Eagle (Fleetway Publications) #[423] (28 Apr 1990). [relaunch]
Doctor Who Adventures (Panini UK) vol.2 #01 (2015).
Character Births:
Brian Braddock (Captain Britain; 1956); Elizabeth Braddock (Psylocke; 1956).
Births:
Billy Bunter of Greyfriars School actor Gerald Campion (1921); Will Spencer (1921); Roy Cross (1924); Ed "Stewpot" Stewart (1941); Art Wetherell (1961)
Deaths:
William Shakespeare (1616); Leo Baxendale (2017)
Notable Events:
Gilbert Thomas Webster was a castaway on Desert Island Discs, on BBC Radio 4, in 1942.
William Timyn (Tim) was issued with a Naturalisation Certificate, becoming a British citizen, in 1949.
The Jethro Tull album Too Old to Rock 'n' Roll: Too Young to Die!, illustrated by Dave Gibbons, was released in the UK in 1976.
Eagle became full-colour, and printed on better paper, with #423 in 1990.
The Comedians set of stamps, with illustrations by Gerald Scarfe, was released by the Post Office in 1998.
The Best of Low exhibition began at the Political Cartoon Gallery in 2008.
Birmingham Comics Festival began in Edgbaston Stadium, The County Ground, Birmingham, in 2016.
Showing posts with label Dave Gibbons. Show all posts
Showing posts with label Dave Gibbons. Show all posts
Tuesday, April 23, 2019
Sunday, April 14, 2019
On This Day: 14 Apr
Eagle Family Day
First Appearances:
Captain Brett Cantrell (Plague 2000) in The Crunch (D.C. Thomson & Co., Ltd.) #14 (21 Apr 1979).
Births:
Gerry Anderson (1929); Dave Gibbons (1949)
Deaths:
Ernest Aris (1963); John Kent (2003)
Notable Events:
Eight thousand members of the Wilfredian League of Gugnuncs celebrated Pip, Squeak and Wilfred in the Albert Hall in 1928.
Just Jake newspaper strip ended in 1952.
Andy Capp newspaper strip began national distribution in The Daily Mirror in 1958.
Cicero newspaper strip began in The Sunday Times in 1968. It was the paper's first regular strip.
Dan Dare III: The Escape computer game released by Virgin Mastertronic in 1990. The game was available for Amiga, Amstrad, Atari ST, CBM 64, IBM PC and Spectrum users.
Vere Harold Esmond Harmsworth, 3rd Viscount Rothermere, was a castaway on Desert Island Discs, on BBC Radio 4, in 1996.
The Dan Dare 50th Anniversary Exhibition began at Atkinson Art Gallery, Merseyside, in 2000.
Yesterday's Tomorrow, celebrating the 65th anniversary of The Eagle, began at the British Interplanetary Society, 27/29 South Lambeth Rd, Vauxhall, London, in 2015.
Star Trek: The Classic UK Comics (IDW Publishing; 2016) reprinted the long-overlooked British adaptations of the US SF property.
International Comic Expo began in Margate in 2018.
April 14th is Eagle Family Day, when you should try to do something to make mothers, fathers, brothers and sisters, happy.
Marcus Morris.from Eagle (Hulton Press Ltd.) Vol.3 #01 (10 Apr 1952).
First Appearances:
Captain Brett Cantrell (Plague 2000) in The Crunch (D.C. Thomson & Co., Ltd.) #14 (21 Apr 1979).
Births:
Gerry Anderson (1929); Dave Gibbons (1949)
Deaths:
Ernest Aris (1963); John Kent (2003)
Notable Events:
Eight thousand members of the Wilfredian League of Gugnuncs celebrated Pip, Squeak and Wilfred in the Albert Hall in 1928.
Just Jake newspaper strip ended in 1952.
Andy Capp newspaper strip began national distribution in The Daily Mirror in 1958.
Cicero newspaper strip began in The Sunday Times in 1968. It was the paper's first regular strip.
Dan Dare III: The Escape computer game released by Virgin Mastertronic in 1990. The game was available for Amiga, Amstrad, Atari ST, CBM 64, IBM PC and Spectrum users.
Vere Harold Esmond Harmsworth, 3rd Viscount Rothermere, was a castaway on Desert Island Discs, on BBC Radio 4, in 1996.
The Dan Dare 50th Anniversary Exhibition began at Atkinson Art Gallery, Merseyside, in 2000.
Yesterday's Tomorrow, celebrating the 65th anniversary of The Eagle, began at the British Interplanetary Society, 27/29 South Lambeth Rd, Vauxhall, London, in 2015.
Star Trek: The Classic UK Comics (IDW Publishing; 2016) reprinted the long-overlooked British adaptations of the US SF property.
International Comic Expo began in Margate in 2018.
Saturday, March 23, 2019
On This Day: 23 Mar
TV Fun (Fleetway Publications) #01 (23 Mar 1988-05 Apr 1988)
Freestyle BMX (IPC Magazines Ltd.) #01 (1984) *magazine*
First Appearances:
Sergeant Rob Hunter (Hunter) in Warlord (D.C. Thomson & Co., Ltd.) #133 (26 Mar 1977).
