at King's Cross Station, he finally remembers the man's name, Sir Matthew Hodges, Cranbridge's member of Parliament.

While the photographic standards are, admittedly, better than average, there is still no discernible advantage to presenting Doomlord in such a manner. Artistic quibbles aside, it is to the strip's credit that the casual murder of bystanders isn't shied away from - with one such unfortunate shown to be disintegrated when the alien's disguise begins to falter.

The Adventures of Fred is a precursor to Mr. Bean, or Matt Lucas' Pompidou, perhaps. Utilising signs to tell its story, with the Inspector Clouseau-like character oblivious to their warnings, the single-page introduction is, however, merely adequate. Comedy is difficult, and when there is the added complication of creating scripts achievable through photography, it makes necessary exaggeration almost impossible. It is impossible to capture crazy antics in photo strips with the same anarchy present in drawn strips.
"Welcome. I see you have returned to sample another weird and bizarre tale from my museum of extraordinary exhibits.

The story behind this charm bracelet is unusual. A romance, perhaps? Alas, no, let me tell you about the person who used to wear this... Harvey Pell, the man who had no heart!
Rivalries in London's gangland sees numerous unlikely and odd "accidents" claim the lives of various people. Edward Rogan, a food connoisseur is poisoned at his own dinner table, the Gray brothers - driving enthusiasts - were involved in a fatal smash when their brakes failed, and Charley "Birdy" Burdett, fell from an office block while birdwatching. Accidents they are not, for they are the work of an assassin whose modus operandi has earned him the moniker "Heartless" Harvey Pell.

Pell's next hit is Tony Lombardo, a man who spends his free time on the shooting range. Deciding on an appropriate method with which to dispose of Lombardo, Pell breaks into the man's office and sets up a pistol to fire the next time someone speaks into the 'phone. Having seemingly set up the perfect murder, he is interrupted by an opportunistic thief who sees the office door open. Tied to the chair, in line with the pistol, Pell is forced to wait on Lombardo returning to his office to release him, hoping that nobody uses the 'phone...

A taut story, with a clever set-up, handled in a clunky manner through the photo strip format. The character of Pell would be revisited in Accident Man, proving that no good idea goes to waste, though here the conceit is badly squandered. With Lombardo's pistol so prominent in the photographs, it is likely he would move it back to its proper location before going anywhere near his 'phone.

The Unexplained!, a text feature which covers supernatural dogs, is suitably placed at the end of The Collector, though is far from an in-depth account of such beasts. Such a small feature was never going to be satisfying, or include the best (i.e. downright creepiest) stories, yet the complete absence of credible (and documented) reports make this a brief note that, yes, such things might exist. Maybe. Possibly. If you squint hard, and don't try to rationalise away such things. More gravity would have helped, but the main problem is with the length.

As the nature of the articles are not usually of interest, I normally give Daley's Diary a brief glance, note the contents, then move on. But this issue's contents has an intriguing comment regarding the fate of the Grand National.
I shall be very sorry, like all lovers of sport, if this year's Grand National is the last to be run. It's become part of the British way of life.
While various attempts, over the years, to have the race brought to an end due to animal welfare concerns, there has never really been a sense that such concerns might actually come to anything. What was different in the early eighties? I kinda want to know how close the race came to ending, but I'm not interested - or invested - enough to go looking. Context in the reporting of current events is appreciated, especially when texts are analysed at such a remove. Approaching the commentary now, without immediate access to material of the period covering the event in detail, makes for a frustrating and tantalising read.
The year was 2210, one mile above the Earth, in the parliament of the Terran Federation, delegates sit in emergency session. . . .
Dan Dare begins strong, with an armada of eight thousand ships approaching Earth. The president reveals that he is a robot, exploding with enough force to destroy the satellite upon which the parliament are aboard. Luna Base, HQ of the Terran Defence Fleet, launch a force to repel the invasion, though possibly not in time.

The Kármán line, sixty-two miles above Earth, is generally accepted as the point at which Earth's atmosphere gives way to outer space, which itself is far higher than the flying ship is portrayed as being. It is a curious statement to make - one hundred miles places the parliament in space, though far, far too low to be in a stable orbit. Comic-book science, however, cocks a snook at such details.

At only two pages it is difficult to imagine how this is going to play out without an increase in space for the strip, though the art more than makes up for such brevity. While robots masquerading as humans is an overplayed device, the final panel is a surprising reversal of conventional depictions of the security of Earth space.

An extremely stiffly posed shot in the first panel of Sgt. Streetwise is enough to turn me off reading the strip immediately, and I honestly don't care what happens. Already, two issues in, the photo strips have outstayed their welcome.

Lord Spencer's men arrive via train, and is told he will be ruler of the Tower of London within the hour. Mick Tempest, the Tower King, has other ideas, and charges into the battle, though must retreat due to overwhelming forces. At Tower Bridge a small group of Tempest's men prepare to hold off the invaders until the bridge can be raised.

Beautiful, engaging, and utterly compelling, The Tower King continues to impress.

The Money Page, for which read "readers' mail" (with additional quirks), poses two problems, the first of which is the more troublesome - Glamorous Teacher, which praises attractive teachers, and showers gifts upon them, is annoying. Summing up a person's career with a statement of how good they look? Not cool. It would have been more appropriate to reward teachers who provided real, solid life-changing classes. The kind of teachers who are remembered long after their pupils have left school. They may not be the most photogenic, but their value to society is incalculable.

The second issue with the letters page is the poor formatting, wasting much of the page. When readers have spent time writing to a publication their comments should be presented in a respectful manner, and with enough variation in content that the page isn't fragmented snippets. As a new title the number of suitable letters might have been low, though this is where thoughtful, and erudite, responses come into play. By padding the page with an ugly border, then boxing off each section, there's so little presented that the title might as well have not bothered including it.

01

Eagle [Vol.21]

#03

Doctor Who Weekly #3

31 Oct 1979. Cover price 12p.
28 pages. B&W contents.
Marvel Comics Ltd.

Edited by Dez Skinn.

Photo cover (uncredited).

Free transfers.

Contents:

 2 A Letter from the Doctor text feature by Dez Skinn (uncredited).
 3 Doctor Who and the Iron Legion, part three, w: Pat Mills & John Wagner; a: Dave Gibbons.
 7 Crazy Caption 3 competition; photograph (uncredited).
 8 The Monsters of Doctor Who The Ice Warriors text feature by Gordon Blows (uncredited); photographs (uncredited).
10 Monster Mix Answers (quarter page) / Another S-F Winner from Marvel in-house advertisement for Starburst.
11 Planet Puzzle illustrated by UNKNOWN (uncredited).
12 Tales from the TARDIS War of the Worlds, part three, w: Chris Claremont, based on the novel by H.G. Wells; p: Yong Montano; i: Dino Castrillo, lettering by Pat Condoy.
r: Marvel Classic Comics (Marvel) #14 (1976).
17 The Dead Planet text feature compiled by Jeremy Bentham; photographs (uncredited).
22 Doctor Who Photo-File Jon Pertwee fact-file (uncredited); photograph (uncredited).
23 The Return of the Daleks, part three, w: Steve Moore; p: Paul Neary, i: David Lloyd.
27 Doctor Who and the Turgids advertisement for Doctor Who Radio from Shortman Trading Company Ltd. w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
28 Have Fun With the Amazing Mr. Bellamy advertisement for liquorice novelties.

Albert and Elsie Olthwaite should be revived for the new series, just so this issue's letter from the Doctor can be regarded as canon. An exceptionaly strange manner in which to begin the issue, though the sense of whimsy evoked by such a communication from the Doctor is reminiscent of the Tom Baker era as a whole. Slighty mad, yes, but with insights which pierce through 'common sense' to deliver profound statements.

Which likely makes the show sound a bit pretentious.

The Doctor faces the Ectoslime, which stuns its victims with its odour before liquefying them and drinking them. Searching his memory to recall if he had ever faced one before, he recalls the fact they have a highly developed sense of humour to make up for their appearance - so tells it a joke:

Having saved himself from a gruesome death, he is dragged from the arena and placed as a slave in an Imperial Air Galley by General Ironicus. A fellow captive aboard the ship is surprised that the Doctor isn't afraid of him due to his appearance, though the Doctor explains that, compared to the Ectoslime, he is almost handsome. Catching a glimpse of Caesar's mother, the Doctor thinks he has discovered the secret of the Galactic Roman Empire...

Has anyone attempted to translate the joke? I'm hoping it is presented in a code, and not merely a jumble of symbols, as such small details add a certain something to the character - even if I'm too lazy to find a suitable solution. The design sensibilities of the Roman-inspired world are rich in detail, with a few exceptional panels. The image of Caesar's mother is one of the few times we get to really see the world as the Doctor does.

And there's almost that Bugs Bunny line, for those amused at such things.

Whatever amusement could be gained from the Crazy Caption images is rather muted by the poor choice of images for this purpose. Screen captures of actors in the middle of unlikely and improbable events, with appropriately weird expressions, are much more suited to captioning. Before anyone points out how difficult such images were to get in 1979, such systems were available.

