Warrior #2

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

Edited by Dez Skinn.

Cover by Garry Leach.

Contents:

 2 Twilight World Illustration by Jim Baikie.

 3 Warrior title credits. / Contents / Indicia

 4 Marvelman Untitled part two, w: Alan Moore; a: Garry Leach.

10 Comic Showcase advertisement for The Old Comic Shop, London; a: Marshall Rogers.

11 The Life, Death & Earlier Days of Axel Pressbutton, Esquire text feature by Dez Skinn; illustrated by Steve Dillon & Curt Vile [Alan Moore].

15 Quality Mail Sales (two thirds page) in-house advertisement for mail-order service.

16 V for Vendetta Chapter Two: The Voice w: Alan Moore; a: David Lloyd, lettering by Zelda Estrella.

23 Father Shandor, Demon Stalker River of Corpses... Tower of Death w: Steve Moore, from a plot by Dez Skinn & John Bolton; a: John Bolton.

r: House of Hammer (Top Sellers, Ltd.) #16 (Jan 1978).

30 Madman Visions of Stasis w:/a: Paul Neary.

35 The Spiral Path Untitled w:/a: Steve Parkhouse.

40 Laser Eraser and Pressbutton Untitled w: Pedro Henry (Steve Moore); a: Steve Dillon.

49 Dispatches text feature.

50 Roar - the Movie (half page) advertisement; w: Dez Skinn; a: Steve Dillon.

51 HOH Collector's Item Back Issues in-house advertisement.

52 People Like Us Shop at... Forbidden Planet advertisement; a: Brian Bolland.

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

News reports speculate on events at the Larksmere nuclear power station, with rumination about the nature of one man's second degree burns, and the identification of "a man-like object rising into the sky at a tremendous speed." Mike, still in his Marvelman form, arrives home to Liz, who doesn't recognise him. Talking over coffee, Mike explains his past to Liz about working as a copy boy for the Daily Bugle, and seeing a vision which conferred upon him miraculous powers. Liz laughs at the ridiculous nature of his story, claiming his account sounds stupid.

"I suppose you're right. Actually saying it out loud like that, it does sound... Well... Pretty unlikely. I never really thought about it before. But I had to believe it. Don't you see? I was Marvelman! I was a being of almost unlimited power!!

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

You're laughing again.

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

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

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

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

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

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

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

Martin Schiller, an epileptic, finds himself in care, and is eventually rendered catatonic where he receives visions. A strange man gives him a substance which sends Martin back to stasis, stating:

"There are six hundred and thirty three different elements of existence... and each possesses an earth which differs slightly from all the others! The people of most of these earths have recourse to stasis through some means or another... Our Earth lies in the 18th element and we are involved in a vast struggle against all the other existences, Martin... and we need your help!"

Told only to trust those from the 18th existence or the Observers - who are neutral, and above reproach - on his journey.

It is an incredibly odd strip, with comic-book conventions, such as multiple realities, vying with the more realistic fate of Martin's physical body. To say that it is difficult to get a handle on the scenario and main character is an understatement. It doesn't quite work for me, with far too much incident and not enough set-up.

Across the plains of Tairngir they marched - the Legion of Lost Souls - doomed to eternal battle for their relic-king Artûk.

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

Artûk! Lord of death, prince of the air, stealer of dreamers' souls. A triumph of demented will over dead flesh!

The Spiral Path is proving to be the hidden delight in Warrior, with Nuada racing through enemy lines - despite being injured in his attempt, he faces the captain of the enemy forces, who may be more than any warrior could expect to defeat.

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

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

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

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

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 #4

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

Edited by Dick Hansom.

Cover by John Bolton.
r: Army of Darkness (Dark Horse) #02 (Dec 1992).

