The Crunch (D.C. Thomson & Co., Ltd.) #01 (20 Jan 1979).
Cadet Anderson: Teenage Kyx by Alan Grant, Carlos Ezquerra, Patrick Goddard & Steve Yeowell. (Rebellion; Jan 2017) ISBN 978-1781-08539-4.
The Complete Scarlet Traces volume 1 by Ian Edginton & D'Israeli (Rebellion; Jan 2017) ISBN 978-1781-08501-1
Judge Dredd: Psykogeddon by Dave Stone. (Black Flame; Jan 2006) ISBN-13: 9781849971003.
First Appearances:
Ross Harper (Who Killed Cassidy?) in The Crunch #01 (20 Jan 1979).
Bearpaw Jay, The Mantracker in The Crunch #01 (20 Jan 1979).
Doctor Kyser (The Kyser Experiment) in The Crunch #01 (20 Jan 1979).
Mike Preston (The Walking Bombs) in The Crunch #01 (20 Jan 1979).
Mark Sabor (Arena) in The Crunch #01 (20 Jan 1979).
Durham Red in 2000 A.D. (IPC Magazines Ltd.) Prog 505 (17 Jan 1987).
Births:
Jack Greenall (1905); Angus Scott (1909); Juan Jesús García Alvarez (Xuasus; 1968)
Deaths:
Florence Anderson (1972); Richard Hook (2010); Tony Harding (2014)
Notable Events:
The Schoolboys' Own Exhibition at the Royal Horticultural Hall, Westminster, London, ended in 1952. Eagle was represented by a Dan Dare Rifle Range, with the best shot of the day qualifying for a specially-made B.S.A. air rifle. The best of these was awarded the Eagle Marksman of the Year trophy by Marcus Morris.
Ronald Searle was a castaway on Desert Island Discs, on BBC Radio 4, in 1959.
Showing posts with label D'Israeli. Show all posts
Showing posts with label D'Israeli. Show all posts
Saturday, January 12, 2019
Monday, October 29, 2018
Bloody Hell #1
Late Summer 1992. Cover price £1.00.
48 pages. Colour & B&W.
UT Productions
New British Horror Comic Strips
Edited by Kev F. Sutherland.
Cover by Mick Austin.
Contents:
While the cover image works magnificently, some of the lettering leaves a lot to be desired - blue, green, and red lines are difficult to discern against a very brown illustration, which is an early indication that this isn't something which has been thought through. Despite wanting to celebrate this as a bold experiment I am immediately struck by how little consideration has gone into the legibility of the cover lines.
The illustrated editorial is a perfect way to introduce the title, with a couple of fine gags and some excellent layout work. Unfortunately, there's a page of adult advertisements on the second page, which surely limits the audience for the title. One can't help wondering how better appreciated the issue would have been had these not appeared.
The Night of the Living Deadymen (a pun on Ken Dodd's Diddymen) is an interesting experiment in immediately broadening the title's horror remit, though picking a strangely dated target from which to draw on may not have been the best way to kick off the issue. The "to be continued" note at the end is a depressing sight, as I haven't encountered a second issue. Without a firm commitment to future issues, beginning serials is an unwise choice. Not knowing how the story ends is only going to aggravate readers.
Set in Paris, in 1799, Head Ache is a dark little two-pager which - tantalisingly - doesn't answer the sole question it poses. The rather exquisite Sin Eater is very much a story of the nineties in appearance, but though is the one strip which I would like to see come back in some way.
An excellent complete story by John Watkiss, in a creepy style perfectly in synch with the narrative. It may be a very short story, but combined with a wonderful host character (there's something about jesters which screams "horror potential") rises above expectations. This kind of material should have found an audience, and that it hasn't reappeared is a minor tragedy. The following tale, Corporal Punishment's 'Tales of Haunted Combat!' isn't quite as effective, with an overly cartoony style.
Love Bite is amusing, though very much intended as a one-off. I'm not sure how this could have possibly been topped had the title continued on, and I'm impressed with how near-the-knuckle it is (if you pardon the expression), yet feels as if there was a touch of Hellraiser influencing the strip.
Deaths at a seance brings Mr. Hawk to investigate, and the unusual manner of the deaths arouses considerable concern. The medium, Madame Satsuma, claims that a ghost materialised and committed the murders, before disappearing. The resolution is rather clever, though I'm unsure of how well this would play as a regular feature. Yet another serial, Meadowmass, appears to have a long storyline in mind, but fails to engage immediately with such stylised content.