Births:
Patten Wilson (1969); Julius Stafford Baker, Jr. (1904); Sam Fair (1909)
Notable Events:
The Pet Shop Boys featured in a Smash Hits interview, looking back at Neil Tennant's career, in 1988.
The Glasgow UK Comic Art Convention took place in 1991, with winners of the UK Comic Art Awards being announced by Penguin.
Dave Gibbons became the first artist to be featured in a Superstar Evening by the Cartoon Art Trust in 1996.
The Warren Ellis–scripted Hostile Waters computer game, by Rage Games Limited, was released by Interplay in 2001.
Stanley McMurtry was a castaway on Desert Island Discs, on BBC Radio 4, in 2008.
Freestyle BMX (IPC Magazines Ltd.) #01 (1984) *magazine*
First Appearances:
Sergeant Rob Hunter (Hunter) in Warlord (D.C. Thomson & Co., Ltd.) #133 (26 Mar 1977).
Births:
Patten Wilson (1969); Julius Stafford Baker, Jr. (1904); Sam Fair (1909)
Notable Events:
The Pet Shop Boys featured in a Smash Hits interview, looking back at Neil Tennant's career, in 1988.
The Glasgow UK Comic Art Convention took place in 1991, with winners of the UK Comic Art Awards being announced by Penguin.
Dave Gibbons became the first artist to be featured in a Superstar Evening by the Cartoon Art Trust in 1996.
The Warren Ellis–scripted Hostile Waters computer game, by Rage Games Limited, was released by Interplay in 2001.
Stanley McMurtry was a castaway on Desert Island Discs, on BBC Radio 4, in 2008.
Friday, November 30, 2018
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:
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.
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
Friday, November 23, 2018
Doctor Who Weekly #1
17 Oct 1979. Cover price 12p.
28 pages. Colour & B&W.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
There's a fair few conventions of cover design which, in principal, are entirely justifiable, but are nevertheless completely inexplicable. The free gift (here transfers) is almost always prioritised over the cover art (or, in this case, photograph), despite the likelihood that most copies will be deprived of their items soon after sale. What this means, in terms of aesthetics, is that first issues can tend to be rather unappealing. There is a large blank box upon which the transfers would be affixed, had they been present, though there's no real need to cover the photograph so.
Is the Dalek shy? Is it hiding a spot of rust? Is it trying to disguise itself as a piece of cheese?
The panoramas, on the inside covers, are interesting, though add nothing to the universe of the Doctor. Had they been tied in to stories appearing in the title, or acted as a bridge between television episodes and the comic, then there would be a real incentive to study them for details. On their own, and without any continuation of the narratives, they are simply pretty pictures with some justifying text.
Robots and Roman legionnaires. Two staples of British television brought to the printed page in glorious, mad, and rather brilliant fashion. There have been a multitude of stories placing the Doctor in small villages which are tormented by extraterrestrial dangers, and this follows most of the conventions save for the immediate death of what appears to be the sole surviving inhabitant. Without companions, and the man killed immediately, the opportunity for his prodigious running commentary on events, and asides, is limited, though with such speedy pacing this ought not to be a critical problem.
Getting through so much in such a brief page count does mean we have no sense of how long the robots have been prowling the streets. For a character so tied to time, the nebulous time-frame in which an organised invasion (however contained) could be mounted is a niggle which eats at enjoyment of what ought to be a riotous celebration of the character finally earning his own title.
The letter from the Doctor helpfully suggests that the reader look out for #879 ("It really was a beauty"), which suggests that, when it appears, it had better pull out all the stops. A double length issue with a plethora of free gifts, and a complete comic strip... If your copy of #879 isn't an epic tour de force, then you need to immediately return the issue to Panini with a strongly-worded letter of outrage, demanding they immediately send you the highlight of the series.
Now, where was I? Oh, yes.
Day of the Daleks, which recounts both the inspiration for the appearance of the race, and briefly recounts their first appearance, is the kind of light, breezy feature which doesn't push forward the history of the series to any great degree. There are plenty of facts present, though with only three pages to include the entire history of the Daleks it is understandable that the omissions outweigh inclusions.
The Story of Dr Who is a puff-piece which isn't far removed from the kind of features seen in general SF magazines, suggesting caution hanging over the issue - not brave enough to really dig into intricacies of script development or continuity, though attempting to centre attention on the series regardless. A Photo-File of William Hartnell (to whom the first issue is dedicated) is so light on biographical information that it doesn't cover his life away from the screen at all, which is, in these days of round-the-clock reality television inanity, rather incomprehensible. He's someone who exuded charm and charisma, and really deserved more than this.
The Return of the Daleks centres on Anhaut, once the scene of a Dalek invasion.
A slight, though amusing, story of the real deal being mistaken for props, which is a slightly worn set-up, the story nevertheless holds enough charm to excuse its plot. These are characters who are deserving of more added to their story. Even if all we get is a cutaway scene of the Doctor watching one of the hologram-movies between bouts of running through corridors, there's something about the story which always appealed.
If this type of launch, with short comic strips and insignificant text features, had appeared as little as ten years later it would have been laughed off the shelves, but nobody had really exploited a live-action television series to this degree before. As a launch of its era it is very impressive. It isn't perfect, but it is very British.
