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Showing posts with label Gordon Rennie. Show all posts
Showing posts with label Gordon Rennie. Show all posts

Saturday, December 1, 2018

Bato Loco

rebel[14 Aug 2012]. Free.
68 pages. Colour & B&W.
Rebellion.

Edited by Keith Richardson.

Cover by Simon Coleby, coloured by Chris Blythe.

Free with Judge Dredd Megazine (Rebellion) #326 (14 Aug 2012).

Contents:

 2 Credits / Indicia
 3 Bato Loco title page; illustrated by Simon Coleby.
 4 Judge Dredd Bato Loco credits page; illustrated by Simon Coleby.
 5 Judge Dredd Bato Loco w: Gordon Rennie; a: Simon Coleby, lettering by Tom Frame, colouring by Chris Blythe.
r: Judge Dredd Megazine (Rebellion) #202 (11 Feb 2003).
17 Bato Loco True Romance credits page; illustrated by Simon Coleby.
18 Bato Loco True Romance w: Gordon Rennie; a: Simon Coleby, lettering by Tom Frame.
r: Judge Dredd Megazine (Rebellion) #208 (27 Aug 2003).
26 Bato Loco Head Job credits page; illustrated by Simon Coleby.
27 Bato Loco Head Job w: Gordon Rennie; a: Simon Coleby, lettering by Tom Frame, colouring by Chris Blythe.
r: Judge Dredd Megazine (Rebellion) #229 (08 Mar 2005) - #230 (05 Apr 2005).
39 Bato Loco Kiss Me Deadly credits page; illustrated by Andrew Currie.
40 Bato Loco Kiss Me Deadly w: Gordon Rennie; a: Andrew Currie, lettering by Simon Bowland, colouring by Peter Doherty.
r: Judge Dredd Megazine (Rebellion) #290 (10 Nov 2009) - #291 (08 Dec 2009).
58 Judge Dredd Meat Patrol credits page; illustrated by Simon Coleby.
59 Judge Dredd Meat Patrol w: Gordon Rennie; a: Simon Coleby, lettering by Tom Frame, colouring by Chris Blythe.
r: Judge Dredd Megazine (Rebellion) #224 (19 Oct 2004).
67 Bagged with Megazine 327 On Sale 15 August 12 in-house advertisement for Marauder.
68 Goin' Loco!
In the Big Meg's Barrio blocks, they called Carlito Agarra the 'Bato Loco' - 'Crazy Guy'. He's just trying to make an honest cred, but if it ain't the Judges on his back it's the Mob - Madon'!
You have to love a cover where someone steals Judge Dredd's badge.
So I know what it is you are thinking.

'Carlito,' you are saying, 'why is it you are doing this strange thing with this big fat dead guy, and all those Judges and bad news scary mob guys? Is this why they are always calling you Crazy Guy?

And so then I say to you, 'Patience, my friends, for soon you will be seeing that all this is not so crazy after all...'
There have been more eccentric beginnings to Dredd's stories. Not many, but there are a few which can top the image of a man riding a giant corpse on wheels.

A week earlier. Louie the Gut, returning from making his regular smuggling route through the Black Atlantic tunnel, collapses from a heart attack and dies, the haul of uncut diamonds in his stomach. Carlito Agarra is picked up by Don Morte's men for a sit-down, despite the fact that Don Morte is a taxidermied corpse, whose wishes are 'interpreted' by his consigliore, Vito Machievelli. Asked to retrieve the diamonds from the Resyk morgue, he discovers that two of his associates also have the same idea.

There are two corpses of similar size present, though the choice of which one is their corpse is settled when Guido Guisperre - 'Grand Guignol' - bursts from a corpse's stomach wielding his chainsaw. Hearing the disturbance, Dredd orders all squads to move in on the morgue, though Carlito and Guignol burst through the morgue's doors riding Louie the Guts' corpse. Managing to escape from both Guignol and Dredd, Carlito makes a run for freedom, and fate is smiling on him as he searches for a way to square things with Machievelli.