It is rather unfortunate the release coincided with so many titles vanishing from the shelves. So much of the material would have been clearer had there been further issues to properly appreciate the work. As an single issue, this leaves much to be desired.
48 pages. Colour & B&W.
UT Productions
New British Horror Comic Strips
Edited by Kev F. Sutherland.
Cover by Mick Austin.
Contents:
2 Amazing 50% Off Offer !! advertisement for Yago Holdings Ltd.
3 Bloody Editorial w: Roger Langridge; a: Kev F. Sutherland. / Bloody Contents / Indicia
4 The Night of the Living Deadymen, part one, w: Michael Salter.
7 Head Ache w:/a: Nigel Maughan.
9 New from UT Productions - Bloody Hell! (half page) in-house advertisement. / UT T-Shirts - Only £7.99 (half page) in-house advertisement.
10 Sin Eater Generations of Love part one, w:/a: Steve Noble, Kev F. Sutherland & Darko Perovich.
15 "Mixed Grill..." w:/a: John Watkiss.
20 Corporal Punishment's 'Tales of Haunted Combat!' ...Revenge! w: Andy Nixon; a: Bill Naylor & Andy Nixon.
23 Sinnerhound "The Collection" w: V.K. Lundsfeather; a: Kev F. Sutherland.
28 Explicit Hardcore Porn Video Catalogue advertisement for Jayhire Ltd.
29 Love Bite w: Shane Oakley; a: Gary Crutchley.
31 That's the Way to Do It w:/a: Kev F. Sutherland.
35 Strong • Uncensored • Imported - Adult Action Videos Direct from Amsterdam advertisement.
36 Mr. Hawk Jackflash w: V.K. Lundsfeather. a: John Erasmus.
38 Meadowmoss Windows of the Soul, part one, w: Steve Noble; a: Nigel Kitching.
41 Classifieds adult advertisements.
43 John Smith Beats the System w: Andrew Elliott; a: D'Israeli, lettering by H.V. Derci.
46 Short Sharp Shocks Untitled [Reader Challenge] (quarter page) w:/a: Kev F. Sutherland. / Short Sharp Shocks Untitled ["What's wrong darling?"] (quarter page) w:/a: Louise Del Aunam. / Short Sharp Shocks Untitled [New Jersey, 1978] (quarter page) w:/a: Michael Ryan. / Short Sharp Shocks Untitled [Clump] (quarter page) w:/a: Mac & Sickhead.
47 Adult Classified adult phone-line advertisements.
48 True Stories The Dead Queen w:/a: John Erasmus.
While the cover image works magnificently, some of the lettering leaves a lot to be desired - blue, green, and red lines are difficult to discern against a very brown illustration, which is an early indication that this isn't something which has been thought through. Despite wanting to celebrate this as a bold experiment I am immediately struck by how little consideration has gone into the legibility of the cover lines.
The illustrated editorial is a perfect way to introduce the title, with a couple of fine gags and some excellent layout work. Unfortunately, there's a page of adult advertisements on the second page, which surely limits the audience for the title. One can't help wondering how better appreciated the issue would have been had these not appeared.
The Night of the Living Deadymen (a pun on Ken Dodd's Diddymen) is an interesting experiment in immediately broadening the title's horror remit, though picking a strangely dated target from which to draw on may not have been the best way to kick off the issue. The "to be continued" note at the end is a depressing sight, as I haven't encountered a second issue. Without a firm commitment to future issues, beginning serials is an unwise choice. Not knowing how the story ends is only going to aggravate readers.
Set in Paris, in 1799, Head Ache is a dark little two-pager which - tantalisingly - doesn't answer the sole question it poses. The rather exquisite Sin Eater is very much a story of the nineties in appearance, but though is the one strip which I would like to see come back in some way.
These evangelists don't believe in dolling their churches up.Set in Wales, in 1969, the strip begins with a marriage interrupted by Mr. Gasell, who knows of a just cause and impediment to the ceremony. His neck squirms, before his skin explodes revealing his terrible form, as he claims the bride as his own. The story leaps forward to then-present day Berlin, but - as it is only the first part of a continuing story - there isn't enough to tell where the plot is heading. A great introduction to the characters, but left hanging.
