Aliens Vol.1 #8

Sep 1991. Cover price £1.50.
52 pages. Colour & B&W.
Trident Comics, Ltd.

Edited by Martin Skidmore.

Cover by Denis Beauvaus.
r: UNKNOWN.

Free poster; illustrated by Dave Dorman (signed).
r: Aliens Vs Predator (Dark Horse)

Contents:

 2 Contents / Title Credits / Indicia

 3 Credits / Story So Far text introduction (uncredited).

 4 Aliens Earth War, part two, w: Mark Verheiden; a: Sam Keith, lettering by Pat Brosseau, colouring by Monika Livingstone.

r: Aliens: Earth War (Dark Horse) #01 (Jun 1990).

15 Humanity's Last Hope Has Returned in 1991 in a Last Ditch Attempt to Save Their Future in-house advertisement for The Terminator Vol.1 #02; illustrated by Chris Warner.

16 Credits / Story So Far text introduction (uncredited).

17 Predator Big Game, part one, w: John Arcudi; p: Evan Dorkin, i: Armando Gil, lettering by Kurt Hathaway, colouring by Julia Lacquement.

r: Predator: Big Game (Dark Horse) #01 (Mar 1991).

32 Aliens in-house advertisement for graphic novels and t-shirts.

33 Credits / Story So Far text introduction (uncredited).

34 Aliens Vs Predator Untitled, part eight, w: Randy Stradley; p: Phil Norwood, i: Karl Story, lettering by Pat Brosseau, colouring by Monika Livingston.

r: Aliens Vs Predator (Dark Horse) #01 (Jun 1990).

49 Model Kits in-house advertisement.

50 Next Issue! (half page) / Subscriptions (half page)

51 Terminator T-Shirt Offer in-house advertisement.

52 Indiana Jones and the Fate of Atlantis in-house advertisement.

While the grey semi-border makes the cover appear slightly drab, and the title of the comic difficult to easily discern at first glance, the image of the Predator is superb. It is an extremely powerful and immediate image, an effortlessly encourages speculation on the contents. The boast of a poster is, for some reason, in a rather stark white jagged balloon rather than being coloured, lessening the overall effect of its news, and the positioning is awkward in the extreme. Poor layout consideration also applies to the Predator side-box, which uses poorly-cropped art featuring lettering.

I don't expect perfection, merely adequate presentation. The amount of times I have had to stop and look closer at something in a Trident title to see what is going on is unbelievable. Time after time the look is spoiled by some minor, easily-fixable element, and the end product suffers from appearing so (dare I say it) amateurish. To have made this cover far more impressive would have taken ten minutes of light editing.

Earth War continues in stylish fashion, and footage from Earth serves to remind Newt of her childhood is a slightly heavy-handed manner, though is none the poorer for the echo. Keith's artwork ranges from extremely stylised to very real in rapid pace, and although there is definitely a 'look' to the series, I wish he had been more experimental with the layout, pushing the nightmarish elements to the forefront - this is, after all, the end of humanity we are witnessing, and yet there isn't an overriding sense of the futility of defence against the aliens.

A far better Terminator advert, sans low-resolution artwork, manages to make the series (finally) look appealing. Unfortunately it is another B&W ad, which calls into question just what was going on at Trident. Were the colour plates not available, or was this merely a theme the publisher was extending through all their promotions?

Most of Cibola County in New Mexico still looks like a Frederic Remington landscape.

The terrain is wide open and rugged, with very few people around to spoil the view.

Occasionally, however, there are things that disrupt the serene community.

Grants Airport is not too far north from here, so overhead traffic is not uncommon.

Frightened though they are, the locals venture out into the open after only a few minutes -

- and within the hour, things are have returned to normal.

That is, as normal as things will ever be again.

Predator: Big Game can be looked at as a compendium of settings dragged from blockbuster movies: the army base, the small-town diner, vast empty landscapes, all threatened by the arrival of The Outsider. In stories The Outsider is a position taken by invading armies, various kinds of aliens, technological monstrosities, relentless serial killers, or any other force which upsets the regular existence of a populace. Having already established the modus operandi of the Predator, no long introduction is required to explain back-story, getting straight to the drive of the story.

If you think disassembling the story in this manner is a simplification of what is presented, don't worry - this is, against a background of similarly-themed stories, a perfect little machine which ticks along with elegance. It is the Bugatti of story engines, which is why Arcudi's use of it here, with a wonderfully light touch, is so appreciated. While accusations of a generic feel might be warranted in places, he sets up events in such a precise manner that not even the most cynical of readers will fail to appreciate how much craft there is in the telling.

Turned down for a three-day pass, Enoch Nakai goes on anti-aircraft duty with his unit in the wilds of New Mexico.

The many smells of the prairie are like words to Enoch Nakai. Each smell has its own meaning.

As the fragrance of loam means fertile soil, and the scent of a hare means food -

An unfamiliar smell almost always means danger.