While most of the time I would have a problem with coincidence playing a part in the resolution of a story, here it works to the advantage of characterisation and the overall mood of the strip. Yes, there is a whole series of unlikely events, but in Mega City One this is business as usual.
Okay, so here we are again, and every time we are doing this, it seems as if you are catching me in the middle of something crazy happening.
Catalonia, Carlito's girlfriend, who he met when she took the contract on his head, is angered that a year has passed since Carlito promised to marry her within a year. Catalonia promised to herself that she would kill him if he didn't keep his promise, and she gives him a week to purchase her a ring. As the days tick by, without money or a ring, things look bleak for Carlito. Hearing that the Slyrrm, aliens seeking ingredients for narcotics on their homeworld, he scams them out of enough money for his needs.

As Carlito is ready to ask Catalonia to marry him, the Slyrrm catch up with him.

With a good sense of the variety of life in the setting, Rennie manages to weave a very funny - and quite light, given prior strips - action-adventure story. Catalonia is fantastic character, and it is pleasing that she is so much more competent than Carlito.

Head Job crosses Carlito's path with that of Judge Dredd once more, as Machievelli orders him to deal with Cubans from the Wastes who are running an organ-legging racket. A bulk shipment of executed politicos turns out to be merely their heads, and Carlito doesn't want to pay for something he can't sell on. As the deal goes south, Dredd leads an assault on the exchange. Recognising Carlito from Resyk, Dredd chases after him, as the other Judges clear up the organ-leggers.

Seeing Dredd covered in body parts is amusing, though somewhat predictable now. The circumstance in which he manages to get in such a predicament, however, is rather fresh. Unlike the rotting head thrown at him.
Okay, so I know what it is you are thinking -

"Carlito", you are thinking, "is that Abadonna Morte I see you with, beloved daughter of your boss, Don Morte? Why is it you are in this situation with her, when everyone know she is crazy as hell, and liable to get you in very serious trouble indeed?"

And I say to you, "that is a good question my friend, with an answer that is maybe long and not so simple to explain..."
Called in to deal with Abadonna's latest break-up, Carlito is told to assist Billy-17 cleaning up the mess. While there, Abadonna asks him to accompany her on a date, as she has invitations to the Cocabandito, and can't turn up alone - for appearances sake. A kidnap crew hits their car before they reach the club, however, and his worries about Abadonna killing him are replaced with a worry he's going to meet his end another way. Carlito's (entirely unintentional) heroics impress Abadonna enough that she kisses him, and Machievelli informs him that he should consider Abadonna his girlfriend from now on.

Which, considering his fiancée is a contract killer, isn't the best news he's had.

Catalonia orders Carlito to meet her on a rooftop, which he agrees to, as Abadonna tells Machievelli that she fears he is cheating on her. Obviously this means he must die, but Abadonna insists she be there to witness Carlito's demise. Things soon escalate out of control.

The final story in the collection is a very sombre and low-key Dredd story in which he takes night shift on meat wagon pick-up with a Judge whom he failed. It isn't often that we get to see the less glamorous side of the judicial system's tasks, and here we see what it takes to go out every day and collect corpses for Resyk. Following a relatively normal night of pick-ups, Dredd answers a call, drawing the truck into a fight which it isn't designed for.

Not as funny as Low Life, though a fine example of the less dramatic side of Mega City One's inhabitants. Following through on the promise of an excellent introduction to the character, Gordon Rennie delivers on Bato Loco's promising premise with one unlikely event after another, increasing the stakes with each installment. Gloriously illustrated by Coleby and Currie, there isn't a dud panel in the entire collection.

Monday, October 22, 2018

Blast! #1

Jun 1991; Cover price £1.50
76 pages. Colour and B&W.
John Brown Publishing, Ltd.

Edited by Stuart Green.

Mr. Monster cover by Simon Bisley.