If you can tell them from any other Nissen hut, they've been too frivolous.
If you want stained glass and ornamental woodwork, you might as well be a Catholic.
This sort of religion is very strong in tight knit, isolated communities.
Strict adherence to the scriptures.
No frippery. No fancy music. No bending the knee.
Frank Martin's Plymouth hungrily devoured the miles of endless highway, the low contented hum of its powerful engine soothing, comforting, the travelling salesman. A safe, constant, reassuring sound taking Frank Martin home - home to his wife and children. Until...A man leaps in front of Frank's car, desperate to be taken to the city. Departing for New York, he asks Frank if he has ever encountered a cannibal.
You may think that's a strange question for a man to ask. What would prompt Carl Lancaster, a successful - if somewhat bored - chartered accountant, to ask such a question? Let's find out. It's almost lunch time and Carl will soon finish devouring his young secretary with his eyes, and find himself a most unusual...Carl recalls stopping at a small town, for lunch at Old Nick's Cafe, but when served his meal discovers human eyes and a hand on the plate. Running, screaming, from the establishment, was when he encountered Frank. Frank responds that he knows of Old Nick's...
"Mixed Grill..."
An excellent complete story by John Watkiss, in a creepy style perfectly in synch with the narrative. It may be a very short story, but combined with a wonderful host character (there's something about jesters which screams "horror potential") rises above expectations. This kind of material should have found an audience, and that it hasn't reappeared is a minor tragedy. The following tale, Corporal Punishment's 'Tales of Haunted Combat!' isn't quite as effective, with an overly cartoony style.
This is not a place you would choose to live.One of the most powerful opening pages of the nineties, somewhat diluted by the following pages being in colour. Sinnerhound is a highwayman under the magical spell of Lord Wartnaby, who is quickly transformed into something not human. Once more the story is intended to continue. A strong central idea, interesting character design, and some clever wordplay makes for a very attractive strip, despite it not feeling like a period piece.
Fifteen centuries ago this city's clean streets teemed with shiny, happy, educated citizens. With central heated homes and a good sewage system.
But the Empire declined and fell. Now, after a dozen invasions and wars, the survivors bear little resemblance to their great forebears.
The great plague killed millions. Thousands more continue to die from tuberculosis.
Survival was hard enough with the disease and crime of everyday life - then came the machines.
No one had dreamt what the machines could do. The work of a hundred men. A thousand.
A golden future of wealth and leisure loomed.
For some, but not for all. For most the machines meant ruin. Or death.
Soon the machines ruled, the powerful few at their helm. The poor at their feet.
There is no law that you would recognise. Corrupt city guards and brigands in the pay of the rich elite.
This is the world of our story. Not a place you would choose to live.
It is called Leicester. The year is 1805.
Love Bite is amusing, though very much intended as a one-off. I'm not sure how this could have possibly been topped had the title continued on, and I'm impressed with how near-the-knuckle it is (if you pardon the expression), yet feels as if there was a touch of Hellraiser influencing the strip.
Things had been going rather well for Simon Punch. His new company car had electric windows and a phone. He could claim pretty well anything off expenses-Judy confronts Simon about his affair with Sarah on his arrival home. Initially denying that anything is going on, he he turns violent, assaulting his baby and wife with a stick. When a police officer arrives, he strikes him down as well... That's the Way to Do It takes the Punch story as inspiration, running off in a different direction to other, better known, adaptations, and mostly works fine. The ending, however, gives one pause to consider how much is in Simon's imagination.
Deaths at a seance brings Mr. Hawk to investigate, and the unusual manner of the deaths arouses considerable concern. The medium, Madame Satsuma, claims that a ghost materialised and committed the murders, before disappearing. The resolution is rather clever, though I'm unsure of how well this would play as a regular feature. Yet another serial, Meadowmass, appears to have a long storyline in mind, but fails to engage immediately with such stylised content.
It is rather unfortunate the release coincided with so many titles vanishing from the shelves. So much of the material would have been clearer had there been further issues to properly appreciate the work. As an single issue, this leaves much to be desired.
Monday, October 22, 2018
Blast! #1
Jun 1991; Cover price £1.50
76 pages. Colour and B&W.
John Brown Publishing, Ltd.
Edited by Stuart Green.
Mr. Monster cover by Simon Bisley.