Contents:

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

 3 Total Carnage contents. / Indicia

 4 Army of Darkness, part four, 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) #01 (Nov 1992).

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

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

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

18 Batman Vs Predator, part four, 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).

30 Hard as Rothrock text feature by David Bryan; photographs (uncredited).

31 Mask, part four, What Has Gone Before recap; illustration by Doug Mahnke.

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

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

38 Full Plastic Jacket (With Sleeve) text feature by Lee Brimmicombe-Wood; photographs (uncredited).

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

40 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).

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

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

You can't fault the presentation, though with a John Bolton image it is difficult to create an unattractive cover. A muted contents page colour scheme continues the darkness which is promised, and the image chosen to adorn the recap page for Army of Darkness is as appropriate as ever. Bolton's art is in a class of its own, effortlessly bringing the film to life on the page.

Action Station features a momentary lapse of judgement from Hughes, normally reliable for presenting film news, in reporting the death of Brandon Lee. Under the heading "Exit the Dragon" (dude, seriously?) we get brief details of the incident. Then, as if the depressing fact that such a talented and charismatic person has died so needlessly weren't enough, we are urged to splash out on Showdown in Little Tokyo.

I shouldn't have to explain this, but I'll do so regardless.

Nobody gets to hawk videocassettes (or DVDs) of someone who has recently passed if they can only be bothered to devote a third of a page to the death. A full page gives the right to mention the release, but noting the label and price is simply tacky. It isn't quite as bad as attending the funeral in the hopes of shifting a few Crow t-shirts, but it isn't far off. Hughes shouldn't be picked out specifically for such a misguided approach, as at least three film magazines published insensitive and idiotic pieces in the aftermath of Lee's death.

Also mentioned is a proposed Die Hard sequel (initially dubbed Die Hardest in a startling display of originality) which sounds much like 1995's Under Siege 2, and the formation of a Terminator fan club.

The continuing Batman Versus Predator saga seems never-ending, and although there are a few interesting panels, the main problem is the entire lack of lethal danger in the Predator's rampage - not that random civilians are safe, but none of the Batman cast are possibly going to be killed off, rendering the entire story a pointless diversion. Had Commissioner Gordon or Alfred been sewered by the alien menace, then the story might have contained the necessary interest, but I'm struggling through the story with only minimal interest.

Cynthia Rothrock gets a page-long feature on her career thus-far, expressing the hope that a mainstream studio will pick her up for a major release. That she found it so difficult to break into US films says more about Hollywood than her talent - there are scenes in her films which, all these years on, are still incredible feats.

The Mask is as hilarious as ever, with a couple of perfect lines of dialogue to keep the strip from turning into purely visual comedy. Deprived of his mask, Stanley is thrown out of Katherine's apartment. I've always been impressed with the fluidity of the strip, moving from slapstick to drama without pause, and employing numerous visual tricks from cartoons, newspaper strips, and old comics.

Lee Brimmicombe-Wood's piece on Full Metal Jacket makes for interesting reading, highlighting some of the film's deficiencies well, though remains positive regarding the quality of film-making on display, but seems too easy a film to pick on. It really is an odd film to devote so much space to, as there were a great many lesser-known videos demanding attention at the time. By expending more words on an already heavily-reviewed film, the usefulness of his thoughts are diminished. I would much rather have obscure or disregarded films reappraised in a title such as this.

A title which is still, overall, extremely impressive.

#03

Total Carnage

#05

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

On This Day: 14 Nov

The Best of Britain’s Political Cartoons 2013 edited by Tim Benson. (Scribe UK; 2013) ISBN-13: 978-1922247049.

Births:

Alberto Giolitti (1923); Carlos Pacheco (1962)

Deaths:

Malcolm Muggeridge (1990)

Notable Events:

Alan Moore appeared on the music television show The Tube in 1986.
Signing event at the Natural History Museum in South Kensington for Dinosaurs: A Celebration in 1992. Dan Abnett, John Bolton, Doug Braithwaite, Phil Gascoine, John Higgins, Kev Hopgood, Andy Lanning, Dermot Power, Liam Sharp and Nick Vince were present to sign copies of the book.
Stan Lee continued his signing tour at Forbidden Planet, 59 Grainger Street, Newcastle upon Tyne, in 1991.
Simon Coleby, Gary Frank and Paul Neary signed copies of Marvel UK comics in a Forbidden Planet promotion at The Conservatory, St. Giles High Street, in 1992. Primarily an event to celebrate the launch of Death's Head II, the signing also served to highlight the success of Overkill.
The first episode of Bernard's Watch broadcast in 1997. Though not based on a comic, it shares many similarities to the Stan Still's Stopwatch strip originally published in Buster.
Beanotown Racing PC game released in 2003.
Thought Bubble Comic Convention began, in Leeds at Saviles & Royal Armouries Hall, in 2011.
An Evening with Jonathan Cape Graphic Novels took place at Arnolfini Gallery, Bristol, in 2012.
Leeds Comic Con, part of Thought Bubble, the Leeds Comic Art Festival, began in 2015.

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

Dracula #2

09 Feb 1993-01 Mar 1993. £1.25.
40 pages. Full colour contents.
Dark Horse Comics International.

Edited by Dick Hansom.

Painted cover by John Bolton.

Contents:

.2 Dracula introduction text (uncredited). / Contents / Indicia

.3 Bram Stoker's Dracula, part two, w: Roy Thomas; p: Mike Mignola, i: John Nyberg, lettering by John Costanzac, colouring by Mark Chiarello.

r: Bram Stoker's Dracula (Topps) #02 (Nov 1992).

20 Bram Stoker's Dracula glossy full color film poster.

35 Inside Coppola's Dracula The Players, part two, text feature by Gary Gerani.

37 Bloodlines text feature compiled by Dave Hughes.

39 Subscribe - Comics for the '90s

40 Even in Your Dreams, You Can't Escape... Aliens in-house advertisement.

John Bolton's cover injects a cinematic feel to the title's appearance, utilizing a visual cue from Nosferatu, which was based upon the same source novel. It's slightly in-jokey, but he gets away with it thanks to sheer skill. There's an introduction to the adaptation, covering the basics, which is a delight to see, before the adaptation resumes. Truly excellent artwork from Mignola, and despite drenching the pages in black, this never looks muddy or difficult to read - even images coloured dark blue seem to be balanced.

The work really benefits from a larger page size, and is much more attractive than the Topps version.

I'm not entirely sold on the inclusion of the film poster (which has a decidedly rough and ready appearance), but it shouldn't be the primary reason people would want to pick this issue up. It isn't a brilliant design, using far too many filters over the selected images, and the much more effective red logo poster is likely to be better remembered after all these years. Still, it is free...

Inside Coppola's Dracula, Gary Gerani's text feature, covers the cast selection with an eye for minor details. As there isn't much room to play with, he wisely gives a brief account of the preparations Coppola made to get his actors prepared, then moves on to individual pieces on Gary Oldman, Winona Ryder, Anthony Hopkins, Keanu Reeves, Tom Waits, and Sadie Frost. It is a very varied cast, and the disparity in the quality of each performance isn't addressed, but we do get an insight into why they were selected.

Following this, Dave Hughes' Bloodlines, which is general vampire news rather than focusing on Dracula, feels slightly out of sequence. While there are plenty of reference guides to Dracula, relating the important points in the character's history, there hasn't been a proper step-by-step history which takes in everything. By skipping straight to then-current cinematic outings, much of the interesting and odd footnotes are brushed aside.

Can't we get comics which contain features which challenge magazines and websites for their quality of research? It isn't difficult to pull together a truly important and worthwhile history on a character as comprehensively covered as Dracula.

The mention of Cure, a film about AIDS which Coppola was hoping to direct after Dracula is another in a long list of films which never appeared, though yet had people excited at the prospects. It is one which still sounds interesting, and hopefully hasn't been completely forgotten. I've always been interested in medical-themed films, and it has much promise.

Worth picking up for the cover alone, but Mignola's work demands attention.

Dracula #1

Dracula

Dracula #3

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.

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.

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.