Contents:

 2 Metal Hammer - the Biggest and Best Hard Rock / Heavy Metal Magazine magazine advert.
 3 Incoming... text introduction by Stuart Green. / Contents / Indicia.
 4 Mr. Monster Lair of the Lizard Ladies w: Michael T. Gilbert; a: Simon Bisley, lettering by Fred Nurney.
11 Willy Roach - He Goes by Coach (half page) advertisement for EuroLines. a: (uncredited). / C&T Eyewear advertisement.
12 Star Trek: The Next Generation clothing advertisement.
13 Concrete Lifestyles of the Rich and Famous w:/a: Paul Chadwick, lettering by Bill Spicer.
r: Dark Horse Presents (Dark Horse) #01 (Jul 1986).
21 More than Just Comics advertisement for Deadline magazine.
22 The Ceremony Has Begun advertisement for The Doors film.
23 Torpedo Every Dog Has His Day w: Sanchez Abulli; a: Jordi Bernet, colouring by Dondie Cox.
r: De perro a perro from Creepy (Toutain Editor) #34 (Apr 1982).
27 /  1 Speakeasy Insert Kevin Costner photograph (Robin Hood: Prince of Thieves).
28 /  2 Mega City Comics advertisement.
29 /  3 Liverpool Comic Mart & Film Fair (quarter page) advertisement. / Birmingham Comic Mart & Film Fair (quarter page) advertisement. / UKCAC 91 (half page) advertisement for UK Comic Art Convention 1991.
30 /  4 Speakout text introduction (uncredited). / Comic Views reviews by John Smile.
31 /  5 King Ink comic chart.
33 /  7 Speakeasy Newsline (half page) advertisement. / Experience Natures Secret High with Yuba Gold (half page) advertisement.
34 /  8 Free Comics! (quarter page) advertisement for Planet X. / Direct Contact Dating (quarter page) advertisement. / Mr Extra, on the brink of defeat once more at the hands of Jane (5½) and Tilly (6¾) (half page) advertisement for Meanwhile.
35 /  9 Book Views reviews. / Twitch City UNTITLED ["I fink I'm Kured!"] w:/a: Bambos.
36 / 10 Nu Earth (quarter page) advertisement. / Gotham City Comics (quarter page) advertisement. / The Sheffield Space Centre (quarter page) advertisement. / Worlds of Wonder (quarter page) advertisement.
37 / 11 Comic Fantasy (quarter page) advertisement. / Back-Issue Comics Manager Required (quarter page) job advertisement. / Titan Distributors Comic Mart (quarter page) advertisement. / Cosmic Comics (quarter page) advertisement.
38 / 12 Prince of Thieves interview by Alan Jones.
42 / 16 Scorched Earth advertisement.
43 / 17 Phaze II The Dead Zone would like to present "Sex in the U.K." advertisement.
44 / 18 The Number of the Beast Simon Bisley interview by Gordon Rennie.
46 / 20 The Gloucester Comic Book Fair (quarter page) advertisement. / Rainbow's End (quarter page) advertisement. / Comicbook Marketplace Special Edition - Saturday June 15 (quarter page) advertisement. / Comicbook Marketplace - Sunday July 14 (quarter page) advertisement.
48 / 22 Classifieds
50 / 24 Forbidden Planet advertisement.
55 Portobello Trust - London Cartoon Centre (quarter page) advertisement. / Needing Direction? Life Lost it's Meaning? Lacking Moral Fibre? (quarter page) advertisement for Electric Soup. / Genuine Ex-Tour T-Shirts - Cult Movie T-Shirts (half page) advertisement for BMS.
56 For over fourteen years... advertisement for Titan Distributors.
57 Axel Pressbutton Famous For Fifteen Minutes w: Pedro Henry (Steve Moore); a: Steve Dillon.
63 Hey You! in-house advertisement for Blast! T-shirts. / Subscribe Now!.
64 ...Let's Follow Him! w:/a: Peter Bagge.
r: Neat Stuff (Fantagraphics) #01 (Jul 1985).
66 There are no others advertisement for Titan Distributors.
67 Lazarus Churchyard The Virtual Kiss, part 1: Fracture w: Warren Ellis; a: D'Israeli.
74 Incoming...30 Days next issue feature.
75 Attention! Fear Want You! subscription advertisement for Fear.
76 The Face advertisement.

Simon Bisley's art is an attention grabber - a minimalist background emphasises the power of his painting perfectly, though the cover text (by way of dialogue) could have done with a white outline, highlighting red against blue better. Blast!'s logo is, disappointingly, rendered in a font which doesn't quite work, looking as if it has been vertically stretched to an alarming degree. This is our first indication that, for all the talent brought together for the title, there's a hurriedness to proceedings... a certain lack of attention to detail.

