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

Total Carnage #3

Jun 1993. Cover price £1.50.
48 pages. Colour & B&W.
Dark Horse International

Edited by Dick Hansom.

Cover by Art Suydam.
r: Batman Versus Predator (Dark Horse) #01 [Predator cover] (Dec 1991).

Contents:

 2 Ever Had One of those Days? in-house advertisement for Total Carnage.

 3 Total Carnage contents. / Indicia

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

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

 5 Batman Vs Predator, part three, 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) #01 (Dec 1991).

13 Action Stations text feature by Dave Hughes.

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

16 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) #01 (Nov 1992).

24 The Vast Action Hero text feature by Dave Hughes.

26 Mask, part three, What Has Gone Before recap; illustration by Doug Mahnke.

29 The Mask What Revenge Means to Me. w: John Arcudi; a: Doug Mahnke, lettering by Pat Brosseau.

r: Mayhem (Dark Horse) #02 (Jun 1989).

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

37 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) #01 (Aug 1992).

47 Action! Adventure! Attitude! Amen! (half page) in-house advertisement. / Dark Horse Checklist (half page) titles on sale in June.

48 Dark Horse International Presents Manga Mania in-house advertisement.

If anyone questions how much affect changing the colour scheme of a page can have, then they need look no further than the third page of this issue in comparison with the previous issue. While the subdued tone of the second issue - the use of red enlivens proceedings, as if the title has had a shot in the arm. More care has been taken with the colour balancing on Batman Versus Predator, save for the final page. The brighter look is refreshing, and while the muddy final page is a slight setback, it is an iconic image to linger on.

After treading water for two issues, Action Station finally gets a chance to shine, unencumbered by promotional concerns, with a glimpse at a very odd moment in Hollywood history. Columbia's decision to arrange for an advert for The Last Action Hero to be shot into space, in a joint promotion with AT&T and NASA, is... Strange. It is the kind of film promotion Peter Dragon would have considered, and one can only ponder how much Bolivian marching powder was consumed while brainstorming that one.

The other item of note is that, amusingly, Steven Seagal's films aren't popular in Pakistan. Was he ever really in the same league as Stallone or Schwarzenegger? Tom Cruise is reported to have had three flops in a row in the Asian market, and Mickey Rourke is very big in Europe. THIS is the kind of weird, informative information which the feature should have been running from the start, and is a welcome change.

Army of Darkness hits its stride, with some of the film's most memorable lines, as Ash is hailed as a saviour. I challenge anyone reading not to smile at the line "this is my boom-stick," which has to be one of the best quips in a film full of great dialogue.

As this was very much a nineties title, there's a feature on Schwarzenegger. Not that he needed further promotion, but at least it is kept to two pages.

Setting out to resolve all his outstanding grudges, Stanley's brand of vigilante "justice" takes The Mask from being a parody of superhero tropes into horror territory. Much funnier than either the film or cartoon adaptation, the strip's sense of twisted logic is a delight to behold.

It may be due to the manner in which the strips have been fitted in to the title, or some cosmetic tweaks, but this issue feels as if it is finally delivering on the promise of its name. A sense of confidence in the material is clear, and even the self-promotion (for both Total Carnage and Manga Mania) seem to have more attention paid to their composition than Dark Horse has so far shown.

#02

Total Carnage

#04

Total Carnage #2

May 1993. Cover price £1.50.
48 pages. Colour & B&W.
Dark Horse International

Edited by Dick Hansom.

Cover by John Bolton.
r: Army of Darkness (Dark Horse) #01 (Nov 1992)

Contents:

 2 Forbidden Planet advertisement.

 3 Total Carnage contents. / Indicia

 4 Batman Vs Predator, part two, What Has Gone Before recap; painting by Arthur Suydam.

r: cover from Batman Versus Predator (DC / Dark Horse) #03 (Feb 1992).

 5 Batman Vs Predator, part two, 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) #01 (Dec 1991).

15 Action Stations text feature by Dave Hughes.

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

18 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) #01 (Nov 1992).

26 Raimi Knights text feature by Seamus A. Ryan.

28 Mask, part two, What Has Gone Before recap; illustration by Doug Mahnke.

29 The Mask Who's Laughing Now? w: John Arcudi; a: Doug Mahnke, lettering by Pat Brosseau.

r: Mayhem (Dar Horse) #01 (May 1989).

35 Killing Games text feature by Dave Hughes.

36 Grendel, part two, What Has Gone Before recap; illustration by Patrick McEown & Matt Wagner.

37 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) #01 (Aug 1992).

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

48 Timeless Terror from Dark Horse in-house advertisement for Dracula #06.

A John Bolton cover can improve any title. Inside, Batman Vs Predator improves, with clearer reproduction assisting the story, though there are still spots where the darkness of the strip causes problems. Some oddities in colouring, with the oval logo on Batman's chest briefly appearing red, is exactly the kind of minor annoyance which can jolt me out of the story, but isn't enough to spoil the mood which has been building - the final-panel appearance of the Predator is a great way to conclude.

Dave Hughes' Action Station covers National Lampoon's Loaded Weapon 1 rather positively, and there's a reference to Isobar as well, for those who like tormenting themselves with the prospect of one day actually seeing the film. Point Break snags the first Video of the Month title, with James Cameron's aborted Spider-Man adaptation getting passing mention - it is almost as if the feature existed for the sole purpose of teasing people with films which were never made.

The quote - in boxout - from Columbia TriStar president J. Edward Shugrue made me smile, and justifies the existence of the feature by itself. Comedy gold.