Read it with a bag of jelly babies to hand, and enjoy the fleeting moments of genius.
28 pages. Colour & B&W.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
2 "Things looked bad for me after the TARDIS materialised on board a Vorgan space platform." Panorama; a: Dave Gibbons.
3 Doctor Who and the Iron Legion, part one, w: Pat Mills & John Wagner; a: Dave Gibbons.
8 A Letter from the Doctor text feature by Dez Skinn (uncredited).
9 Day of the Daleks text feature by B. Aldrich [Dez Skinn] & G. Blows; photographs (uncredited).
12 Tales from the TARDIS War of the Worlds 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 ().
16 Two More S-F Winners from Mighty Marvel (half page) in-house advertisement for Star Wars Weekly and Starburst.
17 "Hello again, all." text feature by Dez Skinn (uncredited).
18 The Story of Doctor Who text feature (uncredited).
20 Crazy Caption 1 competition; photograph (uncredited).
21 Chew the Gum (half page) advertisement for Bazooka Joe. / 111 Stamps (All Different) FREE (half page) advertisement for Bridgnorth Stamp Co. Ltd.
22 Doctor Who Photo-File William Hartnell fact-file (uncredited); photograph (uncredited).
23 The Return of the Daleks w: Steve Moore; p: Paul Neary, i: David Lloyd.
27 I'd only landed on Magnon 5 to stretch my legs, but a malfunction of the TARDIS caused it to disappear, leaving me stranded!" Panorama; a: Dave Gibbons.
28 Have Fun With the Amazing Mr. Bellamy advertisement for liquorice novelties.
There's a fair few conventions of cover design which, in principal, are entirely justifiable, but are nevertheless completely inexplicable. The free gift (here transfers) is almost always prioritised over the cover art (or, in this case, photograph), despite the likelihood that most copies will be deprived of their items soon after sale. What this means, in terms of aesthetics, is that first issues can tend to be rather unappealing. There is a large blank box upon which the transfers would be affixed, had they been present, though there's no real need to cover the photograph so.
Is the Dalek shy? Is it hiding a spot of rust? Is it trying to disguise itself as a piece of cheese?
The panoramas, on the inside covers, are interesting, though add nothing to the universe of the Doctor. Had they been tied in to stories appearing in the title, or acted as a bridge between television episodes and the comic, then there would be a real incentive to study them for details. On their own, and without any continuation of the narratives, they are simply pretty pictures with some justifying text.
They fought their way across a thousand planets - robot veterans of the eternal war - destroying, with ruthless discipline, all who stood in their way!The Doctor lands the TARDIS in a small village, immediately heading for the nearest store to stock up on provisions. The owner is distracted, however, and cryptically utters "They're coming!" before explaining himself - the town is surrounded, and he returned to the store as he didn't know what else to do. At that moment a robot smashes into the building and demands that the inhabitants remain where they are. Killing the man, it soon becomes confused at the Doctor's odd biology, which the Doctor uses to his advantage, learning the robot is First Cohort of the Ninth Legion.
And now, the peaceful tranquility of the English countryside is rudely shattered as they appear - as if from nowhere - brutally dragging people out and razing their houses to the ground!
And yet... for all the robots' strangeness, there is something... grimly familiar about them!
Robots and Roman legionnaires. Two staples of British television brought to the printed page in glorious, mad, and rather brilliant fashion. There have been a multitude of stories placing the Doctor in small villages which are tormented by extraterrestrial dangers, and this follows most of the conventions save for the immediate death of what appears to be the sole surviving inhabitant. Without companions, and the man killed immediately, the opportunity for his prodigious running commentary on events, and asides, is limited, though with such speedy pacing this ought not to be a critical problem.
Getting through so much in such a brief page count does mean we have no sense of how long the robots have been prowling the streets. For a character so tied to time, the nebulous time-frame in which an organised invasion (however contained) could be mounted is a niggle which eats at enjoyment of what ought to be a riotous celebration of the character finally earning his own title.
The letter from the Doctor helpfully suggests that the reader look out for #879 ("It really was a beauty"), which suggests that, when it appears, it had better pull out all the stops. A double length issue with a plethora of free gifts, and a complete comic strip... If your copy of #879 isn't an epic tour de force, then you need to immediately return the issue to Panini with a strongly-worded letter of outrage, demanding they immediately send you the highlight of the series.
Now, where was I? Oh, yes.
Day of the Daleks, which recounts both the inspiration for the appearance of the race, and briefly recounts their first appearance, is the kind of light, breezy feature which doesn't push forward the history of the series to any great degree. There are plenty of facts present, though with only three pages to include the entire history of the Daleks it is understandable that the omissions outweigh inclusions.
No one would have believed in last years of the nineteenth century that this world was being watched keenly and closely by intelligences greater than man's and yet as mortal as his own...Though the adaptation only reaches the discovery of the cylinder on Horsell Common, the telling - both script and art - are slightly above average for the form. While it isn't visually daring, there are nice touches, such as the horse-drawn carriage on the first page. The appearance of the tripod isn't, it has to be said, the most exciting or logical solution to the book's description.