Contents:
Simon Bisley's art is an attention grabber - a minimalist background emphasises the power of his painting perfectly, though the cover text (by way of dialogue) could have done with a white outline, highlighting red against blue better. Blast!'s logo is, disappointingly, rendered in a font which doesn't quite work, looking as if it has been vertically stretched to an alarming degree. This is our first indication that, for all the talent brought together for the title, there's a hurriedness to proceedings... a certain lack of attention to detail.
Mr. Monster - beautifully illustrated by Bisley - is a mad, violent, and extremely funny strip, which would be better served with more space. It's an irreverent, wonderful complete story (common sense in a launch) which has a great pay-off. Concrete is a welcome addition to the line-up, with a tale which feels familiar, yet contains a surprising amount of heart and intelligence. Going through a small mountain of mail received after appearing of the Carson Show, as Ron is exposed to the full range of reactions to his participation on the television show.
Agreeing to attend a party invitation, he is confronted by a single mother whose son's eighth birthday party is in full swing. The best line is about John Ritter's appearance a year before, which is entirely believable - if anyone would do a cool appearance at a kid's birthday party, it would be him. Concrete has a lot of fun with the concept, and ends on a very amusing note. One of the all-time greats of American comics, and its inclusion here is appreciated.
Torpedo is from the "hard boiled" school of writing, and many influences are clear. There's something indefinably off about the strip, and it doesn't gel into a convincing or engaging story, partially due to the endless text boxes which drive forward the narrative. The colouring is far too garish for the setting, and I have a suspicion it would read better if reproduced in black and white.
Axel Pressbutton reappears here - the planet Scrofula, in the 31st century, where television has begun broadcasting directly into the brains of viewers. Axel interrupts an interview in the street, and producers request that he be brought into the studio to exploit his status as a famous assassin. Things go wrong extremely quickly, and the bodycount is... well, its an Axel Pressbutton story, so we aren't expecting rainbows and kittens, are we?
The ...Let's Follow Him! two-page comedy strip isn't as funny as it could have been, though it is a joy to Bagge's work. Managing to fill in a lot of character detail with little effort, the strip does exactly what the name indicates.
The opening installment of Lazarus Churchyard, with a suitably macabre and off-beat lead character in the titular Lazarus. Four hundred years old, and effectively immortal thanks to a plastic bonded to his body, he has to investigate a spate of deaths in order to get his wish... death. The cyberpunk setting contrasts nicely with the rest of the strips, and the artwork by D'Israeli compliments Warren Ellis' script perfectly.
There is very little prose in Blast! (a solitary introduction), and the heavy use of color indicates that what Fleetway was doing (in response to Trident) had been taken into consideration when putting the title together. There's an interesting, though disjointed, collection of strips, but nothing screaming "break-out hit" aside from the Concrete reprint. When you have creators of this caliber involved, it isn't surprising that the comic is still relevant and massively appealing, but a more focused aim might have helped.
I'm not sure who the target audience for the title was.
Now to the Speakeasy insert.
Wisely using the Rian Hughes logo, there are hints of the classic Speakeasy formula, but it is so diluted that it might as well have taken a different name for this:
It is unfortunate that the paper is so awful, as the shiny white pages of the regular magazine was so impressive. This is a step backwards, but as it is a free insert I'm willing to accept that something had to give. Troublingly, we don't even get the full experience of the title here, omitting several of the main draws. Grant Morrison is nowhere to be seen, and there are far, far too many adverts.
That the change included a heavy film interest is annoying. I read film magazines to find out about films, and I want comics information from comic magazines. There's still a comic strip in this incarnation (Twitch City), though it isn't as immediately amusing as Pedantic Stan. There's a Simon Bisley interview to make up for such a radical change to the formula, but too much has been altered from the magazine. There are parts I really miss from the standalone magazine, and their absence makes this extremely frustrating to read.
A sad decline for a highly-regarded title. Change, we are reminded, is not always for the better.
76 pages. Colour and B&W.
John Brown Publishing, Ltd.
Edited by Stuart Green.
Mr. Monster cover by Simon Bisley.