The Ice Warrior is an odd choice for Doctor Who's "monster of the week" feature, as they never really felt like top-tier enemies until later development, though the article is very informative. Behind-the-scenes images of Bernard Bresslaw getting prepared for his role as Varga are wonderful glimpses into the process of bringing the character to the screen, and worth the cover price alone. The paper quality doesn't do the images justice, though any opportunity to get a peek at the workings of Doctor Who's special effects are welcome.

Recapping The Dead Planet, the entrance of Daleks to the series is captured well, yet its importance in solidifying the series' popularity isn't addressed. It should have at least had a few newspaper reviews, or even snippets of Radio Times publicity material, which would have really sold the time period in which the episode was broadcast to readers.

Jon Pertwee's mini-bio highlights the inadequacy of the short overviews - despite being in line with previous entries, there's much more to his career than is presented here. Neither pin-up nor biography, the photo-files are a weird hybrid which serves neither function. While later incarnations of the title would handle the balance better, I find myself frustrated with the self-imposed limitations the title has created for itself.

Return of the Daleks, remaining a beautiful isolated glimmer of gold in the Doctor's universe, finds Glax and Hok knocked from their steeds by a whirling sandstorm. Within the winds, which they struggle through, they find a pyramid which is topped with a strange light. A door opens as they approach it, granting them access to a recording revealing the secret to the Daleks' defeat. Before Glax can learn what they must do, Kuay blasts the device and summons her Dalek masters.

The strips and television series information continues to make this a title which is well worth seeking out, though its lightweight features are beginning to grate.

#02

Doctor Who Weekly

#04

Crazy World of

The Crazy World of Aerobics by Bill Stott.
The Crazy World of Birdwatching by Peter Rigby.
The Crazy World of Bowls by Bill Stott.
The Crazy World of Cats by Bill Stott.
The Crazy World of Cricket by Bill Stott.
The Crazy World of Football by Bill Stott.
The Crazy World of Gardening by Bill Stott.
The Crazy World of Golf by Mike Scott.
The Crazy World of the Greens by Barry Knowles.
The Crazy World of the Handyman by Roland Fiddy.
The Crazy World of Hospitals by Bill Stott.
The Crazy World of Housework by Bill Stott.
The Crazy World of Jogging by David Pye.
The Crazy World of Learning to Drive by Bill Stott.
The Crazy World of Love by Roland Fiddy.
The Crazy World of Marriage by Bill Stott.
The Crazy World of Music by Bill Stott.
The Crazy World of the Office by Bill Stott.
The Crazy World of Photography by Bill Stott.
The Crazy World of the Royals by Barry Knowles.
The Crazy World of Rugby by Bill Stott.
The Crazy World of Sailing by Peter Rigby.
The Crazy World of School by Bill Stott.
The Crazy World of Sex by Bill Stott.
The Crazy World of Sex by David Pye.
The Crazy World of Skiing by Craig Peterson & Jerry Emerson
The Crazy World of Soccer by Bill Stott.
The Crazy World of Tennis by Peter Rigby.

Street Fighter II #8

Apr 1995. Cover price 95p.
40 pages. Full colour.
Manga Publishing Ltd.

Edited by Cefn Ridout.

Cover by Masaomi Kanzaki, finished art by Lea Hernandez, colouring by Koto Color.
r: UNKNOWN.

Contents:

 2 Paradise Beseiged! in-house advertisement for Appleseed.
 3 Street Fighter II Battle 10: Final, cont. w: Masaomi Kanzaki, translated by William Flanagan; a: Masaomi Kanzaki, lettering and finished art by Lea Hernandez, colouring by Koto Color. / Indicia
r: UNKNOWN.
 4 Ryu (one fifth page) fact file.
 6 Ken (one fifth page) fact file.
 8 Guile (one fifth page) fact file.
10 Zangief (one fifth page) fact file.
12 Dhalsim (one fifth page) fact file.
14 Blanka (one fifth page) fact file.
16 E. Honda (one fifth page) fact file.
18 Chun-Li (one fifth page) fact file.
20 Street Fighter II poster 8 (of 8); a: Masaomi Kanzaki, finished art by Lea Hernandez, colouring by Koto Color.
r: UNKNOWN.
24 Balrog (one fifth page) fact file.
26 Vega (one fifth page) fact file.
28 Sagat (one fifth page) fact file.
30 M. Bison (one fifth page) fact file.
32 Po-Lin (one fifth page) fact file.
34 Wong-Mei (one fifth page) fact file.
36 Gouken (one fifth page) fact file.
38 Get ready martial arts fans! Next issue we start the official comic adaptation of the great new blockbuster Street Fighter movie (one fifth page)
39 First there was... The World's Greatest Beat-Em-Up - Then there was... The World's Greatest Movie - And now there's The World's Greatest Comic!!.
40 All-Out Mecha Action!! in-house advertisement for Manga Mania #21.

Ryu prepares to battle M. Bison, while Guile informs Chun-Li that he has informed Interpol of Shadowlaw, and the Doll situation on Shad. As Bison and Ryu's fight escalates, the Interpol Special Drug Enforcement Division arrives - Chun-Li calls them to hold off on their attack to give Ryu the time he needs...

Yes, it is pretty much one long fight scene, but the close of the story couldn't have played out any other way without cheating fans of the franchise. The coda is a nice touch: Chun-Li continues to take down drug dealers, Ken agrees to look after Po-Lin and Wong-Mei until they can make it on their own, and Ryu sets out to look for someone stronger than himself. The story isn't quite wrapped up in a bow, with a few questions remaining, though I suppose a sequel is likely in order.

Was it, after so much back-and-forth, a story worth breaking into parts? Probably not. I imagine that I'm not alone in feeling that the story has dragged along in small increments, never quite settling into a natural rhythm.

#07

Street Fighter II

#09

On This Day: 30 Nov

Sexton Blake Annual 1942 replica (Bear Alley Books; 2012) ISBN-13: 9781907081651.

Judge Dredd: Crime Chronicles - Blood Will Tell by James Swallow (Big Finish Productions; 2009)

First Appearances:

Brassneck in The Dandy (D.C. Thomson & Co., Ltd.) #1202 (05 Dec 1964).
The Freedom Flyers in Warlord (D.C. Thomson & Co., Ltd.) #167 (03 Dec 1977).
Trask (Trash) in 2000 A.D. (Fleetway Publications) Prog 760 (07 Dec 1991).

Births:

Mark Lemon (1809); Norman Yendell Ward (1906); Gary Lineker (1960)

Deaths:

Compton Mackenzie (1972)

Notable Events:

The Mekons' first album, The Quality of Mercy Is Not Strnen, released by Virgin Records in 1979.
Paul 'Gamma' Gamble's funeral and wake - at The Abbey Tavern - took place in 2010. Forbidden Planet and Titan Distributor staff were in attendance.
A restored version of The Life and Death of Colonel Blimp was shown in London in 2011.
Jim Barker won the Rotsler Award, sponsored by the Southern California Institute for Fan Interests, in 2012.
An article in The Independent outlined the history of the speech balloon in comics in 2013.

Thursday, November 29, 2018

Aliens Vol.1 #4

May 1991. Cover price £1.50.
52 pages. Colour & B&W.
Trident Comics, Ltd.

Edited by Martin Skidmore.

Cover by Dave Dorman.
r:

Contents:

 2 Letters Page readers' mail.
 3 Contents / Title Credits / Indicia
 4 Credits / Story So Far text introduction (uncredited).
 5 Aliens Untitled, part four, w: Mark Verheiden; a: Denis Beauvaus, lettering by Bob Pinaha.
r: Aliens (Dark Horse) #02 (Dec 1989).
13 Credits / Story So Far text introduction (uncredited).
14 Predator The Heat, part four, w: Mark Verheiden; a: Chris Warner, lettering by Jim Massara, colouring by Chris Chalenor.
r: Predator #02 (Jun 1989).
34 Credits / Story So Far text introduction (uncredited).
35 Aliens Vs Predator Untitled, part four, w: Randy Stradley; p: Phil Norwood, i: Karl Story, lettering by Pat Brosseau.
r: Aliens Vs Predator (Dark Horse) #01 (Jun 1990).
50 Next Month (half page) / Subscriptions (half page)
51 Letters Page readers' mail, cont.
52 Makabre - Coming Soon in Toxic! advertisement.

The arrival of readers letters allows Aliens to feel more connected to the readership, and Martin Skidmore's responses are appropriately optimistic regarding the continued success of Trident, suggesting that original covers might be forthcoming, hinting at new titles, and being a great cheerleader for British comics in general. While there are still problems with the title - that expanse of wasted black space on the contents page remains - it is a positive step towards a more balanced presentation of material.

Butler drags himself to a computer terminal in order to watch events on the monitors. Seeing Spears order Newt to be taken to the breeding centre - and certain death - he moves through corridors filled with aliens, and past the screaming humans remaining, to reach a functional control panel. As the aliens approach Newt, he activates an emergency pressure seal to block their access to her.

Not much happens in this issue, though the art - as always - is great. Butler has some real character development here, with an extended insight into how he sees the world around him, and the problems his programming creates.
That night I rested - and remembered, when Dutch and I were kids, we would hunt in the woods behind our father's cabin.

