Psycho Gran (Titan) #01 (2014) digital edition
First Appearances:
Davock of Grey Woods in The Victor (D.C. Thomson & Co., Ltd.) #58 (31 Mar 1962).
Roy Fane (Return from Mars) in The Victor (D.C. Thomson & Co., Ltd.) #58 (31 Mar 1962).
Smasher (robot) in The Victor (D.C. Thomson & Co., Ltd.) #58 (31 Mar 1962).
Nina Coltrane (Shadows) in 2000 A.D. (Fleetway Publications) Prog 672 (31 Mar 1990).
Births:
Tony Crawley (1938); Brian Bolland (1951)
Notable Events:
The Eagle Sportsman of the Year trophy was awarded to Peter May, at the Royal Albert Hall, in 1956.
Grimbledown Down cartoon strip began in New Scientist in 1970, and ended on this day in 1994.
The Disney Mirror 8–page giveaway ended in 1994 with the 160th issue.
Gorillaz, the band's eponymously–titled debut album, released in the UK in 2001.
Kick-Ass feature film, based on the comic by Mark Millar and John Romita, Jr., released in 2010.
Bryan Talbot signed copies of his books at Forbidden Planet, 40-41 Southbridge Street, Edinburgh, in 2011. Later in the day he did a presentation at Plan B Books, 5 Osborne St, Glasgow.
Revolutionary War: Omega (Marvel) #01 (Mar 2014) released in the US in 2014.
Nigel Parkinson was featured in The Guardian's 'Work & Careers' section on this day in 2015.
Showing posts with label Brian Bolland. Show all posts
Showing posts with label Brian Bolland. Show all posts
Tuesday, March 26, 2019
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, October 27, 2018
Judge Dredd Mega-Special #1
1988. Cover price 75p.
48 pages. Colour & B&W.
Fleetway Publications.
Edited by Richard Burton.
Cover by Brian Bolland.
Contents:
The first Mega-Special is much like Dredd's appearances in 2000 A.D., but with greater room to maneuver. Under an impressive cover by Brian Bolland (who hasn't drawn a bad Dredd yet), there is a superb Fabry illustration. The contents pages allow artists to show off a little, and this is no exception - Dredd's Lawmaster really looks like a real piece of technology, though colouring is perhaps a touch too bright for Mega-City One.
The Blob begins on Pier 17 at Mega-City One's docks, where a jelly-like tentacle grabs the leg of Eric, a crane operator who is in the process of unloading cargo. The crate breaks open while dangling above his co-workers, showering them with its' contents - knives imported from New Sheffield. Dredd is dispatched to investigate, and discovers Eric's body, along with several others, in the lumber stacks. The blob-creature has made its escape, however, making its way to safety.
Forensics examine the crime scene while Dredd trails it, and they come to the conclusion that it is mutated slime-mould, most likely a Black Atlantic mutation which grabbed a lift from a passing ship in order to get into Mega-City One. The forensics team warn Dredd that it is extremely carnivorous, dosing its victims with acid, before absorbing the resulting sludge through its pores. Dredd confronts the blob, despite obvious dangers, but discovers his bullets have no effect. Worse, it begins eating through his uniform.
Firing an incendiary at the blob, Dredd orders fire teams and a med-squad to Steve McQueen Block, before seeking medical attention for his wounds. From the briefest touch, it managed to eat through Dredd's leg nearly to the bone. You can tell that everyone is having a lot of fun with the story, and some of the dialogue is solid gold:
Where The Blob excels at setting and tone through largely understated moments, The Blockers is less restrained. It is the kind of story which, if it appeared anywhere else, would be black comedy, but is - unfortunately for citizens of Mega-City One - more of a day-in-the-life strand. The focus of events is Adolf Hitler Block - 400 floors, containing 18,000 housing units, schools, shopping centres, and a hospital. 64,301 citizens crammed in like sardines, slowly going mad...
Frank Dolby, of apartment 39F, prepares for a Citi-Def combat exercise, while his wife knits a book. As Citi-Def organiser for the floor, Frank makes his way to 39G, where Carlton Einstein (a television addict) has barely left his chair for twelve years. Edith Einstein, his wife, and a compulsive shopper, is doing the family accounts as Willis, Edith and Frank's son, makes a prank call to Ed De Bono Citi-Def to warn them of Hitler Block's aggressive maneuvers against them.
Three floors above, in 42X, Rudyard Quincy decides to kill himself before he goes insane, hoping to take out the rest of the block in the process with a home-made nuclear weapon. The De Bono block cuts down Frank's unit with firearms, thanks to Willis' intervention, as the wayward youth watches on in amusement, hanging out his window. Rudyard's nuke fails, and he throws it away in disgust - landing on Willis' head as it falls.
Overjoyed at a nuke - almost literally - falling into her lap, Edith sees a way to make some money in order to feed her family. Frank returns from the unsuccessful raid, and asks if Edith knows where he can lay his hands on a nuke... Despite not getting a lot of background to the story of the block, we don't need extraneous detail. These are people instantly familiar from Mega-City One, the unfotunates who have been abandoned to their fate in a towering, impersonal, chaotic city.
