Total Carnage #5

Aug 1993. Cover price £1.50.
56 pages. Colour & B&W contents.
Dark Horse International.

Edited by Dick Hansom.

Cover by Simon Bisley.
r: Grendel: War Child (Dark Horse) #02 (Sep 1992).

Contents:

 2 Subscribe! Comics for the '90s in-house advertisement.

 3 Total Carnage contents. / Indicia

 4 Army of Darkness, part five, What Has Gone Before recap; painting by John Bolton.

 5 Army of Darkness w: John Bolton (uncredited), from the screenplay by Sam Raimi & Ivan Raimi; a: John Bolton, lettering by John Costanza.

r: Army of Darkness (Dark Horse) #?? (1992).

17 Action Station text feature by Dave Hughes; photographs (uncredited).

19 Batman Vs Predator, part five, What Has Gone Before recap; art p: Andy Kubert, i: Adam Kubert.

r: Batman Versus Predator (DC / Dark Horse).

20 Batman Vs Predator, part five, w: Dave Gibbons; p: Andy Kubert, i: Adam Kubert, lettering by Adam Kubert, colouring by Sherilyn van Valkenburgh.

r: Batman Versus Predator (DC / Dark Horse).

31 Where Were You in '82! Review and commentary on Blade Runner by Dave Hughes; photographs (uncredited).

33 Grendel: War Child, part three, What Has Gone Before recap; p: Patrick McEown, i: Matt Wagner.

34 The Japanese Comics Invasion!! (half page) in-house advertisement for Manga Mania #02. / Dar Horse Checklist (half page) titles on sale in Aug 1993.

35 Grendel War Child [chapter ?] w: Matt Wagner; p: Patrick McEown, i: Matt Wagner, lettering by Kurt Hathaway, colouring by Bernie Mireault.

r: Grendel: War Child (Dark Horse) #?? (??? 1992).

56 Year of the Dinosaur! in-house advertisement for Jurassic Park #01.

Simon Bisley effortless takes the reigns from Bolton as cover artist, with an image which maintains the harder-edged look, although the cover dialogue which has been added (to all covers thus far, it has to be noted) is a distraction from what is otherwise an extremely attractive image. While it is understandable that common elements be maintained throughout a title's run to inform readers of consistency, this affectation is one which diminishes the power of artist's work rather than enhancing what is already present.

Bolton's work hasn't been neglected this issue, and his adaptation of Army of Darkness continues to impress, with some panels being miniature masterclasses in enhancing tension and evoking a sense of terror.

"Sure. They had their fun. Let 'em."

"But I had the book and that meant I was goin' home."

"There was just one hitch: When I screwed up the words..."

"I screwed up good. Every dead guy and his brother was after me. An army of 'em. An Army of Darkness."

Title drops are a longstanding tradition in genre material, and this is, perhaps, simultaneously the funniest and darkest scene ever to maintain the tradition. Even those familiar with the originating film (and if you haven't seen it, you really need to) will find something here which will impress. Never has a film adaptation looked so good, nor read so smoothly.

A more respectful and mature piece on Brandon Lee's death appears in this issue's Action Station, reaffirming Dave Hughes' usual excellence in both timely news on releases, and dry and intelligent commentary. Forthcoming films mentioned as being forthcoming are: Last Action Hero 2 (ha!), The Crusades, Sgt. Rock (which might still see the light of day), and Tooth, which sounds suspiciously similar to 2010's The Tooth Fairy, which starred Dwayne Johnson rather than Arnold Schwarzenegger.

Batman Vs Predator has some lively moments, and a beautiful final page illustration, but is free of the drama and tension such a conflict ought to generate. Crossovers without lasting consequences are not worth investing time and energy in, and despite a frisson of excitement at the scene where Mayor Lieberman is discovered, there isn't enough of a personal investment for the characters to stop the wave of murders. It looks dramatic enough, and the faux drama of an inured Batman momentarily holds promise, though I doubt the event will have any repercussions.

Dave Hughes' second piece re-examines Blade Runner (on the release of The Director's Cut), with the usual mix of compliments and criticism, though as we have had so many versions of the film it is difficult, if not impossible, to separate the film from its prior incarnations.

Whatever progress has been made in managing the pacing of reprints, and handling film features, there's still a gaping hole where reader interaction ought to be. The feeling which lingers over the title is, rightly or wrongly, one of distance and slight disdain - I don't believe for a moment that the editorial team intended to disregard the views of readers, but without an editorial, introduction, or letters page, there simply isn't enough of the personal touch to overcome such an impression.

I want to love this title, though can only summon a strong liking.

#04

Total Carnage

#06