It wasn't the sport we liked as much as the challenge of the hunt - being on our own, testing ourselves against nature.

Opening day of deer season, we came across a bunch of local boys shooting up the woods. They'd been drinking since daybreak and they had that weird look in their eyes.

Guess they were trying to impress each other.

They'd cornered a buck and took turns pumping slugs into it, watching it bleed into the cool October air.

These boys weren't that different from me and Dutch, except they needed to see the blood.

That's when I learned that there's a world of difference between killing because you have to - and killing because it's fun.
Filling in the blanks regarding Dutch's past, the explanation for his tenacity and resilience in his battle with the Predator becoming less fantastic thanks to his upbringing. Sharing Dutch's sense of certainty when facing such an unusual enemy, Schaefer is hunting now. The tracker in his neck provides him advance warning of the alien presence, and he readies his automatic shotgun.

The Predator duly appears, and Schaefer unloads his weapon before charging headfirst into the depths of the jungle eager to end the battle quickly, though the Predator is prepared for his advance. Seeing the wound he has inflicted on it, Schaefer draws his knife and stabs the Predator, but merely enrages it. Running from the Predator, he comes to a cliff edge, and (through luck as much as skill) manages to send it tumbling to its death below. Returning to his camp, Schaefer discovers that his guide knows more than he has let on.

Rasche tries on the Predator helmet, seeing dozens of ships hanging in the air above New York. Taking the news to McComb, he is told that he faces a full departmental review for withholding evidence, so storms out of the department - only to be stopped by federal agents. Due to manpower shortages, the IRS have been called in to assist...

Dual story threads raise the threat posed to the city by several levels, with a dead Predator in South America and ships hanging in the air over New York, there's enough of material for several stories here. The death of a Predator ought to be more dramatic than falling off a cliff, and it seems rather too easy for Schaefer to defeat a member of the species so off-handedly.

Which is a good a place as any to suggest... Abbott and Costello meet the Predator. I'm serious. I would pay for a fully-painted, photo-realistic series crossing the franchises without a moments hesitation.

The dialogue following this scene is, however, worth the conceit, and indicates that there is a long and troubled history between Predators and humanity. This is more interesting than merely having the species pop up every so often for a murderous rampage, and hints at a conspiracy tacitly approved by those in a position of power. Conspiracy stories, especially when wrapped in the blanket of SF, can make for the very best narratives - had this been developed in the second film, the franchise would probably not have stuttered to an abrupt halt for so long.

Aliens Vs Predator has dragged along at a snail's pace since the first issue, so it is something of a surprise to have a proper story unfolding now.
The planet Ryushi,
at the edge of the Chigusa Corporation's holdings in the Beta Cygni system.

Only human populace: 'Prosperity Wells.'
Population: 115 primary freelance ranchers and their families, plus a token staff of corporate overseers.
Despite the opening sequence seemingly promising dinosaur-type alien hybrids, this appears to be present for the sole purpose of showcasing formidable Predator techniques. As intriguing as dinosaurs and Predators mixing it up would be, there's a genre shit to the "space western" in both appearance and text, which is a slightly larger leap than was probably intended.
The 'terror' came from the stars.

It wasn't indigenous. Even if the survey teams had missed it four years ago, we would have encountered it before the trouble began.

No, it came from somewhere else - some Hell-world beyond Ryushi.

Where? I don't know - and I hope we never find out.

But I know when it came...

The 'Terror' arrived at high noon.

In the searing heat of Ryushi's nineteen-hour daylight period, nothing stirs of its own volition - not even the armored fire crawlers.

With every living creature burrowed in, restivating, or otherwise sheltered against the heat, it's not surprising there were no witnesses to its arrival.
The personal lives of the characters add to the story's believability, though it is all too... cosy. It isn't a world which is seething on the brink of cultural or societal transformation, even without the addition of external pressures, and - without a mirror to the larger threat - the sense of things about to quickly head south isn't as pronounced. Taking motifs of the western (the frontier town, an enemy riding in at high noon) without addressing the core of western literature - that the problem was present all along, and merely needed the arrival of an outside force to finally shatter fragile cohabitation - it loses a degree of tension.

There's some fine artwork, and a great introduction to the means by which the Predators infest a location with Alien seeds for their hunt. It may have been a slow build-up to the point where the two species can be put together, but it is a strip which is improving massively.

#03

Aliens Vol.1

#05

Hanna-Barbera's Big Show No.1

1972. Original price 65p.
80 pages. Colour & tone.
Brown Watson Ltd.

Featuring Boss Cat & Quick Draw McGraw

Cover by UNKNOWN (uncredited).

Contents:

 2 This Book Belongs To; illustrated by UNKNOWN (uncredited).
 3 Hanna-Barbera's Big Show Number One title page; illustrated by UNKNOWN (uncredited).
 4 Quick Draw McGraw The Taming of 'Shorty' Warty text story (uncredited); illustrated by UNKNOWN (uncredited).
 9 Odd But True! UNTITLED [A lake in East Africa / The Archer Fish / The 'Swamp Rabbit' / African Jacana] (half page) feature by UNKNOWN (uncredited); illustrated by UNKNOWN (uncredited).
10 Boss Cat Dogs of War text story (uncredited); illustrated by UNKNOWN (uncredited).
16 Giggles pocket cartoons; a: UNKNOWN (uncredited).
17 Quick Draw McGraw The Boothill Brigade w: Joe Gill; a: George Wildman.
r: Quick Draw McGraw (Charlton) #01 (Nov 1970).
22 Boss Cat The Hopeless Case w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: Top Cat (Charlton) #01 (Nov 1970).
26 Quick Draw McGraw Three Times as Bad! w: Joe Gill; a: George Wildman.
r: Quick Draw McGraw (Charlton) #01 (Nov 1970).
30 Boss Cat Brain Drain w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: Quick Draw McGraw (Charlton) #01 (Nov 1970).
34 Quick Draw McGraw I'll Drink tuh That! w: Joe Gill; a: George Wildman.
r: Quick Draw McGraw (Charlton) #01 (Nov 1970).
38 Boss Cat A Friend in Need w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: Top Cat (Charlton) #01 (Nov 1970).
42 Quick Draw McGraw After You, Ma'am w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: Quick Draw McGraw (Charlton) #01 (Nov 1970).
46 Boss Cat Dibble's Double Duty w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: Top Cat (Charlton) #01 (Nov 1970).
54 Quick Draw McGraw 6 Guns Sam w: Joe Gill; a: George Wildman.
r: Quick Draw McGraw (Charlton) #01 (Nov 1970).
59 Boss Cat Nothin' But the Best w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
r: Top Cat (Charlton) #01 (Nov 1970).
62 Quick Draw McGraw The Build-Up w: Joe Gill; a: George Wildman.
r: Quick Draw McGraw (Charlton) #01 (Nov 1970).
64 Quick Draw McGraw pin-up; w: Joe Gill; a: George Wildman.
65 Boss Cat All at Sea text story (uncredited); illustrated by UNKNOWN (uncredited).
71 More Giggles pocket cartoons; a: UNKNOWN (uncredited).
72 Draw and Colour connect-the-dots; a: UNKNOWN (uncredited).
73 Quick-Draw McGraw The Jail-Breakers text story (uncredited); illustrated by UNKNOWN (uncredited).
79 It's a Fact... fact-feature [Frigate bird / Hurricane / American Warship Wateree / Cobwebs / Kilauea]; a: UNKNOWN (uncredited).

Reprinting a couple of Charlton's Hanna-Barbera comics in hardback makes more sense than you might, at first, imagine. On better paper, the art is given a chance to really shine.

Heavily-accented western dialogue get very old, very quickly, when done to a great degree, and The Taming of 'Shorty' Warty suffers from relying too much on its replication of Quick Draw's vocabulary is irritating rather than endearing. A half-page fact-feature following this is, bizarrely, almost impossible to read - black text sitting on dark blue tinting making the legibility extremely difficult, though it is a nicely illustrated piece.

Officer Grabb, Dibble's deputy - with police dog in tow - arrives to give Boss Cat's trouble in Dogs of War. Deciding to set Bulldog Drumbo, his worst enemy, on Officer Grabb, Boss Cat sets out to put things right again. As if a new character would be allowed to upset the status quo... While the story is slightly too clean and easy for Boss Cat, there's much to enjoy in seeing his sense of order in the universe being so upset.

Quick Draw faces off against a bunch of ghosts in The Boothill Brigade, though it is far too soft and comedic a tale to elicit any sense of threat to the lawman. Had he been up against some of the spooks from Scooby Doo there might have been a decent story to be made from the idea, but the walking marshmallows are hardly likely to frighten even the youngest of reader.

Dibble has been drafted to the detail watching the Hopeless Diamond at the Metropolitan Museum, and when it goes missing Boss Cat finds himself wanted by the authorities. A nice tale, with a clever ending which actually makes sense - while it is too short to really explore the theft of a priceless diamond, or the media storm which would ensue, it does what it sets out to do well.