While it is always nice to get newspaper strips reprinted on better paper, Weirdies! isn't a classic slice of Dredd history. A return for Citizen J. Snork, he of the rather large schnoz, in a celebration of the odd, the strange, and the downright weird. There's a nice conclusion, yet this story is lacking a certain urgency. Ian Gibson's great artwork is reproduced sharply and without feeling too crammed in. It shouldn't need to be pointed out (again) that Gibson's style is refreshingly light and breezy.
New in the Cubes covers Liam Sharp, Barry Kitson, John Higgins, and Will Simpson, though the half-page format of biographical information pieces doesn't allow for a great deal of personality to shine through - these small glimpses into the creators' lives are a long-running 2000 A.D. tradition, and is something which always appealed to me. Such features are much better use of pages than recaps of stories, such as... Well, Chopper's Odyssey.
The Pie-in-the-Sky mid-air restaurant makes a welcome return, where Don Pesci is celebrating his hundredth birthday in the Mississippi Mud Suite. Don Pesci's celebration is abruptly interrupted when a Judge emerges from his birthday cake, only to be immediately shot to death by Pesci. His men assure him that it was a singing telegram, and the body is removed by the easiest means available - being thrown out the building. Which is where things start to escalate...
An early evening Batglider, soaring in the thermal updrafts, is the first to be hit by the corpse. The Norrin Radd Block skysurf club, practising their close-formation pyramid move, are next to have a very close encounter, which leads to a very large mess for the real Judges to clean up. Discovering a business card for Party Poppers, Dredd talks to the owner of the company. and - finding that the dead man was paid to appear at Pie-in-the-Sky - arranges transport to the restaurant.
Pesci and his associates have long since departed, and (despite a sincere attempt at stalling from robot staff) Dredd finds that, as a birthday present the Don, his men have arranged a heist for his participation. With time running out, Dredd rushes to meet the location of the robbery. Stunning artwork, a great, twisty story (with all kinds of little nods and homages), and a ticking clock plot - this is prime Dredd material, served up expertly.
An extremely strong start for the series.
48 pages. Colour & B&W.
Fleetway Publications.
Edited by Richard Burton.
Cover by Brian Bolland.
Contents:
2 Contents; illustrated by Glenn Fabry.
3 Judge Dredd The Blob w: Alan Grant; a: John Higgins, lettering by Tom Frame.
11 Judge Dredd The Blockers w: John Wagner; a: Jose Casanovas, lettering by Jack Potter.
16 Odyssey 7 (quarter page) advertisement. / Dredd Siting in Leicester (eighth of page) advertisement for Another World. / Please Mention Judge Dredd Holiday Special When Replying to Advertisements (eighth of page). / Having Trouble Getting Your Comics? Try a Virgin Comic Shop (half page) advertisement; illustrated by Kev Hopgood.
17 Dredd by Day text introduction (uncredited).
18 Judge Dredd Weirdies! [130-154] w: John Wagner & Alan Grant; a: Ian Gibson.
r: The Daily Star (Northern & Shell Media) #???? (07 Jul 1986) - #???? (07 Aug 1986).
23 Dredd's World illustrated feature; a: Brendan McCarthy.
24 Dredd's World poster; a: Brendan McCarthy.
26 Say Gidday to the Good Life mock advertisement for Oz Judges; a: UNKNOWN.
27 Judge Dredd Weirdies! [155-194] w: John Wagner & Alan Grant; a: Ian Gibson.
r: The Daily Star (Northern & Shell Media) #???? (08 Aug 1986) - #???? (03 Oct 1986).
35 New in the Cubes creator fact files (uncredited).
36 Chopper's Odyssey illustrated feature by Mike Butcher; illustrated by .
r: panels from Oz in 2000 A.D. (Fleetway Publications) #545 (24 Oct 1987) - #570 (16 Apr 1988).
39 Judge Dredd The Fall Guy w: Alan Grant; a: Will Simpson, lettering by Tom Frame.
47 Catch Judge Dredd... in-house advertisement for 2000 A.D., Best of 2000 A.D., 2000 A.D. Sci-Fi Special, Judge Dredd Annual and 2000 A.D. Annual; illustrated by Steve Dillon.
48 Judge Dredd and 2000 A.D. Merchandise advertisement for Forbidden Planet.
The first Mega-Special is much like Dredd's appearances in 2000 A.D., but with greater room to maneuver. Under an impressive cover by Brian Bolland (who hasn't drawn a bad Dredd yet), there is a superb Fabry illustration. The contents pages allow artists to show off a little, and this is no exception - Dredd's Lawmaster really looks like a real piece of technology, though colouring is perhaps a touch too bright for Mega-City One.
The Blob begins on Pier 17 at Mega-City One's docks, where a jelly-like tentacle grabs the leg of Eric, a crane operator who is in the process of unloading cargo. The crate breaks open while dangling above his co-workers, showering them with its' contents - knives imported from New Sheffield. Dredd is dispatched to investigate, and discovers Eric's body, along with several others, in the lumber stacks. The blob-creature has made its escape, however, making its way to safety.