Contents:
2 Metal Hammer - the Biggest and Best Hard Rock / Heavy Metal Magazine magazine advert.
3 Incoming... text introduction by Stuart Green. / Contents / Indicia.
4 Mr. Monster Lair of the Lizard Ladies w: Michael T. Gilbert; a: Simon Bisley, lettering by Fred Nurney.
11 Willy Roach - He Goes by Coach (half page) advertisement for EuroLines. a: (uncredited). / C&T Eyewear advertisement.
12 Star Trek: The Next Generation clothing advertisement.
13 Concrete Lifestyles of the Rich and Famous w:/a: Paul Chadwick, lettering by Bill Spicer.
r: Dark Horse Presents (Dark Horse) #01 (Jul 1986).
21 More than Just Comics advertisement for Deadline magazine.
22 The Ceremony Has Begun advertisement for The Doors film.
23 Torpedo Every Dog Has His Day w: Sanchez Abulli; a: Jordi Bernet, colouring by Dondie Cox.
r: De perro a perro from Creepy (Toutain Editor) #34 (Apr 1982).
27 / 1 Speakeasy Insert Kevin Costner photograph (Robin Hood: Prince of Thieves).
28 / 2 Mega City Comics advertisement.
29 / 3 Liverpool Comic Mart & Film Fair (quarter page) advertisement. / Birmingham Comic Mart & Film Fair (quarter page) advertisement. / UKCAC 91 (half page) advertisement for UK Comic Art Convention 1991.
30 / 4 Speakout text introduction (uncredited). / Comic Views reviews by John Smile.
31 / 5 King Ink comic chart.
33 / 7 Speakeasy Newsline (half page) advertisement. / Experience Natures Secret High with Yuba Gold (half page) advertisement.
34 / 8 Free Comics! (quarter page) advertisement for Planet X. / Direct Contact Dating (quarter page) advertisement. / Mr Extra, on the brink of defeat once more at the hands of Jane (5½) and Tilly (6¾) (half page) advertisement for Meanwhile.
35 / 9 Book Views reviews. / Twitch City UNTITLED ["I fink I'm Kured!"] w:/a: Bambos.
36 / 10 Nu Earth (quarter page) advertisement. / Gotham City Comics (quarter page) advertisement. / The Sheffield Space Centre (quarter page) advertisement. / Worlds of Wonder (quarter page) advertisement.
37 / 11 Comic Fantasy (quarter page) advertisement. / Back-Issue Comics Manager Required (quarter page) job advertisement. / Titan Distributors Comic Mart (quarter page) advertisement. / Cosmic Comics (quarter page) advertisement.
38 / 12 Prince of Thieves interview by Alan Jones.
42 / 16 Scorched Earth advertisement.
43 / 17 Phaze II The Dead Zone would like to present "Sex in the U.K." advertisement.
44 / 18 The Number of the Beast Simon Bisley interview by Gordon Rennie.
46 / 20 The Gloucester Comic Book Fair (quarter page) advertisement. / Rainbow's End (quarter page) advertisement. / Comicbook Marketplace Special Edition - Saturday June 15 (quarter page) advertisement. / Comicbook Marketplace - Sunday July 14 (quarter page) advertisement.
48 / 22 Classifieds
50 / 24 Forbidden Planet advertisement.
55 Portobello Trust - London Cartoon Centre (quarter page) advertisement. / Needing Direction? Life Lost it's Meaning? Lacking Moral Fibre? (quarter page) advertisement for Electric Soup. / Genuine Ex-Tour T-Shirts - Cult Movie T-Shirts (half page) advertisement for BMS.
56 For over fourteen years... advertisement for Titan Distributors.
57 Axel Pressbutton Famous For Fifteen Minutes w: Pedro Henry (Steve Moore); a: Steve Dillon.
63 Hey You! in-house advertisement for Blast! T-shirts. / Subscribe Now!.
64 ...Let's Follow Him! w:/a: Peter Bagge.
r: Neat Stuff (Fantagraphics) #01 (Jul 1985).
66 There are no others advertisement for Titan Distributors.
67 Lazarus Churchyard The Virtual Kiss, part 1: Fracture w: Warren Ellis; a: D'Israeli.
74 Incoming...30 Days next issue feature.
75 Attention! Fear Want You! subscription advertisement for Fear.
76 The Face advertisement.
Simon Bisley's art is an attention grabber - a minimalist background emphasises the power of his painting perfectly, though the cover text (by way of dialogue) could have done with a white outline, highlighting red against blue better. Blast!'s logo is, disappointingly, rendered in a font which doesn't quite work, looking as if it has been vertically stretched to an alarming degree. This is our first indication that, for all the talent brought together for the title, there's a hurriedness to proceedings... a certain lack of attention to detail.