Quick Draw McGraw plays host to Snooper, who has tracked a criminal straight to McGraw's town. Or rather, a trio of identical criminals. Refusing to believe that there is a criminal element loose in his city, his mood soon changes when he realises that his badge has been stolen. Capturing one of the trio, he soon draws the others out of hiding to rescue their brother.

I do like stories of identical twins and triplets. So many classic gags ready to be set up.

Unfortunately there is little done with the set-up, and Snooper manages to scare the trio into surrendering immediately, rendering the whole opening sequence rather redundant. Had more classic fake-outs been employed in the middle-section of the story, this could have been a truly great strip rather than merely a fine one. Disappointing.

Brain Drain sees Brain crowned 'King of the Classroom' in a television quiz, and is awarded ten years' supply of beauty cosmetics. He's soon kidnapped, and Boss Cat must set out to rescue him. When they locate where Brain has been taken, he discovers a robot which speaks with Brain's voice, and fears that Brain's brain has been transplanted...

Boss Cat then takes over Dibble's duties, thanks to a lifelike mask and Dibble's uniform, when the officer is too ill to do his route.

The rest of the strips are largely forgettable, though the remainder of the text stories make up for any deficiencies in reprint material. All at Sea sees the cats go fishing, with the usual complications. I wonder how the name of the ship (Naughty Nell) slipped past the editorial staff...

A final fact feature (which is, thankfully, legible) rounds out the issue in style.

Not the greatest example of the form, but an entertaining annual regardless.

Fragments from France

1916 - 1919 (9 books)

Fragments from France (1916; 1/)
More Fragments from France (1916; 1/)
Still More Fragments from France (1917; 1/)
Fragments from France No.4 (1917; 1/)
Fragments from France No.5 (1918; 1/6)
Fragments from France No.6 (1918; 1/6)
Fragments from France No.7 (1919; 1/)
Fragments from France No.8 (1919; 1/)
Fragments from France No.9 (1919; 1/)

Star Wars Comic Vol.1 #4

15 Aug 1999. Cover price £1.25.
28 pages. Full colour.
Titan Magazines.

Edited by John Freeman.

Cover painting by Hugh Fleming.
r: cover from Star Wars: Episode I - The Phantom Menace (Dark Horse) #02 (May 1999).

Contents:

 2 Whisperings in the Force text introduction (uncredited). / Contents / Indicia
 3 Star Wars: Episode I - The Phantom Menace, part four, w: Henry Gilroy, based on the story by George Lucas; p: Rodolfo Damaggio, i: Al Williamson, lettering by Steve Dutro, colouring by Dave Nestelle.
r: Star Wars: Episode I - The Phantom Menace (Dark Horse) #?? (1999).
 7 Forbidden Planet advertisement.
18 Star Toons - the Cartoon Art of Science Fiction advertisement for the British Cartoon Centre exhibition; a: Don Lawrence.
r: image from Storm.
19 Star Wars: Episode I - Anakin Skywalker, part four, w: Timothy Truman; p: Steve Crespo, i: George Freeman, lettering by Vickie Williams, colouring by Dave Nestelle.
r: Star Wars: Episode I - Anakin Skywalker Dark Horse) nn (May 1999).
25 Make a Date With Star Wars! competition to win Star Wars Episode I - The Data File.
26 Coming Next Week
27 Subscribe & Save
28 See and Read the Film advertisement for graphic novel.

A dramatic image of Anakin in his pod-racer is a much better use of the cover than photographs, and seems more appropriate for the title. For such a slim issue, and this is a very thin publication, every opportunity to catch the attention of possible readers needs to be taken. Opportunities such as the contents page, which is likely the first page consulted before purchase, which are elsewhere squandered. It's an incredibly busy contents page, with a couple of stills from the film set in an awkward circle which calls attention to the design elements rather than the images or - crucially - what is is in the issue.

The Phantom Menace always felt like a film which dragged on, rather than the pacy and attention-grabbing original, and this adaptation seems to follow in the film's footsteps by seemingly never ending. Finally at the point in the story where Anakin takes to his pod-racer for a race which could grant him his freedom, there are some effective panels showing off the attention to detail here. Black panel borders work well, and the reproduction is flawless.

Without a poster, though, there's a sense that the title has given up on attracting readers. Without even a single text feature, or look into the production of the comic adaptation, we can only wonder at the machinations behind the scenes to bring the project to completion. When looking at Star Wars comics of the late 90s, the striking cover paintings are the most identifiable trait, yet there hasn't been nearly enough written on their creation. Did the artists do versions of the paintings with characters who were later digitally altered, or was the film in the can once work began? It bugs me not knowing.

Anakin's story, which hasn't really felt important, plants seeds for the film, with his mother remarking "I just want to look at you, Annie. Sometimes I have the terrible feeling that I'll never see you again." So subtle. If readers hadn't taken the hint, only a couple of panels later she says (to no-one in particular) "There's a storm coming." Slegehammer-like storytelling aside, there is a real sense of the strip's location being alive with activity, and its ending, while not a surprise, is a suitably grin-inducing moment.

Not a brilliant issue, though given that one story concludes in this issue it is unlikely that latecomers would have been satisfied with the material on offer.

#03

Star Wars Comic

#05

On This Day: 29 Nov

Treasury of British Comics Faceache: The First Hundred Scrunges

Durham Red: The Encoded Heart by Peter J. Evans (Black Flame; Nov 2005) ISBN-10: 1 84416 272 9
St. Trinians novelisation by Pippa Le Quesne, based on the screenplay by Piers Ashworth & Nick Moorcroft. Original characters created by Ronald Searle (Puffin Books; Nov 2007) ISBN-13: 978-0141324173

First Appearances:

Billy Masters (Vengeance Trail) in Warlord (D.C. Thomson & Co., Ltd.) #219 (02 Dec 1978).

Births:

Sir Francis Cowley Burnand (1836); James Affleck Shepherd (1866); George Stampa (1875); Edward George Warris Hulton (1906); George Cansdale (1909); Les Lilley (1924); Massimo Fenati (1969)

Deaths:

Dave Westaway (2014)

Wednesday, November 28, 2018

Warrior #2

Apr 1982. Cover price 50p.
52 pages. B&W contents.
Quality Communications Ltd.

Edited by Dez Skinn.

Cover by Garry Leach.

Contents:

 2 Twilight World Illustration by Jim Baikie.
 3 Warrior title credits. / Contents / Indicia
 4 Marvelman Untitled part two, w: Alan Moore; a: Garry Leach.
10 Comic Showcase advertisement for The Old Comic Shop, London; a: Marshall Rogers.
11 The Life, Death & Earlier Days of Axel Pressbutton, Esquire text feature by Dez Skinn; illustrated by Steve Dillon & Curt Vile [Alan Moore].
15 Quality Mail Sales (two thirds page) in-house advertisement for mail-order service.
16 V for Vendetta Chapter Two: The Voice w: Alan Moore; a: David Lloyd, lettering by Zelda Estrella.
23 Father Shandor, Demon Stalker River of Corpses... Tower of Death w: Steve Moore, from a plot by Dez Skinn & John Bolton; a: John Bolton.
r: House of Hammer (Top Sellers, Ltd.) #16 (Jan 1978).
30 Madman Visions of Stasis w:/a: Paul Neary.
35 The Spiral Path Untitled w:/a: Steve Parkhouse.
40 Laser Eraser and Pressbutton Untitled w: Pedro Henry (Steve Moore); a: Steve Dillon.
49 Dispatches text feature.
50 Roar - the Movie (half page) advertisement; w: Dez Skinn; a: Steve Dillon.
51 HOH Collector's Item Back Issues in-house advertisement.
52 People Like Us Shop at... Forbidden Planet advertisement; a: Brian Bolland.

Under a cover which doesn't quite work as an iconic representation of Marvelman, there's another quality outing for Quality's groundbreaking title. As an entry to the issue, moving straight into the Marvelman saga is a strong statement - there's no need for an editorial, or introduction, or commentary, for so assured and confident is this work that any extraneous fluff would merely be wasted. Of course, it could merely be due to a lack of space...

News reports speculate on events at the Larksmere nuclear power station, with rumination about the nature of one man's second degree burns, and the identification of "a man-like object rising into the sky at a tremendous speed." Mike, still in his Marvelman form, arrives home to Liz, who doesn't recognise him. Talking over coffee, Mike explains his past to Liz about working as a copy boy for the Daily Bugle, and seeing a vision which conferred upon him miraculous powers. Liz laughs at the ridiculous nature of his story, claiming his account sounds stupid.
"I suppose you're right. Actually saying it out loud like that, it does sound... Well... Pretty unlikely. I never really thought about it before. But I had to believe it. Don't you see? I was Marvelman! I was a being of almost unlimited power!!

And I wasn't the only one. Within a year I was joined by another young man with 'atomic powers' like mine. His name was Dicky Dauntless...

You're laughing again.
This was the first time that the nature of a superhero's origin story was acknowledged in-universe as being patently idiotic, although the dialogue is handled so well that it doesn't really feel as if the text is being deliberately transgressive. With Liz's laughter stopping once the sincerity of Mike's words become apparent, he relates his final adventure with the Marvelman Family - his friends murdered in an a-bomb explosion aboard a sky fortress hanging over the North Sea.