Forensics examine the crime scene while Dredd trails it, and they come to the conclusion that it is mutated slime-mould, most likely a Black Atlantic mutation which grabbed a lift from a passing ship in order to get into Mega-City One. The forensics team warn Dredd that it is extremely carnivorous, dosing its victims with acid, before absorbing the resulting sludge through its pores. Dredd confronts the blob, despite obvious dangers, but discovers his bullets have no effect. Worse, it begins eating through his uniform.
Firing an incendiary at the blob, Dredd orders fire teams and a med-squad to Steve McQueen Block, before seeking medical attention for his wounds. From the briefest touch, it managed to eat through Dredd's leg nearly to the bone. You can tell that everyone is having a lot of fun with the story, and some of the dialogue is solid gold:
...and now, on the Early Late Horror Show, we have a real rave from the Grave. Sylvester Stallone is the Blob of Notre Dame in Alan Moore's Oscar-winning remake!Alan Grant's script is, if you hadn't guessed, a joy to read, despite (or because of) being a retread of The Blob. John Higgins' artwork really shines in black and white, looking suitably grimy and tarnished. One has to wonder if this was among the material sent to Stallone in preparation for his role of Dredd.
Where The Blob excels at setting and tone through largely understated moments, The Blockers is less restrained. It is the kind of story which, if it appeared anywhere else, would be black comedy, but is - unfortunately for citizens of Mega-City One - more of a day-in-the-life strand. The focus of events is Adolf Hitler Block - 400 floors, containing 18,000 housing units, schools, shopping centres, and a hospital. 64,301 citizens crammed in like sardines, slowly going mad...
Frank Dolby, of apartment 39F, prepares for a Citi-Def combat exercise, while his wife knits a book. As Citi-Def organiser for the floor, Frank makes his way to 39G, where Carlton Einstein (a television addict) has barely left his chair for twelve years. Edith Einstein, his wife, and a compulsive shopper, is doing the family accounts as Willis, Edith and Frank's son, makes a prank call to Ed De Bono Citi-Def to warn them of Hitler Block's aggressive maneuvers against them.
Three floors above, in 42X, Rudyard Quincy decides to kill himself before he goes insane, hoping to take out the rest of the block in the process with a home-made nuclear weapon. The De Bono block cuts down Frank's unit with firearms, thanks to Willis' intervention, as the wayward youth watches on in amusement, hanging out his window. Rudyard's nuke fails, and he throws it away in disgust - landing on Willis' head as it falls.
Overjoyed at a nuke - almost literally - falling into her lap, Edith sees a way to make some money in order to feed her family. Frank returns from the unsuccessful raid, and asks if Edith knows where he can lay his hands on a nuke... Despite not getting a lot of background to the story of the block, we don't need extraneous detail. These are people instantly familiar from Mega-City One, the unfotunates who have been abandoned to their fate in a towering, impersonal, chaotic city.
While it is always nice to get newspaper strips reprinted on better paper, Weirdies! isn't a classic slice of Dredd history. A return for Citizen J. Snork, he of the rather large schnoz, in a celebration of the odd, the strange, and the downright weird. There's a nice conclusion, yet this story is lacking a certain urgency. Ian Gibson's great artwork is reproduced sharply and without feeling too crammed in. It shouldn't need to be pointed out (again) that Gibson's style is refreshingly light and breezy.
New in the Cubes covers Liam Sharp, Barry Kitson, John Higgins, and Will Simpson, though the half-page format of biographical information pieces doesn't allow for a great deal of personality to shine through - these small glimpses into the creators' lives are a long-running 2000 A.D. tradition, and is something which always appealed to me. Such features are much better use of pages than recaps of stories, such as... Well, Chopper's Odyssey.
The Pie-in-the-Sky mid-air restaurant makes a welcome return, where Don Pesci is celebrating his hundredth birthday in the Mississippi Mud Suite. Don Pesci's celebration is abruptly interrupted when a Judge emerges from his birthday cake, only to be immediately shot to death by Pesci. His men assure him that it was a singing telegram, and the body is removed by the easiest means available - being thrown out the building. Which is where things start to escalate...
An early evening Batglider, soaring in the thermal updrafts, is the first to be hit by the corpse. The Norrin Radd Block skysurf club, practising their close-formation pyramid move, are next to have a very close encounter, which leads to a very large mess for the real Judges to clean up. Discovering a business card for Party Poppers, Dredd talks to the owner of the company. and - finding that the dead man was paid to appear at Pie-in-the-Sky - arranges transport to the restaurant.
Pesci and his associates have long since departed, and (despite a sincere attempt at stalling from robot staff) Dredd finds that, as a birthday present the Don, his men have arranged a heist for his participation. With time running out, Dredd rushes to meet the location of the robbery. Stunning artwork, a great, twisty story (with all kinds of little nods and homages), and a ticking clock plot - this is prime Dredd material, served up expertly.
An extremely strong start for the series.
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