Mr. Monster - beautifully illustrated by Bisley - is a mad, violent, and extremely funny strip, which would be better served with more space. It's an irreverent, wonderful complete story (common sense in a launch) which has a great pay-off. Concrete is a welcome addition to the line-up, with a tale which feels familiar, yet contains a surprising amount of heart and intelligence. Going through a small mountain of mail received after appearing of the Carson Show, as Ron is exposed to the full range of reactions to his participation on the television show.

Agreeing to attend a party invitation, he is confronted by a single mother whose son's eighth birthday party is in full swing. The best line is about John Ritter's appearance a year before, which is entirely believable - if anyone would do a cool appearance at a kid's birthday party, it would be him. Concrete has a lot of fun with the concept, and ends on a very amusing note. One of the all-time greats of American comics, and its inclusion here is appreciated.

Torpedo is from the "hard boiled" school of writing, and many influences are clear. There's something indefinably off about the strip, and it doesn't gel into a convincing or engaging story, partially due to the endless text boxes which drive forward the narrative. The colouring is far too garish for the setting, and I have a suspicion it would read better if reproduced in black and white.

Axel Pressbutton reappears here - the planet Scrofula, in the 31st century, where television has begun broadcasting directly into the brains of viewers. Axel interrupts an interview in the street, and producers request that he be brought into the studio to exploit his status as a famous assassin. Things go wrong extremely quickly, and the bodycount is... well, its an Axel Pressbutton story, so we aren't expecting rainbows and kittens, are we?

The ...Let's Follow Him! two-page comedy strip isn't as funny as it could have been, though it is a joy to Bagge's work. Managing to fill in a lot of character detail with little effort, the strip does exactly what the name indicates.

The opening installment of Lazarus Churchyard, with a suitably macabre and off-beat lead character in the titular Lazarus. Four hundred years old, and effectively immortal thanks to a plastic bonded to his body, he has to investigate a spate of deaths in order to get his wish... death. The cyberpunk setting contrasts nicely with the rest of the strips, and the artwork by D'Israeli compliments Warren Ellis' script perfectly.

There is very little prose in Blast! (a solitary introduction), and the heavy use of color indicates that what Fleetway was doing (in response to Trident) had been taken into consideration when putting the title together. There's an interesting, though disjointed, collection of strips, but nothing screaming "break-out hit" aside from the Concrete reprint. When you have creators of this caliber involved, it isn't surprising that the comic is still relevant and massively appealing, but a more focused aim might have helped.

I'm not sure who the target audience for the title was.

Now to the Speakeasy insert.

Wisely using the Rian Hughes logo, there are hints of the classic Speakeasy formula, but it is so diluted that it might as well have taken a different name for this:
Speakeasy has a ten year history as a news and features magazine distributed exclusively to specialist comic shops. In that time it has never stayed still, appearing in various formats: from a xeroxed A5 fanzine it became a fold-out broadsheet before graduating to its previous incarnation as an A4 glossy.

Now Speakeasy has mutated into BLAST! a monthly comic magazine dedicated to bringing the best international comic strips to a British audience. Our pull-out editorial section - which will be distributed free to British comic shops - retains the name Speakeasy and its original brief: to promote comics and the culture that they reflect. Over the coming months we will continue to bring you the exclusive interviews with the biggest names in comics and genre film and literature, while keeping you up to date with the significant releases in all three mediums.

It is unfortunate that the paper is so awful, as the shiny white pages of the regular magazine was so impressive. This is a step backwards, but as it is a free insert I'm willing to accept that something had to give. Troublingly, we don't even get the full experience of the title here, omitting several of the main draws. Grant Morrison is nowhere to be seen, and there are far, far too many adverts.

That the change included a heavy film interest is annoying. I read film magazines to find out about films, and I want comics information from comic magazines. There's still a comic strip in this incarnation (Twitch City), though it isn't as immediately amusing as Pedantic Stan. There's a Simon Bisley interview to make up for such a radical change to the formula, but too much has been altered from the magazine. There are parts I really miss from the standalone magazine, and their absence makes this extremely frustrating to read.

A sad decline for a highly-regarded title. Change, we are reminded, is not always for the better.