Building up a serious background to the strip, with a similarly-powered individual, angered at Marvelman's return, hinting at future stories. There's a superb humour in the strip, which isn't something usually noted about Alan Moore's writing, but he has a fantastic sense of who these characters are, allowing levity to arise from interaction.

Axel Pressbutton's adventures had been running in Sounds for a good while when he began appearing in Warrior, so a history of the character, with the strip's inception covered, as well as a checklist of appearances, is a very welcome addition. While there aren't enough reprinted strips included to get a feel of the ongoing narrative, there are enough to satisfy curiosity - as well as, incidentally, encouraging people to hunt down elusive copies of Sounds.

V for Vendetta continues with investigations into V's activities, though nothing can be discovered about his identity or location despite immense manpower being invested. A cover story for the explosion is concocted, going so far as to come up with a plausible reason for the fireworks. V introduces Evie to his Shadow Gallery, his home, where he has collected literature, paintings, and music which the government has banned.

Was I the only one who thought of Droopy when seeing that final panel?

It is appropriate that high and low culture should mesh throughout the strip so well, being equally susceptible to challenges from self-appointed moral guardians - the very people Moore sets out to target here. With some very accomplished artwork, and beautiful lettering, the intimidating scenario in which V and Evie find themselves in is perfectly captured. As omnipresent eyes and ears paying attention to the populace is made literal, one can't help but feeling the rise of surveillance culture was acutely predicted.

A Father Shandor reprint is, perhaps, too close to original publication to be really appreciated. Following such a strip with Madman, which begins this issue, is extremely disorienting - one minute we're following a rather stylish story set in the past, and the next... Well.

Martin Schiller, an epileptic, finds himself in care, and is eventually rendered catatonic where he receives visions. A strange man gives him a substance which sends Martin back to stasis, stating:
"There are six hundred and thirty three different elements of existence... and each possesses an earth which differs slightly from all the others! The people of most of these earths have recourse to stasis through some means or another... Our Earth lies in the 18th element and we are involved in a vast struggle against all the other existences, Martin... and we need your help!"
Told only to trust those from the 18th existence or the Observers - who are neutral, and above reproach - on his journey.

It is an incredibly odd strip, with comic-book conventions, such as multiple realities, vying with the more realistic fate of Martin's physical body. To say that it is difficult to get a handle on the scenario and main character is an understatement. It doesn't quite work for me, with far too much incident and not enough set-up.
Across the plains of Tairngir they marched - the Legion of Lost Souls - doomed to eternal battle for their relic-king Artûk.

And all who stood in their path must perish... Or else fly for their very lives!

Artûk! Lord of death, prince of the air, stealer of dreamers' souls. A triumph of demented will over dead flesh!
The Spiral Path is proving to be the hidden delight in Warrior, with Nuada racing through enemy lines - despite being injured in his attempt, he faces the captain of the enemy forces, who may be more than any warrior could expect to defeat.

Small details add to the texture of the world, and there's enough questions hanging in the air to make the series truly compelling.

Picking up events on Ormuz, Laser Eraser and Pressbutton finds the pair preparing to reach Thaxdon Industries through security forces. Axel displays a dislike of plants, and - encountering an android - Mysta concludes that they have been set up by the Dendrellian Order of Assassins, and as they rush to escape from an explosion she realises that Arterius Donthax is likely behind events. Donthax, seeing how the duo have managed to survive his plots, tells Zirk that he has decided to inform Ormuzian security where Mysta is.

Having to fight their way through wave after wave of officers determined to apprehend them, Axel and Mysta manage to reach a space-cruiser Mysta had hidden, and when they are safely in space Axel asks her to explain why Donthax wants her dead, and how she got mixed up with Dendrellian assassins.

The mix of strips is wider than in any comparable title, and though the issue is light on text features, what is present is of great interest. The paper isn't the best, and the lack of colour interiors is a slight drawback for Marvelman, though on the whole this is a very impressive issue. There's a lack of laugh-out-loud comedy, but there's a solid mix of SF, fantasy, social commentary, and... whatever Madman is.

Spider-Man Comics Weekly #1

17 Feb 1973. Cover price 5p.
40 pages. Colour, tone & B&W.
Magazine Management London Ltd.

Edited by Pippa M. Melling.

Cover by UNKNOWN.

Free Spider-Man Mask.

Contents:

2 Spider-Man "The Man Called Electro!" w: Stan Lee; a: Steve Ditko, lettering by Art Simek.
r: The Amazing Spider-Man (Marvel) #09 (Feb 1964).
10 Stan Lee Sounds Off! text introduction by Stan Lee; photograph (uncredited). / At Last! The Secret of F.O.O.M. - Friends of Ol' Marvel! fan club promotion and mail-in coupon; illustrations (uncredited).
26 Thor the Mighty "The Stone Men from Saturn!", part one, w: Larry Lieber, from a plot by Stan Lee; p: Jack Kirby, i: Joe Sinnott, lettering by Art Simek.
r: Thor (Marvel) #158 (Nov 1968).
33 The Insult that Made a Man out of 'Mac' advertisement for Charles Atlas programme.
40 Nor Playing in... The Mighty World of Marvel in-house advertisement.
Know something, little friend? If you're just starting to read this story, we envy you! Because you're gonna have a ball! This book-length thriller features a really fascinating super-villain; it's chock-full of human interest and drama; and it shows Spider-Man, with all his human problems and frailties, greater than you've ever seen him before! But don't take our word for it - after all, we're spidey's best boosters! See what you think...
Given Spider-Man's phenomenal success, it was only a matter of time until he was promoted to his own title. Although joined by Thor it really is Spidey's title, taking the lion's share of the page count, as well as being the de facto face of Marvel. Appropriately for a launch issue there is a free gift, though how much use a cardboard Spider-Man mask would get before falling apart is open to debate. If, that is, it were present.

"The Man Called Electro!" begins with the hero ignoring a bunch of gunmen in a shoot-out with police, swinging on by as if he didn't even notice them. Racing home, even going so far as to begin changing clothes in the street, rushing to get Aunt May her prescription. Sitting at her bedside as she sleeps, Peter doesn't even notice his shirt has fallen open, showing his costume. On the bright side, if she wakes - and dies of shock - there will be a tasty life insurance payment coming Pete's way, ending all of those money worries in an instant... Of course, that isn't his plan at all. The blatant display of his costume is for a completely different, and totally innocuous, purpose entirely unrelated to any such notion.
And so, Peter Parker keeps the long vigil, not dreaming that a strange figure on the other side of town is going to play a very important part in his life very soon...
Electro, for it is he, is first seen from the neck down, weird equipment strapped to his body.

Aunt May gets taken to hospital, placing more strain on Peter, who finds it difficult to study - hoping to make some money by photographing Spider-Man in action, his plans are scuppered when it begins to rain, his camera ill-suited to poor conditions. Requiring a thousand dollars to pay for the specialist who is to operate on his aunt, Peter approaches Jameson for a loan. Turned down, Jameson nevertheless agrees to pay such a sum for photographs of Spider-Man which are suitable to publish.

J. Jonah Jameson is at his bank when Electro arrives to rob it, and is surprised that the criminal knows who he is. Seeing Spider-Man shortly after, Jameson comes to the conclusion that Electro is Spidey in another guise. Printing the allegation the next day, public opinion is split as to Spider-Man's role in the crimewave. After searching the city, Spidey finds Electro breaking into a safe, but is knocked unconscious before he can bring the criminal to justice.

Superimposing his image onto the photographs already taken, Peter makes it appear as if he has caught proof that Electo is Spider-Man. How this never gets brought up in later stories, as means to discredit Peter's journalistic integrity, is beyond me. If a news photographer fakes images deliberately, they should never be allowed anywhere near a newspaper again.

As public opinion turns against Spider-Man thanks to the sustained reports linking him with Electo, the real Electro breaks a dozen criminals out of their detention area, before they can be transferred to a federal prison, so that they can serve as his personal army. Hearing the news on a passing police radio, Peter first stops at the hospital to check on May before dealing with the escaped prisoners. They flee, ignoring Electro, and are quickly recaptured by waiting police officers.

Jameson waits for Spider-Man to arrive, and his suspicion seems to be proven correct.

At the last possible moment, Spidey eventually makes an appearance. Electro, and the remainder of the prisoners, are waiting in the building, so Spider-Man - wearing rubber gloves and boots - takes on Electro. After the prisoners are dealt with, he finally manages to defeat Electro with a fire hose, realising that water and electricity don't mix.

The ending, where Peter and Betty go for a walk, is an odd way to conclude, and there's no sense that Peter's photo-manipulation is going to have repercussions. It is frustrating when important aspects of the story are brushed over, and nowhere is this more prominent than in the mysterious malady for which May requires an operation. The puzzle over her frequent trips to death's door is compounded by the operation in this issue. What might she be suffering from? My best guess is plotitis, with a side-helping of malingering.