With infinite complacency, men went to and fro over this globe about their little affairs. Serene in their assurance of their empire over matter.
No one gave a thought to the older worlds of space as sources of human danger, or thought of them only to dismiss the idea of life upon them as impossible or improbable.
The Story of Dr Who is a puff-piece which isn't far removed from the kind of features seen in general SF magazines, suggesting caution hanging over the issue - not brave enough to really dig into intricacies of script development or continuity, though attempting to centre attention on the series regardless. A Photo-File of William Hartnell (to whom the first issue is dedicated) is so light on biographical information that it doesn't cover his life away from the screen at all, which is, in these days of round-the-clock reality television inanity, rather incomprehensible. He's someone who exuded charm and charisma, and really deserved more than this.
The Return of the Daleks centres on Anhaut, once the scene of a Dalek invasion.
Today, Anhaut is a thriving peaceful world... at least, it's thriving unless you listen to our friend here... His name's Glax... and he's the owner of Galactic Glax Picture Corporation...Concerned about declining returns on his hologram-movie releases, Glax overhears a mother chide her child for bad behaviour, warning him a Dalek will get him if he doesn't behave. Pondering this as a possible plot, Glax wanders off deep in thought. Hunting in the archives for information, he finds a view-film from eight hundred years earlier. Describing how a Dalek scout landed one night, the footage shows how a band of 23 Daleks rampaged across the planet, slaughtering and destroying. Although the end of the story is tantalisingly vague, Glax is determined to commit the story to film. Unbeknown to Glax, the real Daleks are freed from their prison, and roaming the set.
A slight, though amusing, story of the real deal being mistaken for props, which is a slightly worn set-up, the story nevertheless holds enough charm to excuse its plot. These are characters who are deserving of more added to their story. Even if all we get is a cutaway scene of the Doctor watching one of the hologram-movies between bouts of running through corridors, there's something about the story which always appealed.
If this type of launch, with short comic strips and insignificant text features, had appeared as little as ten years later it would have been laughed off the shelves, but nobody had really exploited a live-action television series to this degree before. As a launch of its era it is very impressive. It isn't perfect, but it is very British.
Read it with a bag of jelly babies to hand, and enjoy the fleeting moments of genius.
Doctor Who Weekly
#02
Wednesday, November 21, 2018
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:
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.
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.
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."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.
"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."
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
Sunday, November 4, 2018
Hulk Comic #1
07 Mar 1979. Cover price 10p
24 pages. B&W contents.
Marvel Comics, Ltd.
At last... in his own comic!
Edited by Dez Skinn.
Cover by Brian Bolland.
Sal Buscema Hulk head placed on Bolland Hulk body.
Bagged with free Hulk sticker album and stickers.
Contents:
There's something slightly off about Bolland's cover, which isn't entirely successfully made to fit Marvel house style by the use of a Sal Buscema head, though the use of new material - any new material - in a Marvel title is to be celebrated. It is unfortunate that this bold start is immediately paused for a preview of the contents which offers nothing save for a promise of free gifts in the subsequent issue. A small text introduction is always preferable to these clip art-like illustrations. Thankfully, the selected images are mostly good, though I'm not sure what to make of Ant Man.
A very slight story, with an amusing use of the Hulk's body chemistry to propel the plot. For a three-page strip, this has an awfully high body-count, highlighting the casually-handled mortality rate in superhero comics. There's also the problem of the Hulk's haircut, which is especially distracting. The ending has the hallmark of old morality plays, which seem very dated now, though oddly works to the story's advantage.
Mordred, learning of the Black Knight's return, sets his nightmarish birds of prey loose. Two rockets manage to dismount the knight, and...
The story cuts off, mid-scene. While the story serves as a perfectly reasonable introduction to the character, having such an abrupt ending really affects the way the story is received. There's a great atmosphere delivered through very attractive art, but there are too many events crammed into the first installment, without explanation, that I'm left feeling slightly short-changed by the strip. I've got a feeling this is a story which would greatly benefit from being read through without interruption.
Fury gets Duggan to accompany him on a separate line of investigation, but come up empty in the records. Gaffer and Pallis report that someone replaced components, as well as installing a hologram projector behind panelling. Before anything else can be revealed, the Heli-Carrier goes on Red Alert - a missile which splits into seven warheads is about to strike. They are stopped, and a trace of the final detonation pattern reveals a pattern identical to that which appeared in the training area.
This is a beautiful, and SF-heavy, introduction to Fury, with enough background to tie the story to American comics, and a decent mystery for him to solve. While Richardson is no Steranko, he gives the visuals everything he's got - occasionally nearing iconic imagery, as with the shot of Fury, gun held in front of him. It isn't an entirely successful opening, but has a quirky style I could grow to like.
While the story is paper-thin, the atmosphere generated in the strip is far more resonant than the rest of the title combined, instantly setting a tone slightly darker than mainstream Marvel usually employs. There aren't many characters who brand their enemies, and this is the big selling point for the character.
And no, in case you were wondering - the sticker album wasn't located with this issue.
24 pages. B&W contents.
Marvel Comics, Ltd.
At last... in his own comic!
Edited by Dez Skinn.
Cover by Brian Bolland.