Army of Darkness finally gets moving, with Ash getting his hand on his chainsaw - then using it to great effect. Maintaining Bruce Campbell's likeness remarkably well, the artwork throughout is fantastic, and easily better than the official film poster - as pointed out in the following article... Seamus A. Ryan covers the evolution of the Evil Dead series from its 16mm origins through to Army of Darkness' release, though the breakneck pace of the article sips over much of the juicy detail.

The Mask, suffering the worst case of Witzelsucht ever seen, is a joy. There's more violence in the handful of pages here than in the rest of the issue combined, yet the underlying humour ought to be able to override any objections. Hughes' second feature, on the relative merits of the Batman Returns versus Predator 2 games, is little more than a free plug for the Predator game, and lacks even rudimentary side-by-side analysis.

Grendel suffers the most from being chopped into segments, and there's not a great deal of progression from where it left off in the first issue. It is slightly mystifying that use wasn't made of the shorter material which ran in Dark Horse Presents, which would have fitted the format perfectly, and which (for the most part) were filled with solid storytelling and great art.

#01

Total Carnage

#03

Total Carnage #1

Apr 1993. Cover price £1.50.
48 pages. Color & B&W.
Dark Horse Comics International

Comics With Attitude!

Edited by Dick Hansom.

Cover by Simon Bisley.
r: cover from Grendel: War Child (Dark Horse) #01 (Aug 1992).

Free cover-mounted rub-on tattoo.

Contents:

.2 Contents Page / Indicia

.3 Batman Vs Predator 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) #01 (Dec 1991).

17 Action Stations text features by Dave Hughes.

19 The Evil Dead 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) #01 (Nov 1992).

25 The Mask Who's Laughing Now? w: John Arcudi; a: Doug Mahnke, lettering by Pat Brosseau.

r: Mayhem (Dark Horse) #01 (May 1989).

31 Seagal Has Landed! text feature by Dave Hughes.
32 Everybody's Kung-Fu Fighting text feature by Dave Hughes.

33 Grendel War Child [chapter 41] w: Matt Wagner; p: Patrick McEown, i: Matt Wagner, lettering by Kurt Hathaway, colouring by Bernie Mireault.

r: Grendel: War Child (Dark Horse) #01 (Aug 1992).

47 Subscribe - Comics For The '90s

48 The Galaxy's Greatest Heroes Return in Classic Star Wars in-house advertisement.

A rub-on tattoo is a rather juvenile gift for a mature readers title to bear. If it had a voucher for a free tattoo - at selected tattoo parlours - then the tone of Total Carnage might feel more solid, but I'm reminded too greatly of gifts given with Buster or The Dandy. Boasting a rather remarkable Simon Bisley Grendel cover is a massive step towards the title redeeming itself, and my confidence is further boosted by a very handsome contents page.

Batman Versus Predator begins with a championship fight between "Bull" Bersaglio and Marcus King. One viewer, enjoying a beer at home, is drawn outdoors by a noise from his dog and murdered. Alex Yeager, a criminal Bruce has managed to get close to through his business dealings, invites him to a victory celebration. Marcus King, the Heavyweight Champion, is disturbed when relaxing with his lover, and a monstrous figure easily dispatches the boxer.

Quickly removing himself from the event, Bruce rushes to the Plaza Hotel. Learning that two guards were killed, and King violently murdered, Batman pays a visit to Bersaglio in order to determine if the act was reprisal for his humiliating defeat in the ring. Batman is being watched throughout his investigation, though he doesn't know it yet.

This should have been better than it turned out, given who is involved. Detailed and interesting linework, some unusual layout choices, and compelling characters... all let down by too-dark printing, with the lower half of page 11 being incredibly difficult to read. It doesn't help that so much of the story is coloured in browns and blues, which make this strip a very unpleasant reading experience.

Dave Hughes' Action Station film feature makes much mockery of Lethal Weapon, and - showing how long ago this appeared - mentions the Corman Fantastic Four film as being in production. We all know how it turned out - yet, somehow, still manages to be more entertaining than Josh Trank's attempt. If only the font had been smaller, or more space made available, then the film news might have been worth including, but it doesn't dig deep enough to be more than moderately interesting.

The Evil Dead franchise has appeared in comic strip form before (in Samhain), and had enough of a following to make it worthwhile reprinting, but once again the printing doesn't do justice to material at hand. Once we get past the recap of events leading to Ash being stuck in 1300, the long march in captivity is recounted. It really isn't worth including this in such small chunks, as there is no way to get dragged into the story when it doesn't even get to a big scene in its alloted page-count. Despite all that, it is much better than the previous story, and John Bolton should be applauded for faithfully capturing the likeness of Bruce Campbell.

The Mask is an odd choice for inclusion, although here the big moment in the progression of the story is allowed to occur before being shortened. We get to see the titular character, though not his personality or behaviour. It is a frustrating tactic on the part of Dark Horse to present this material in bite-size installments. Who's Laughing Now? is, however, the real treat in this issue, with a final-panel payoff which acts as an origin (of sorts) for The Mask and an enticement to pick up the next issue.

We also get a Steven Seagal feature, for anyone interested. Not being a fan of The Seagull (save for his appearance in Executive Decision), it isn't long enough to convince me of his "talents," nor irreverent enough to make me smile.

Grendel is a fascinating series, and it is great to see the character getting some exposure. The opening installment of War Child here is more than enough proof that the character can stand alongside the more established characters as an example of top notch entertainment. It might, perhaps, have benefited from a text introduction to set readers up for the story, laying out the history and main players.