While it may be a problematic story to start the series with, Ditko's artwork maintains his distinctive take on the character. A few of the panels utilises canted angles, deep shadows, and other quirks, showing a great understanding of style. He sometimes falters when it comes to depicting webs, but it is a forgivable quirk.

Thor's first words do note bode well.
The legend has come true! By the will of the Gods, I am alive! I am invincible! I am - Thor!!!
Aside from flagrant abuse of exclamation marks, we have no empirical evidence that he is invincible, nor are we indulged with the specific legend he is referring to. Anyway, an invincible hero is going to be a very dull read.
Our story opens on the windy coast of Norway, where we see a frail figure silhouetted against the bleak sky! He is Dr. Don Blake, an American on holiday in Europe!

And, as Doctor Blake turns and leaves the site, he doesn't see the strange alien spaceship which silently lands behind him!
Alien spaceships drop from the skies so regularly in early Marvel stories that one wonders where they all get stored. Is there an immense, cavernous Government site which stacks them one atop another, like a scrapyard for extraterrestrials? We see them arriving regularly, but seeing them leave is so rare an occurrence as to pose a real logistical problem for the nascent Marvel universe.

With a story titled "The Stone Men from Saturn!", it would be rather a shame if the aliens weren't made of stone. Or from Saturn. Exiting its ship, one remarks "This atmosphere - it is so different from our own planet." Understatement of the century, given that Saturn's is a gas giant comprised mostly of hydrogen and helium. Not to mention that it has no stones on it, never mind living ones.

As they test their newfound strength - increased on Earth - and an ability to leap great distances, the aliens are discovered by a fisherman, who races to inform others of what he has witnessed. Blake overhears the account, and goes to investigate the man's claims, witnessing for himself the beings. Chased into a cave, Blake seems doomed until he finds a secret chamber in which rests an ancient cane. Striking it against the cave wall, he transforms into Thor.

Not a great beginning for Spider-Man's title, though the fact that he had been so quickly promoted from the pages of The Mighty World of Marvel showed that it was the character himself who was (inexplicably) the selling point.

Spider-Man Comics Weekly

#02

Victim's Guide

Exley Publications Ltd.

The Victim's Guide to the Dentist by Roland Fiddy. (Exley Publications Ltd.; 1993) ISBN-10: 9781850154044.
The Victim's Guide to the Doctor by Roland Fiddy. (Exley Publications Ltd.; 1993) ISBN-10: 9781850154297.
The Victim's Guide to Middle Age by Roland Fiddy. (Exley Publications Ltd.; Sep 1993) ISBN-10: 9781850154310.
The Victim's Guide to the Baby by Roland Fiddy. (Exley Publications Ltd.; Mar 1994) ISBN-10: 9781850155034.
The Victim's Guide to Air Travel by Roland Fiddy. (Exley Publications Ltd.; Jul 1994) ISBN-10: 9781850154303.
The Victim's Guide to Christmas by Roland Fiddy. (Exley Publications Ltd.; Jul 1994) ISBN-10: 9781850155041.
The Victim's Guide to the Boss by Roland Fiddy. (Exley Publications Ltd.; 1995) ISBN-10: 9781850156260.

Red Dwarf Magazine

Mar 1992 - Jan 1994 (23 issues)
Fleetway Editions

Based on the BBC television series.

vol.1

Mar 1992 - Apr 1993 (14 issues)

01 (Mar 1992; 40 pages, cover price £1.50) The End adaptation begins. Interviews, puzzles, pin-ups and series 5 preview. Painted cover by Jon Rushby.
02 (Apr 1992) Free cover-mounted 'Smeg Head' badge. Series 3 episode guide.
03 (May 1992) Title becomes Red Dwarf Smegazine. Free cover-mounted postcard. Series 1 episode guide.
04 (Jun 1992) 'Smoke Me A Kipper, I'll Be Back For Breakfast' badge. Mutinous Pursuits strip. Future Echoes adaptation begin. Series 4 episode guide.
05 (Jul 1992) Series 2 episode guide. Ace Rimmer: Space Adventurer strip.
06 (Aug 1992) Free cover-mounted badge. The Geap strip. Series 5 episode guide.
07 (Sep 1992) Fashion Victims strip.
08 (Oct 1992) Androids strips by Kev Sutherland begin. The Amusing Misadventures of Mr. Flibble and Ace of the Rovers strips.
09 (Nov 1992) Free full-color poster. Flashback strip. In Living Memory begins.
10 (Dec 1992) Jake Bullet strip begins. Red Dwarf USA strip.
11 (Jan 1993) Wetware and The Inquisitor strips.
12 (Feb 1993) Evolution and The Skutters strips. Smeggo! strip advert.
13 (Mar 1993) Space Monkeys and The Shadow Time strips.
14 (Apr 1993) Duane Dibbley begins. The Cantebelis Tales, Mr. Flibble Gets P%@*ed!, and Ace of Black Hearts strips.

vol.2

May 1993 - Jan 1994 (9 issues)

01 (May 1993; 48 pages) Free cover-mounted postcards. Lister the God begins. Super-Ace strip. Androids and Jake Bullet strips continue.
02 (Jun 1993) Free cover-mounted postcards. Greetings from Gelfworld strip.
03 (Jul 1993) Mr. Flibble Goes Asset-Stripping strip. Mimas Crossing begins.
04 (Aug 1993) Time After Time and A Day in the Life of a Bogbot strips. Cred Dwarf begins.
05 (Sep 1993) Dead Man's Bluff and Tomorrow Trouble strips.
06 (Oct 1993; cover price becomes £1.60) Free cover-mounted stickers. Home of Lost Causes and new Jake Bullet strip begins.
07 (Nov 1993) Free Starbug Pilot's Kit (keyring). Young Flibble begins. Psy-Moon strip.
08 (Dec 1993) The Scoop and A.J. Rimmer, P.M. strips.
09 (Jan 1994; 64 pages, cover price becomes £2.15) Heady Metal, Cred Dwarf, Cat and Dog, The Aftering and Dwarf Eager strips. Contains material intended for following issues.

On This Day: 28 Nov

First Appearances:

Bonjo from Beyond the Stars in 2000 A.D. (IPC Magazines Ltd.) Prog 41 (03 Dec 1977).
Sgt. Grogan (Grogan's Guns) in Warlord (D.C. Thomson & Co., Ltd.) #271 (01 Dec 1979).
Pierre Lebec (Deathtrack!) in Warlord (D.C. Thomson & Co., Ltd.) #525 (13 Oct 1984).

Births:

Jack Le Grand (1919)

Deaths:

Enid Blyton (1968); Bill Thacker (2006)

Notable Events:

The Hoffnung Astronautical Music Festival took place at the Royal Festival Hall, London in 1961, two years after the death of Gerard Hoffnung.
The première of Carry On Up The Khyber took place in 1968 – the title sequence was designed by Larry (Terence Parkes).
Chris Donald took the first issue of Viz to get printed at the Tyneside Free Press in 1979.
Douglas Bader was a castaway on Desert Island Discs, on BBC Radio 4, in 1981.
Forbidden Planet 2 opened at 58 St. Giles High Street, London, in 1982. Despite claiming to focus on film and television memorabilia, it had a wide range of material - including copious SF novels.
The Gorillaz compilation album, The Singles Collection: 2001–2011, released in the UK in 2011.
Tom Gauld discussed Baking with Kafka with Paul Gravett at The British Library in 2017. After the talk he signed copies of his books and handed out badges.

Tuesday, November 27, 2018

Saviour #2

Feb 1990. Cover price £1.
28 pages. B&W contents.
Trident Comics.

Edited by Martin Skidmore.

Cover by Daniel Vallely.

Contents:

 2 Britain's Bounciest Letters readers' mail; illustration by Nigel Kitching. / Credits / Indicia
 3 Saviour Shakespeare's Sister w: Mark Millar; a: Nigel Kitching.
27 Britain's Bounciest Letters cont..

Another fine cover, with a wonderfully apocalyptic tone to the artwork. The title's logo is, sadly, stretched and difficult to read clearly against the red background, sitting ill at ease in the overall design. On the bright side, it is a joy to find a letters column in this issue, even if it is awkwardly positioned in the inside cover, necessitating flipping past the pages to continue reading. Any interaction with a title's audience is to be commended, so minor quibbles about formatting can be put aside.

The question hanging over this issue is whether Saviour can bear losing Vallely as artist.

Annoyingly, despite giving over room for letters, there is no explanation of the artistic switch. These types of alterations to creative personnel are important in an ongoing title with only one feature - it speaks to creative intent and continuity of ideas. Are we to accept, however ridiculous the notion, that the appearance and layout would largely have remained the same had Vallely remained? Regardless of occurrences behind the scenes, the continuing narrative of Saviour and the assorted cast are handled magnificently, if not as precisely.

Jesus' hands itch, though he notes that they are not due to bleed until the next day. Attending a church, he hijacks the sermon to call people to his cause, although the priest is quick to summon the authorities to have him removed. His mood is further darkened when see sees a news report that Saviour has been awarded the United Nations' Peace Prize. Saviour, meanwhile, is determined to get his hands on the Apostle of Azrael

The change to Kitching is noticeable, though not an unpleasant change - different rather than inferior. While it would have been more beneficial for the title to retain a single artist throughout at least one complete story arc, the switch is as smooth a transition as is possible.