Mr. Monster - beautifully illustrated by Bisley - is a mad, violent, and extremely funny strip, which would be better served with more space. It's an irreverent, wonderful complete story (common sense in a launch) which has a great pay-off. Concrete is a welcome addition to the line-up, with a tale which feels familiar, yet contains a surprising amount of heart and intelligence. Going through a small mountain of mail received after appearing of the Carson Show, as Ron is exposed to the full range of reactions to his participation on the television show.
Agreeing to attend a party invitation, he is confronted by a single mother whose son's eighth birthday party is in full swing. The best line is about John Ritter's appearance a year before, which is entirely believable - if anyone would do a cool appearance at a kid's birthday party, it would be him. Concrete has a lot of fun with the concept, and ends on a very amusing note. One of the all-time greats of American comics, and its inclusion here is appreciated.
Torpedo is from the "hard boiled" school of writing, and many influences are clear. There's something indefinably off about the strip, and it doesn't gel into a convincing or engaging story, partially due to the endless text boxes which drive forward the narrative. The colouring is far too garish for the setting, and I have a suspicion it would read better if reproduced in black and white.
Axel Pressbutton reappears here - the planet Scrofula, in the 31st century, where television has begun broadcasting directly into the brains of viewers. Axel interrupts an interview in the street, and producers request that he be brought into the studio to exploit his status as a famous assassin. Things go wrong extremely quickly, and the bodycount is... well, its an Axel Pressbutton story, so we aren't expecting rainbows and kittens, are we?
The ...Let's Follow Him! two-page comedy strip isn't as funny as it could have been, though it is a joy to Bagge's work. Managing to fill in a lot of character detail with little effort, the strip does exactly what the name indicates.
The opening installment of Lazarus Churchyard, with a suitably macabre and off-beat lead character in the titular Lazarus. Four hundred years old, and effectively immortal thanks to a plastic bonded to his body, he has to investigate a spate of deaths in order to get his wish... death. The cyberpunk setting contrasts nicely with the rest of the strips, and the artwork by D'Israeli compliments Warren Ellis' script perfectly.
There is very little prose in Blast! (a solitary introduction), and the heavy use of color indicates that what Fleetway was doing (in response to Trident) had been taken into consideration when putting the title together. There's an interesting, though disjointed, collection of strips, but nothing screaming "break-out hit" aside from the Concrete reprint. When you have creators of this caliber involved, it isn't surprising that the comic is still relevant and massively appealing, but a more focused aim might have helped.
I'm not sure who the target audience for the title was.
Now to the Speakeasy insert.
Wisely using the Rian Hughes logo, there are hints of the classic Speakeasy formula, but it is so diluted that it might as well have taken a different name for this:
Speakeasy has a ten year history as a news and features magazine distributed exclusively to specialist comic shops. In that time it has never stayed still, appearing in various formats: from a xeroxed A5 fanzine it became a fold-out broadsheet before graduating to its previous incarnation as an A4 glossy.
Now Speakeasy has mutated into BLAST! a monthly comic magazine dedicated to bringing the best international comic strips to a British audience. Our pull-out editorial section - which will be distributed free to British comic shops - retains the name Speakeasy and its original brief: to promote comics and the culture that they reflect. Over the coming months we will continue to bring you the exclusive interviews with the biggest names in comics and genre film and literature, while keeping you up to date with the significant releases in all three mediums.
It is unfortunate that the paper is so awful, as the shiny white pages of the regular magazine was so impressive. This is a step backwards, but as it is a free insert I'm willing to accept that something had to give. Troublingly, we don't even get the full experience of the title here, omitting several of the main draws. Grant Morrison is nowhere to be seen, and there are far, far too many adverts.
That the change included a heavy film interest is annoying. I read film magazines to find out about films, and I want comics information from comic magazines. There's still a comic strip in this incarnation (Twitch City), though it isn't as immediately amusing as Pedantic Stan. There's a Simon Bisley interview to make up for such a radical change to the formula, but too much has been altered from the magazine. There are parts I really miss from the standalone magazine, and their absence makes this extremely frustrating to read.
A sad decline for a highly-regarded title. Change, we are reminded, is not always for the better.
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