Stopping the tank upon which he is travelling, Enoch points to a tree which he claims is host to something unfamiliar. Investigating, his colleague is immediately killed by the hidden Predator, and only Enoch's fast reflexes save his skin. Running for assistance he encounters a passing jeep, which takes him to Sergeant Coates and Colonel Athelry, who are in command of transporting the alien ship away from its landing point, and he informs them of the occupant's actions.

Stock story elements are not a bad thing. Using familiar storytelling techniques draws the reader in to a tale of a rogue Predator hunting a military unit down one by one, and the art - using enough recognisable detail to sell the realism of the location - is able to convincingly locate the story in a time and place. I really do love this story, and, although there are pieces of its story which feel slightly out of position due to the truncated reprint format, it works magnificently.

Machiko flees as the Predator and aliens go after one another, and manages to get back to the secured area to warn the others.

#07

Aliens Vol.1

#09

Aliens Vol.1 #7

Aug 1991. Cover price £1.50.
52 pages. Colour & B&W.
Trident Comics, Ltd.

Edited by Martin Skidmore.

Cover by Denis Beauvaus.
r: Aliens (Dark Horse) #01 (Aug 1989)

Contents:

 2 Contents / Title Credits / Indicia

 3 Credits / Story So Far text introduction (uncredited).

 4 Aliens Earth War, part one, w: Mark Verheiden; a: Sam Keith, lettering by Jim Massara, colouring by Monika Livingstone.

r: Aliens: Earth War (Dark Horse) #01 (Jun 1990).

28 Credits / Story So Far text introduction (uncredited).

29 Predator The Heat, part seven, w: Mark Verheiden; a: Chris Warner, lettering by David Jackson, colouring by Chris Chalenor.

r: Predator #02 (Jun 1989).

39 Credits / Story So Far text introduction (uncredited).

40 Aliens Vs Predator Untitled, part seven, w: Randy Stradley; p: Phil Norwood, i: Karl Story, lettering by Pat Brosseau.

r: Aliens Vs Predator (Dark Horse) #01 (Jun 1990).

49 Subscriptions (half page) / The Sheffield Space Centre (quarter page) advertisement. / Model Aerodrome Limited Presents (quarter page) advertisement for Halcyon Aliens figure.

50 The Terminator in-house advertisement for #01.

51 Cheap Mail Order advertisement for Planet X.

52 Aliens in-house advertisement for graphic novels and t-shirts.

Another wonderful cover marred by a poor notice placed over the art, this time promoting Earth War. While the title has every reason to bring attention to the story, the manner in which they do so lacks a style and flourish which the strip deserves. A visually stunning piece of horror fantasy which relishes its darkness, Sam Keith really pushes layouts and form to create a feast for the eyes.

Planet LV-426 - Acheron Terraforming Colony.

When I was young, I knew a little girl named Rebecca, Her friends called her Newt.

She had a doll named Casey. The two would stare for hours as manmade storms battered their tiny settlement.

The adult colonists found their new environment cruel and unrelenting, but the little girl had known nothing else. To her, the planet was home.

She only wanted what all children want -

- the warmth and security of family -

- the human connectedness that comes from belonging.

What she got was a nightmare without end.

As anyone who has seen Aliens can attest, Newt is tough. She survived in the alien-infested colony on her own, so that gives credence to her strength of character. Highlighting the fact that she would treat the colony as her home, accepting the harsh conditions there, is a clever way of preparing the reader for what is to come. What is more surprising, though understandable, is the hatred which she holds against Ripley for abandoning her. The addition to the film's conclusion, with Ripley being woken after three days in cryo by Captain Hankerson - who has been travelling in a second ship - is a rather clever way of getting more mileage out of LV-426.

Ripley is shocked when told footage from Kane's helmet still exists:

"The inboard suit recorders logged everything. The Nostromo's android dumped the data into the escape pod's computer long before you slagged him and blew the main ship."

Interested in the navigator, or pilot, which Kane discovered in the destroyed ship, Hankerson wants Ripley to accompany him to the planet to act as a guide, and to provide reliable first-hand information. Threatening to wake up Hicks or Newt if she declines, Ripley is forced to return to the LV-426 with another team of marines.

Keith's style takes some getting used to, especially when he uses more abstract techniques. Beautiful, mad, and quite amusing in places, he breathes life into the story, providing a visual counterpoint to the script's leaps of logic.

The Predators are not happy. Which might be an understatement, as they start firing on people gathered on the streets. It is only when Schaefer targets the fire hydrants that he is able to level the playing field.

Schaefer has no love for the city, his job, or even the people - so why the hell did he do it?

When it was all over, would anyone even care? Or would they turn bac to their televisions, pleased that their reception had finally cleared up -

Then I remembered what he'd said about the beast - the beast in all of us.

"Maybe the hunt is their way of keeping the beast alive"

- maybe this war was Schaefer's way of doing the same.

Mirroring protagonists with their antagonists is an old trick, though Verheiden's script is more explicit in showing the similarities than most would be comfortable with. Having previously set up the hunting background, with flashbacks, the scene doesn't jump out as being out of place, but it certainly makes the reader take notice. This hero of ours, we see, is far from heroic.