Millar peppers his script with religious references, which tend towards slightly heavy-handedness, and this issue is the first to present plotting oddities - there's a distinct break with the first issue, focusing almost entirely on Jesus' odd, and later drunken, behaviour. He isn't a particularly likable character, and it is puzzling to see so much space expended on him. I'm guessing that this series will make more sense to the strongly religious.

#01

Saviour

#03

Deadface

Apr 1987-Oct 1988 (8 issues)
Harrier Publishing

1 (Apr 1987)
2 (Jul 1987)
3 (Oct 1987)
4 (Dec 1987)
5 (Feb 1988)
6 (Apr 1988)
7 (Jul 1988)
8 (Oct 1988)

Terrahawks

1983-1984 (2 annuals)
World International Publishing

Terrahawks Annual 1984
Terrahawks Annual 1985

Other Books:

Terrahawks: Rainy Day Book (Purnell; 1984) Cover price 99p.
Terrahawks: Bumper Colouring (Purnell; 1984) Cover price 50p. [circles cover]
Terrahawks: Bumper Colouring (Purnell; 1984) Cover price 50p. [white background]
Terrahawks: Mystic Pencil (Purnell; 1984) magic pencil book A
Terrahawks: Mystic Pencil (Purnell; 1984) magic pencil book B
Terrahawks Storybook (Purnell; 1984)

Playmates Book Series (Cover price 60p)

nn Terrahawks: From Here to Infinity (Purnell; 1984)
nn Terrahawks: Happy Made Day (Purnell; 1984)
nn Terrahawks: Space Samurai (Purnell; 1984)
nn Terrahawks: Thunder Roar (Purnell; 1984)

Square Book Series (Cover price 75p) *

nn Terrahawks: Close Call (Purnell; 1984)
nn Terrahawks: The Gun (Purnell; 1984)
nn Terrahawks: The Ugliest Monster of All (Purnell; 1984)
nn Terrahawks: The Sporilla (Purnell; 1984)

Novels:

Terrahawks novelisation by Jack Curtis (1984)

* also available as Listen & Read book and cassette sets.

Up the Falklands

Up the Falklands

Up the Falklands! Cartoons from the Royal Marines by Roy Carr, Arthur Huddart & John R. Webb. (Blandford Press)
Carry on Yomping! More Cartoons from 'Up the Falklands!' by Roy Carr, Arthur Huddart & John R. Webb. (Blandford Press; 01 Sep 1982)
Over the Top! More Service Cartoons from the Up the Falklands! Team by Roy Carr, Arthur Huddart & John R. Webb. (Blandford Press; 26 Sep 1983)

Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde - the Graphic Novel

2008. Cover price £6.99.
52 pages. Full colour contents.
Waverley Books Ltd.

Painted cover by Cam Kennedy.

ISBN-13: 978-1-902407-44-9

Contents:

 2 UNTITLED illustration by Cam Kennedy.
 3 Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde w: Alan Grant, based on the novel by Robert Louis Stevenson; a: Cam Kennedy, lettering & colouring by Jamie Grant.
43 UNTITLED illustration by Cam Kennedy.
44 Robert Louis Stevenson (1850 - 1894) biography by UNKNOWN (uncredited).
illustration r: from Illustrated London News.
46 Alan Grant biography by UNKNOWN (uncredited); photograph by Ian MacNicol.
48 Cam Kennedy biography by UNKNOWN (uncredited); photograph by Ian MacNicol.
50 Indicia; illustration by Cam Kennedy
A respectable London lawyer, John Utterson, is compelled to uncover the strange connection between his old friend, the brilliant scientist Dr Henry Jekyll, and a brooding and dangerous stranger called Edward Hyde. All who lay eyes on Hyde experience a strange and chilling feeling of fear and foreboding, and his reputation is that of a vile and violent individual. To Utterson's dismay he finds Jekyll and Hyde have a mysterious contract between them, the details of which neither will reveal. As Utterson investigates further he uncovers a truly horrifying story of deception.

The second, stunning graphic novel of an RL Stevenson classic from the creative 'dream team' of Cam Kennedy and Alan Grant, Strange Case of Dr Jekyll and Mr Hyde, follows their acclaimed graphic novel adaptation of Kidnapped, which was commissioned by Edinburgh UNESCO City of Literature Trust.
While I've never taken to Kidnapped, The Strange Case of Dr. Jekyll and Mr. Hyde ranks as one of my favourite novels of all time - so enamoured of the story, I'll happily sit through any of the second-, third- and even fourth-rate knock-offs which turn up from time to time on DVD.

Alan Grant's script suffers from a truncated page-count, and its rush to convey the important narrative elements means that quiet, creepy moments when something is about to occur are set aside in favour of showing scenes of horror. Which, sadly, dilutes the terror, especially when Hyde is presented so grotesquely. There's a thin line between a displeasing countenance, as so often attributed to Hyde, and full-on monstrous inhumanity, which is what we are presented with.

A pivotal scene, and one which has never been presented with an appropriately gruesomeness, is the murder of Sir Danvers Carew. Here reduced to a single page, it is an act which ought to be echoed throughout the rest of the story, but is remarkably restrained here. We cannot truly fear the monster that is Hyde without being witness to his most heinous act. With the scene's power diminished, so too is Hyde.

Despite the problems of compressing so complex a story into so few pages, the artwork throughout is exceptional - though some of the colouring is a little too on-the-nose for such a tale. A more muted palette would have enhanced the mood rather than the often over-bright images.

The full-page biographies of Stevenson, Grant, and Kennedy are welcome additions to this title, and, despite an overall lower number of pages, makes this feel a more complete package. It may not be perfect, but this is a far superior adaptation than the Classics Illustrated version.

Robert Louis Stevenson's Kidnapped - the Graphic Novel

Waverley Graphic Novels

On This Day: 27 Nov

The X-Files: Firebird (Manga Publishing Ltd.; 2005).
The Batman/Judge Dredd Collection (Rebellion; 2013).

First Appearances:

Steve Grappler Grant in The Victor (D.C. Thomson & Co., Ltd.) #41 (02 Dec 1961).
Grimstone Track (prose; Horror at Humpback Bridge) in The Victor (D.C. Thomson & Co., Ltd.) #41 (02 Dec 1961).
Captain Buckingham (Bullseye Buckingham) in Warlord (D.C. Thomson & Co., Ltd.) #10 (30 Nov 1974).

Deaths:

Mal Ashworth (2002); Alberto Salinas (2004)

Notable Events:

The first Grand Christmas Parade in London, in 1994, was attended by Marvel UK. Photos of the Hulk, Spider-Man, and Wolverine's involvement appeared in The Exploits of Spider-Man #35 ().
Alan Class signed his reprint titles for fans at 30th Century Comics ahead of an auction of file copies in 2005.
Bernard Cookson's novel The Fifth Day published by Vanguard Press in 2009.
Bryan Talbot's "How I Create a Graphic Novel" event, followed by a signing with Mary Talbot, took place at The Cartoon Museum, 35 Little Russell St, London, in 2014.

Monday, November 26, 2018

Eagle [Vol.21] #1

27 Mar 1982. Cover price 20p.
32 pages. Colour & B&W contents.
IPC Magazines Ltd.

Edited by David Hunt.

Cover by Gerry Embleton.

Free Space Spinner.

Contents:

 2 Eagle Hotline Eagle is Back! text introduction by David Hunt. / A Welcome from the Stars comments from John Craven, Peter Davison, Roy Castle, Ian Botham, Lenny Henry, and John Bond; photographs (uncredited). / How Times Change the new artists - the men who capture the action on film for our exciting photo-stories! Introduction to John Powell, Dave Watts, and Gary Compton. / Wanted! reader feedback requested. / Ernie UNTITLED [Eagle's Official Eagle Mascot] w:/a: Dave Follows.
 3 Doomlord An Alien Stalks the Earth, part one, w: Alan Grant; photography by Gary Compton.
 7 Kids are Tough! Darren Defies Thugs! text feature about Darren Daly by UNKNOWN (uncredited); photograph (uncredited). / Big Mouth readers' mail. / Eagle Interview Peter Davison by UNKNOWN (uncredited); photographs (uncredited), illustration by Dave Follows.
 8 The Whole Town's Popping! advertisement for Waddingtons Pop-Aways.
 9 Personality Plus Bryan Robson pin-up and mini-bio (uncredited). / Fifty Freebie Man. United Books Up for Grabs! competition.
10 Thunderbolt and Smokey! UNTITLED [Two players don't make a football team], part one, w: Tom Tully; photographs by John Powell.
14 Sgt. Streetwise The Police Had Need of Men Like Him... Men Who Stayed Streetwise!, part one, w: Gerry Finley-Day; photographs by Dave Watts.
16 Dan Dare Return of the Mekon, part one, w: Barrie Tomlinson; a: Gerry Embleton.
18 Sgt. Streetwise The Police Had Need of Men Like Him... Men Who Stayed Streetwise! cont.
19 Eagle Fun Spot School Report - Jim Davidson; photograph (uncredited), illustration by Dave Follows.
20 The Tower King UNTITLED [A Gutted City, Haunted by Crazies], part one, w: Alan Hebden; a: Jose Ortiz.
24 Squadron Leaders advertisement for Humbrol 1/48 and 1/72 scale models.
25 Eagle Data File F-15 Eagle fact file; illustration (uncredited).
26 Daley's Diary Strange Names! / Arnold's Dilemma / Great Mates / 'Picca-Dilley'! / A marathon a day... text features by Daley Thompson.
27 The Collector Eye of the Fish w: Roy Preston; a: Pat Wright & Ron Smith, photography by Gary Compton.
31 Read Mike Read UNTITLED [I'm the strange character who struggles in to London at the crack of dawn] (half page) text feature by Mike Read; photographs (uncredited). / Shopwatch UNTITLED [Kensington board game; The Puffin Adventure Sports Series] shopping feature (uncredited); illustration by Dave Follows.
32 Dan Dare Return of the Mekon, cont.