Sal Buscema Hulk head placed on Bolland Hulk body.
Bagged with free Hulk sticker album and stickers.
Contents:
2 Hulk Comic Introductory page. / Indicia
3 The Incredible Hulk UNTITLED [Storm Over Arbory] w: Steve Moore; a: Dave Gibbons.
6 The Black Knight UNTITLED [Rare Blood Delivery] w: Steve Parkhouse; p: Steve Parkhouse, i: John Stokes.
9 From Trebor Double Agents H.Q. advertisement.
10 Watch out Hulk! Rampage Monthly now features The X-Men (one third page) in-house advertisement. / Journey into the world of the Weird -- the Occult -- the Magical (one third page) in-house advertisement for Rampage Monthly. / The Micronauts (one third page) in-house advertisement for Star Wars Weekly.
11 Nick Fury, Agent of S.H.I.E.L.D. UNTITLED [Seven Stars, Seven Missiles] w: Steve Moore; a: John Richardson.
15 2 More Triumphs from Marvel (half page) in-house advertisement for Savage Sword of Conan and Starburst. / 111 Stamps (All Different) Free (half page) advertisement for Bridgnorth Stamp Co. Ltd.
16 Ant-Man The Man in the Ant Hill w: Stan Lee; p: Jack Kirby, i: Dick Ayers.
r: edited from Tales to Astonish (Marvel Comics) #27 (Jan 1962).
19 Don't Miss the Latest Issue of Marvel Comic (half page) in-house advertisement. / On Sale Now - Spider-Man Comic (half page) in-house advertisement.
20 Night-Raven UNTITLED [] w: Steve Parkhouse; a: David Lloyd.
23 Star Flight News Zero Minus 15 (half page) advertisement for Starflight Rocket Fleet model toys. / Every Week Marvel Comic (half page) in-house advertisement.
24 The Incredible Hulk is just too big for only one comic! in-house advertisement for Rampage Magazine.
There's something slightly off about Bolland's cover, which isn't entirely successfully made to fit Marvel house style by the use of a Sal Buscema head, though the use of new material - any new material - in a Marvel title is to be celebrated. It is unfortunate that this bold start is immediately paused for a preview of the contents which offers nothing save for a promise of free gifts in the subsequent issue. A small text introduction is always preferable to these clip art-like illustrations. Thankfully, the selected images are mostly good, though I'm not sure what to make of Ant Man.
Victim of Gamma Radiation, Bruce Banner now finds himself transformed in times of stress into the most powerful creature ever to ealk the Earth.Arbory is in the midst of one of the most vicious electrical storms in living memory, which has plunged the inhabitants into darkness. The Hulk, struck by lightning, is somehow able to hold the charge - glowing incandescent blue - which terrifies locals, believing aliens have landed. A mugging, suddenly illuminated by the Hulk's accidental intervention, turns to murder when the victim recognises his assailants. Fleeing the scene, they run into the Hulk...
A very slight story, with an amusing use of the Hulk's body chemistry to propel the plot. For a three-page strip, this has an awfully high body-count, highlighting the casually-handled mortality rate in superhero comics. There's also the problem of the Hulk's haircut, which is especially distracting. The ending has the hallmark of old morality plays, which seem very dated now, though oddly works to the story's advantage.
Somewhere in the skies over South-West England a military helicopter in engaged upon a mission of mercy... Carrying vital medical supplies to a hospital in Cornwall, cut off by freak storms and blizzards...As the cloud cover breaks, the pilot observes the Black Knight flying through the air on his steed, a distracting enough sight to cause a crash. The Black Knight lands in order to determine the nature of the pilot's quest, and - upon learning that a rare blood type is being transported - decides to take matters into his own hands. Far below, old Sarah Mumford - out collecting firewood - considers the 'dark rider' a bad omen, while an armed Harrier takes off with the intent of taking down a UFO. Or an unidentified knight on his flying horse, if you prefer.
Mordred, learning of the Black Knight's return, sets his nightmarish birds of prey loose. Two rockets manage to dismount the knight, and...
The story cuts off, mid-scene. While the story serves as a perfectly reasonable introduction to the character, having such an abrupt ending really affects the way the story is received. There's a great atmosphere delivered through very attractive art, but there are too many events crammed into the first installment, without explanation, that I'm left feeling slightly short-changed by the strip. I've got a feeling this is a story which would greatly benefit from being read through without interruption.
Thousands of feet above the Eastern seaboard of the United States, a gigantic Heli-Carrier hangs motionless and quiet... the mobile command headquarters of the organisation known as SHIELD...Utilising the training room to keep in top shape, Nick Fury is distracted by the sudden appearance of seven glowing stars in a circle - long enough to allow a blast to hit him, numbing his arm. Duggan races to shut the power down, though Fury deals with the problem himself, blasting the control unit. Sidney E. Levine, "Gaffer," SHIELD's weaponry expert and inventor, and Carlyle Pallis, head of SHIELD's internal security, are summoned to investigate whether the stars were the result of malfunction or sabotage.
Fury gets Duggan to accompany him on a separate line of investigation, but come up empty in the records. Gaffer and Pallis report that someone replaced components, as well as installing a hologram projector behind panelling. Before anything else can be revealed, the Heli-Carrier goes on Red Alert - a missile which splits into seven warheads is about to strike. They are stopped, and a trace of the final detonation pattern reveals a pattern identical to that which appeared in the training area.
This is a beautiful, and SF-heavy, introduction to Fury, with enough background to tie the story to American comics, and a decent mystery for him to solve. While Richardson is no Steranko, he gives the visuals everything he's got - occasionally nearing iconic imagery, as with the shot of Fury, gun held in front of him. It isn't an entirely successful opening, but has a quirky style I could grow to like.
It all began only a few weeks ago. Pym was working on a fantastic project. A secret serum. Anything could be reduced in size and shipped for a fraction of the cost! An entire army could be transported in one airplane... And finally... for Henry Pym, success!Another outing for the origin of Ant-Man, albeit a curtailed one. It isn't bad, but overly familiar thanks to repeated appearances.
Night-time in the city, in a downtown hotel room a high-level business conference approaches stalemate...As negotiations between criminal groups break down, Night-Raven makes his presence known. Escaping out a window as gunfire ricochets around him, Night-Raven grabs Granacco and pulls him up to the roof. Distracting two of the mobsters, he sneaks back to the conference room and brands the third criminal, leaving his calling card before departing unseen.
While the story is paper-thin, the atmosphere generated in the strip is far more resonant than the rest of the title combined, instantly setting a tone slightly darker than mainstream Marvel usually employs. There aren't many characters who brand their enemies, and this is the big selling point for the character.
And no, in case you were wondering - the sticker album wasn't located with this issue.
Saturday, November 3, 2018
On This Day: 03 Nov
Jinty and Lindy (IPC Magazines Ltd.) #[??] (08 Nov 1975).
Britain's Best Political Cartoons 2016 edited by Tim Benson. (Random House Books; 2016) ISBN-13: 978-1847947932.
Dan Dare: The 2000AD Years Vol.2 by Chris Lowder, Gerry Finley-Day and Dave Gibbons. (Rebellion; Nov 2016) ISBN-13: 978-1781-08460-1.
The 2000AD Script Book (Rebellion; Nov 2016) ISBN-13: 9781781084687.
First Appearances:
Return to Armageddon in 2000 A.D. (IPC Magazines Ltd.) Prog 185 (08 Nov 1980).
Ted Chowdhary (The Hard Men) in Eagle (IPC Magazines Ltd.) #242 (08 Nov 1986).
Jerry Clovis (The Hard Men) in Eagle (IPC Magazines Ltd.) #242 (08 Nov 1986).
Births:
Jesús Blasco (1919); Paul Michael Thomas (1961); Karen Ellis
Notable Events:
Spider-Man made a personal appearance at S. Webb in Menai Bridge and Northern Ireland in 1984.
The Revolver Hallowe'en Tour descended on Calamity Comics, 160 Station Road, Harrow, Middlesex, in 1990, before concluding at Forbidden Planet, 71 New Oxford Street, London, where special guest appearances were arranged.
The Comic Con Co. Ltd. held a creditors' meeting under the 1986 Insolvency Act in 2015.
Britain's Best Political Cartoons 2016 edited by Tim Benson. (Random House Books; 2016) ISBN-13: 978-1847947932.
Dan Dare: The 2000AD Years Vol.2 by Chris Lowder, Gerry Finley-Day and Dave Gibbons. (Rebellion; Nov 2016) ISBN-13: 978-1781-08460-1.
The 2000AD Script Book (Rebellion; Nov 2016) ISBN-13: 9781781084687.
First Appearances:
Return to Armageddon in 2000 A.D. (IPC Magazines Ltd.) Prog 185 (08 Nov 1980).
Ted Chowdhary (The Hard Men) in Eagle (IPC Magazines Ltd.) #242 (08 Nov 1986).
Jerry Clovis (The Hard Men) in Eagle (IPC Magazines Ltd.) #242 (08 Nov 1986).
Births:
Jesús Blasco (1919); Paul Michael Thomas (1961); Karen Ellis
Notable Events:
Spider-Man made a personal appearance at S. Webb in Menai Bridge and Northern Ireland in 1984.
The Revolver Hallowe'en Tour descended on Calamity Comics, 160 Station Road, Harrow, Middlesex, in 1990, before concluding at Forbidden Planet, 71 New Oxford Street, London, where special guest appearances were arranged.
The Comic Con Co. Ltd. held a creditors' meeting under the 1986 Insolvency Act in 2015.
Thursday, October 18, 2018
Warrior #1
Mar 1982. Cover price 50p.
52 pages. B&W contents.
Quality Communications, Ltd.
Edited by Dez Skinn.
Cover by Steve Dillon, c: Garry Leach.
Contents:
.2 Laser Eraser & Pressbutton Untitled illustration by Garry Leach.
.3 Contents / Indicia
.4 Freedom's Road Editorial by Dez Skinn.
.5 Marvelman ...A Dream of Flying w: Alan Moore; a: Garry Leach.