A messy cover, with Embleton's art covered by redundant lines of text, half of the space given over to promoting a free gift... which would have covered the announcement that there was a free gift. Sheer genius. The messy appearance is continued inside, with Eagle Hotline, a catch-all editorial page appearing to have taken some design hints from early eighties magazines. It is nice to see Eagle's past remembered, with Dan Dare and Digby, Harris Tweed, and Jeff Arnold represented, though this, for the moment, is all the Eagle relaunch has to say about its illustrious original incarnation.

How do you compete with one of the most celebrated and beloved titles to bear the Eagle name? By changing everything which made the original so compelling, and to promote photo strips over traditional comic strips.
Midnight. A fireball streaked down over the sleeping town of Cranbridge -

The only witnesses were P.C. Bob Murton and Howard Harvey, a reporter from the Cranbridge Argus -
Officer Murton is immediately killed by Doomlord, having his knowledge absorbed, and is soon disintegrated with a beam from the alien's ring. Howard Harvey is rendered unconscious, before Doomlord takes the physical appearance of Murton. When Harvey awakens, he travels to the police station to report Murton's death, but is brought face-to-face with Murton, very much alive, and wearing the alien's ring.

Doomlord, the first of this issue's photo strips, attempts to present a dramatic SF tale with all the limitations of its photography undermining any credibility. Doomlord's introduction, it must be admitted, is fairly impressive given that he appears to be wearing a discarded duvet, with a mask which is far more convincing that that used in photos of Tharg. It isn't a perfect introduction to Doomlord, but it isn't anywhere near as bad as some complaints about the revived series would have you believe.

The world really wasn't calling for a mix of Invasion of the Bodysnatchers and The Day the Earth Stood Still, but Alan Grant provides enough interest to keep things moving along without getting caught up in extraneous detail.

A mandatory sports strip for Eagle, Thunderbolt and Smokey!, is a run-of-the-mill school-based photo strip.
The educational record of Dedfield School was second-to-none! But when it came to getting results on the sports field, it was a very different story...
Losing seven-nil, Dedfield - nicknamed 'Dead-Loss' - are a football team without support from their teachers, though Colin Dexter (Thunderbolt) is determined to turn the team's fortunes around. When he learns that Smokey Beckles, recently transfered to the school, isn't going to play for a losing team, his hopes seem dashed.

That the only black character is named Smokey should tell you all you need to know.

On a more positive note, the strip presents a problem, shows a partial solution, and throws a few wrenches in the works. From a purely storytelling standpoint, this is a fairly strong opening, though presented in dreary grey, page after page of photographs, this can't quite overcome its appearance. If this had been a traditional comic strip its plot might have been enough to make a success of the concept, yet there is nothing here worth getting excited about.

Sgt. Streetwise is slightly better, being the adventures of Detective-Sergeant Wise of Special Undercover Operations. Wise operates on his own, without a radio, cuffs, or weapon, even going so far as to forgo identity papers, and after his homeless disguise is blown has to take on a new identity to continue his work.

Snow-covered streets add slightly to the feel of the strip, though this is a pale imitation of detective television shows, and requires a great deal of suspended disbelief at the frankly ludicrous set-up. As with all the photo strips, the reproduction isn't sharp enough to justify such an elaborate means of creation, and there's no real sense of drama despite a well-staged opening.

Splitting the strip, so that Dan Dare could take the colour centre-pages is annoying, and completely unnecessary, displaying a lack of

The return of Dan Dare comes in Return of the Mekon.
It appeared to be the final confrontation between two beings whose adventures had thrilled a generation. Colonel Dan Dare, valiantly fighting to save Earth from the sworn for of mankind... the cold, merciless mastermind of Venus - the Mekon!
The Mekon surrenders after an intense battle, vowing that one day he will get his revenge on Dare. The World Supreme Court, highest judicial body on Earth, passes judgement, sentencing the Mekon to be placed in a life support capsule, enclosed in a meteor, then set adrift in space. Forever. Because a slap on the wrist and a fine isn't going to deter such a heinous villain as the Mekon. Preparations are duly made, and a meteor, with the Mekon imprisoned inside, is sent off into space.
In such a prison, time became meaningless. Was it a month, a year, or a century before other beings approached the meteor?
Aliens pick up the meteor hoping that valuable ore will be discovered within it, and cut it open - despite getting a life-reading from within.
The inhabitants of the planet Korzak were a meek race... and the sight of the green-skinned being terrified them!
Informed that Treens have lived in peace for many years, leaderless and abandoned, becoming farmers and traders, the Mekon is outraged. Deciding to exact his revenge on Dare, he orders his rescuers to take him to the location of his enemy, beaming down to the planet to continue his battle - only to discover that Dan Dare died hundreds of years before. A gravestone states that he died before his battles with the Treen Empire, puzzling the Mekon, and though he cannot defeat a dead man, he can take his revenge on the planet Earth.

Another strip split to take advantage of colour pages, this time continuing on the back page, Dan Dare is a decidedly odd return. Focusing on the Mekon rather than the titular hero, the story goes so far as to kill off Dare on the final panel. This can be taken as a statement of intent for the revived title - don't expect things to remain as they were. It is only partially successful in bringing back Dan Dare's world, feeling slightly too rushed to properly establish a timeline of events.
The solar power satellite was the most important result of the American space programme of the 1980's. A vast array of solar panels had been placed in stationary orbit above the equator...

Solar energy from the sun was converted into microwaves and beamed down to a huge receiving station on the ground, where the microwaves were reconverted into electric power and fed into a grid.

It should have been the start of a new era.

Instead, it was the beginning of a disaster!

The microwaves had disrupted the balance of the Earth's atmosphere, making the generation of electricity in any form impossible. Without it, aircraft fell out of the sky... Ships drifted helplessly... Road traffic ground to a halt...

...and nuclear power stations melted down!

Without electricity there was no radio or TV... No telephones or newspapers... No form of transport... Nor was there heat or light.

In the days that followed, panic swept the world as nobody knew what was happening.

Without electricity food production and distribution broke down, forcing starving mobs out to the countryside in a desperate bid to find some.

Finally, after panic and starvation, came disease and death on a scale unknown since the black death.

Small bands of survivors formed tightly-knit groups to defend themselves and continue life in the ruins of civilisation. In London, within the walls of the Tower of London, such a group was led by a man named Mick Tempest.
There's a lot to like in The Tower King, and much back-story to deliver, which it does as rapidly as possible. The extended sequence of reported information, which builds up to the appearance of the titular character, may take up two whole pages, but as it is essential to everything which follows it is a justifiable journey. The city of London, seen only partially in the vignettes, may not be the most original choice of location to place the series in, though the concepts are interesting enough to overcome this lack of imagination.

Its primary selling point, a modern world deprived of power, had already been visited in the television series The Changes, based on Peter Dickinson's books, though in a slightly different form.

The strip's introductory text is slightly over-playing the reality of such a situation - heat can be provided from fires, and printing presses of old did fine without electricity. Regardless, one has to hand it to Hebden - the text boxes prefacing the story is very dramatic and attention-grabbing manner in which to begin the story. The close of the story proves that there are forms of transport in the new landscape of London, though given that the strip had already shown us horses...

Eye of the Fish, a complete story, is introduced by The Collector.
"Welcome. I am known as The Collector! Some of my exhibits may seem a little out of the ordinary to you. But then so, too, are the reasons why I keep them!"
Terry Lansberry and his father go fishing near a sign which prohibits such activity, but their illicit sport is soon brought to a halt by darkening skies. Terry disappears in a flash of light, swiftly followed by his father, thereafter learning an important lesson...

Yes, it is a slight, and incredibly silly, variant on a well-worn theme, but it doesn't really need to be brilliant. A complete story, however well crafted, is essential to giving readers of an anthology value for money - you never know if they are going to purchase the next issue, so as long as they get one full story then their purchase has been validated.

With a superb beginning from The Tower King, an intriguing question (or two) lingering in Dan Dare, and Doomlord's inherent possibilities, this is a solid, if unexceptional, beginning. Or, if you prefer, it is a rather subdued revival with much potential.

Eagle [Vol.21]

#02