13 Marvelman The Mightiest Man in the Universe text feature by Dez Skinn.
17 The Spiral Path First Prologue w:/a: Steve Parkhouse.
22 A True Story? w: Steve Moore; a: Dave Gibbons.
24 The Legend Of Prester John w: Steve Moore; a: John Bolton.
50 Warriors All text feature on creators
There's no sense of historic importance within the pages of the first issue of Warrior, but the watershed moment is there nevertheless. Steve Dillon's cover isn't the best the title would have, and Axel's leg looks strange - or, I should clarify, stranger than usual. That the cover doesn't feature either Marvelman or V for Vendetta (which, all these years later, could be considered the big-ticket stars) is somehow appropriate. Warrior has a sense of calm assurance in its' contents, best summed up by Dez Skinn's editorial:
Marvelman's return to the printed page stands out not because it is a British superhero, but because it is a superhero story without ridiculous strained faces, bulging muscles, and hysterical, hyperbolic dialogue so familiar to the genre. Right up until the appearance of Marvelman, in a blaze of lightning, the story could have been for a Doomwatch or The Professionals strip. It is set in the world around us, rather than one in which people take to the skies with abandon.
While the accompanying feature is a brief three-and-a-half pages, it fills in the history admirably. A regular series of articles, with greater focus on key moments of the character's past in each, could have been more helpful for readers without any knowledge of Marvelman and the (often very strange) friends, foes and adventures associated with the title. And some of us really, really like the war stories. Unfortunately, the reprinted panels show just how important good lettering is on the printed page - one aspect I would gladly see tinkered with for reprint purposes.
The Spiral Path has a fast-moving introduction which breathlessly informs us of the important details, though doesn't skimp on style in doing so. The land of Tairngir, invaded by hostile forces, is the setting, and King Galbrain - now deposed - approaches the furthermost border with a handful of his warriors, riding through torrential rain. A druid assists them as enemies approach, leading the men to a place in the mountains where they can shelter. It has the feel of a world where life is cheap, and fans of Game of Thrones should take to it effortlessly.
Comic strips about comic strips often walk a thin line - too cartoony and you are in fourth wall-breaking territory, while too serious a strip can be hard to take enjoyment from. A True Story? straddles the line with finesse, believably set in a solid world before dropping into the ninth dimension with exquisite ease. Dave Gibbons draws aliens as if they are real. They are beautiful in their own way, and the story they exist in is amusing enough to justify its inclusion.
Taken from a 12th century tale, The Legend of Prester John is set during the sixth crusade, and features the most unlikely of protagonists - Sir Randolph, too old to defend himself, and suffering from an ailment of the lungs. He is saved from certain death at the hands of heathens, and in his shocked state is convinced that he glimpsed the form of Prester John. Sir Randolph tells the story of Prester John to Ganelon, the son of his saviour. It is an understated story, beautifully written and drawn, and accomplishes more in seven pages than many can manage in twice that space.
Alan Moore and David Lloyd's V for Vendetta should need no introduction. Chiaroscuro visuals, ridiculously detailed in places, are complimented by masterful lettering which bleeds into the images. There are flourishes which elevate the story in subtle ways - chapter titles, reminiscent of silent movies, set the pace. V's mask, three-dimensional in design, recalls the free cardboard masks given free in Buster and the like, and signal the character as a mythic hero. We are deep in Scarlet Pimpernel territory, albeit one without the safety net of an assured happy ending.
Laser Eraser & Pressbutton takes what could have been an entirely predictable outing and turns expectations around in an amazingly short page count, proving that the range of material approached by the title would not be constrained by expectations. On the planet Ormuz, seemingly influenced by the cityscape in Blade Runner, Oris Pelagon is assassinated by a sniper (prompting the funniest line in the issue), and the pair of miscreants responsible... Well, those are our heroes.
Mysta "Laser Eraser" Mistralis and Pressbutton are soon made aware that their target, Venivi Divici, a dream-racketeer, wasn't the subject of the hit, but Oris instead. Worse, he was the Minister of Weather, not to mention a duly-elected Priest of Skatl. Threatened with arrest, Pressbutton does his thing, which isn't a thing we get the privilege of witnessing, but is assuredly a thing which leaves three people dead.
The feature at the back, in which Warrior creators are given brief biographies, is better than it sounds and not as out of place as it seems. Unfortunately, it doesn't go far enough in certain regards - we don't, for instance, get birthdates for all the contributors, chronological lists of works at the time, nor a cohesive layout. A minor quibble, perhaps, but the staggered layout really is distracting for me.
Capping off an exceptional debut, the Forbidden Planet advertisement at the back is classic Bolland.
52 pages. B&W contents.
Quality Communications, Ltd.
Edited by Dez Skinn.
Cover by Steve Dillon, c: Garry Leach.
Contents:
.2 Laser Eraser & Pressbutton Untitled illustration by Garry Leach.
.3 Contents / Indicia
.4 Freedom's Road Editorial by Dez Skinn.
.5 Marvelman ...A Dream of Flying w: Alan Moore; a: Garry Leach.
13 Marvelman The Mightiest Man in the Universe text feature by Dez Skinn.
17 The Spiral Path First Prologue w:/a: Steve Parkhouse.
22 A True Story? w: Steve Moore; a: Dave Gibbons.
24 The Legend Of Prester John w: Steve Moore; a: John Bolton.
32 V for Vendetta Chapter One: The Villain w: Alan Moore; a: David Lloyd, lettering by Zelda Estrella.
38 Father Shandor, Demon Stalker Spawn from Hells Pit! w: Steve Moore & Dez Skinn; a: John Bolton.
r: House of Hammer (General Book Distribution) #08 (Mar-Apr 1977).
44 Laser Eraser & Pressbutton w: Pedro Henry (Steve Moore); a: Steve Dillon.50 Warriors All text feature on creators
There's no sense of historic importance within the pages of the first issue of Warrior, but the watershed moment is there nevertheless. Steve Dillon's cover isn't the best the title would have, and Axel's leg looks strange - or, I should clarify, stranger than usual. That the cover doesn't feature either Marvelman or V for Vendetta (which, all these years later, could be considered the big-ticket stars) is somehow appropriate. Warrior has a sense of calm assurance in its' contents, best summed up by Dez Skinn's editorial:
Personally, I've always felt embarrassed when looking back on first issues I've been involved in. We've usually managed to get things right after a few issues, but not this time. We wanted to get it right first time round.You can read that as arrogance if you like, but he's not wrong. It a mission statement which would soon show just how far from standard the title was to be. The title feels weighty, it looks good, and the contents...
Marvelman's return to the printed page stands out not because it is a British superhero, but because it is a superhero story without ridiculous strained faces, bulging muscles, and hysterical, hyperbolic dialogue so familiar to the genre. Right up until the appearance of Marvelman, in a blaze of lightning, the story could have been for a Doomwatch or The Professionals strip. It is set in the world around us, rather than one in which people take to the skies with abandon.
While the accompanying feature is a brief three-and-a-half pages, it fills in the history admirably. A regular series of articles, with greater focus on key moments of the character's past in each, could have been more helpful for readers without any knowledge of Marvelman and the (often very strange) friends, foes and adventures associated with the title. And some of us really, really like the war stories. Unfortunately, the reprinted panels show just how important good lettering is on the printed page - one aspect I would gladly see tinkered with for reprint purposes.
The Spiral Path has a fast-moving introduction which breathlessly informs us of the important details, though doesn't skimp on style in doing so. The land of Tairngir, invaded by hostile forces, is the setting, and King Galbrain - now deposed - approaches the furthermost border with a handful of his warriors, riding through torrential rain. A druid assists them as enemies approach, leading the men to a place in the mountains where they can shelter. It has the feel of a world where life is cheap, and fans of Game of Thrones should take to it effortlessly.
Comic strips about comic strips often walk a thin line - too cartoony and you are in fourth wall-breaking territory, while too serious a strip can be hard to take enjoyment from. A True Story? straddles the line with finesse, believably set in a solid world before dropping into the ninth dimension with exquisite ease. Dave Gibbons draws aliens as if they are real. They are beautiful in their own way, and the story they exist in is amusing enough to justify its inclusion.
Taken from a 12th century tale, The Legend of Prester John is set during the sixth crusade, and features the most unlikely of protagonists - Sir Randolph, too old to defend himself, and suffering from an ailment of the lungs. He is saved from certain death at the hands of heathens, and in his shocked state is convinced that he glimpsed the form of Prester John. Sir Randolph tells the story of Prester John to Ganelon, the son of his saviour. It is an understated story, beautifully written and drawn, and accomplishes more in seven pages than many can manage in twice that space.
Alan Moore and David Lloyd's V for Vendetta should need no introduction. Chiaroscuro visuals, ridiculously detailed in places, are complimented by masterful lettering which bleeds into the images. There are flourishes which elevate the story in subtle ways - chapter titles, reminiscent of silent movies, set the pace. V's mask, three-dimensional in design, recalls the free cardboard masks given free in Buster and the like, and signal the character as a mythic hero. We are deep in Scarlet Pimpernel territory, albeit one without the safety net of an assured happy ending.
Laser Eraser & Pressbutton takes what could have been an entirely predictable outing and turns expectations around in an amazingly short page count, proving that the range of material approached by the title would not be constrained by expectations. On the planet Ormuz, seemingly influenced by the cityscape in Blade Runner, Oris Pelagon is assassinated by a sniper (prompting the funniest line in the issue), and the pair of miscreants responsible... Well, those are our heroes.
Mysta "Laser Eraser" Mistralis and Pressbutton are soon made aware that their target, Venivi Divici, a dream-racketeer, wasn't the subject of the hit, but Oris instead. Worse, he was the Minister of Weather, not to mention a duly-elected Priest of Skatl. Threatened with arrest, Pressbutton does his thing, which isn't a thing we get the privilege of witnessing, but is assuredly a thing which leaves three people dead.
The feature at the back, in which Warrior creators are given brief biographies, is better than it sounds and not as out of place as it seems. Unfortunately, it doesn't go far enough in certain regards - we don't, for instance, get birthdates for all the contributors, chronological lists of works at the time, nor a cohesive layout. A minor quibble, perhaps, but the staggered layout really is distracting for me.
Capping off an exceptional debut, the Forbidden Planet advertisement at the back is classic Bolland.
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