Which, given the enemy he is going up against, is probably for the best.

The Sheldon boy crashes his vehicle into a wall, bringing assistance from those investigating the unconscious Predator. The boy explains that his mother and father were killed by monsters, and when he sees the captive alien identifies it as the same species. A meeting is called after the Sheldon ranch is checked, and preparations are made for what is being considered an invasion.

Few of the ranchers had weapons or their own, and the corporate armory consisted of fifteen scatter-guns - primarily for use against fire-crawlers and briar-wolves - and ten pistols earmarked for a police force the town had never needed.

Prosperity Wells was never intended to be a fortress, but the ranchers, under Hiroki's direction, set up an admirable line of defense.

The final three pages are a masterclass in creating tension, with the aliens and Predators stepping up their sport, with Machiko stuck in the middle. The stacking of containers is reminiscent of old westerns, where the wagons are dragged into a circle, further elaborating on themes which have run through the story. As happy that I am about the threat aboard the Lector finally paying off, I do have to wonder - what have the aliens been up to all this time?

On second thoughts, I probably don't want to know...

The Terminator advert at the back of the issue is incredibly pixelated, and so stylised that it doesn't represent the eventual cover repro at all. Adverts this bad should be dropped, rather than negatively influence potential readers.

#06

Aliens Vol.1

#08

Aliens Vol.1 #6

Jul 1991. Cover price £1.50.
52 pages. Colour & B&W.
Trident Comics, Ltd.

Edited by Martin Skidmore.

Cover by Denis Beauvaus.
r:

Contents:

 2 Contents / Title Credits / Indicia

 3 Credits / Story So Far text introduction (uncredited).

 4 Aliens Untitled, part six, w: Mark Verheiden; a: Denis Beauvaus, lettering by Bob Pinaha.

r: Aliens (Dark Horse) #02 (Dec 1989).

12 Credits / Story So Far text introduction (uncredited).

13 Predator The Heat, part six, w: Mark Verheiden; a: Chris Warner, lettering by Jim Massara, colouring by Chris Chalenor.

r: Predator #02 (Jun 1989).

29 Credits / Story So Far text introduction (uncredited).

30 Aliens Vs Predator Untitled, part six, w: Randy Stradley; p: Phil Norwood, i: Karl Story, lettering by Pat Brosseau.

r: Aliens Vs Predator (Dark Horse) #01 (Jun 1990).

47 Letters Page readers' mail.

49 Aliens - the Graphic Novel, the Portfolio, the t-shirts, the Hardback in-house advertisement.

50 The Terminator in-house advertisement for #01.

51 Subscriptions (half page) / The Sheffield Space Centre (quarter page) advertisement. / Fantasy World (quarter page) advertisement for June opening of Another World.

52 Toxic! in-house advertisement for #15.

One of the best covers so far, with its light blue and black trade dress playing well against Beauvaus' image. The jagged balloon containing the announcement that the aliens have reached Earth is, however, an eyesore - Trident, despite being good at picking out suitable material for reprinting, and with extremely talented creators providing new strips, always seemed to be less adventurous when it came to lettering. In appearance it is the kind of thing I expect to see printed on own-brand boxes of fish fingers rather than a comic cover.

The - the alien is the only one I can trust. Their loyalty transcends human treachery.

Together, we will form a new world. I will lead man and alien alike toward a new glory, a new beginning -

- A better tomorrow!

Spears quickly learns just how intelligent - and duplicitous - the aliens can be, and pays for his arrogance with his life. Meanwhile, at Gateway Station, the ship carrying Newt and Hicks docks, and they discover what has become of the handful of survivors aboard. A report from planetside has news of a nest which the aliens have built, spralwing across the city, and down into the underground. All seems lost for those remaining on the surface, but an old friend is at hand to take the battle to the aliens.

With her final-page appearance, Ripley is, once more, an essential part of the Alien saga. Although her appearance brings a smile - in the same manner as seeing Arnold reprise his Terminator role in Terminator Genisys - though, like Terminator, Aliens needs to find a voice, and characters, away from what is familiar. As interesting as her position in the films has been, there really should be more to the universe than her adventures.

Rasche reunites with Schaefer atop the Pan Am building, and, once Philips' men are put in their place, head to a U-Rent space on the Lower East Side. Filled with enough police impound to take on every cracked-out psycho in Manhattan, Schaefer watches Kartoon Kastle to prepare himself for the coming battle. Realising that the odds are too great, Schaefer sets out to recruit some back-up. The Predators are tracking his movements, and it takes the death of another Predator to convince Carr that< Schaefer is on the level.

Once the recruited army of criminals is properly armed, Rasche points out that they can hardly be expected to fight when the Predators are still in their ships. Forcing them to descend from their ships by the destruction of one of the vessels, Schaefer finds himself stuck between a police force wanting his hide and aliens wanting his head.

The ships aren't greatly impressive, which is highlighted in the panels which present them in close-ups. They remind me of the ugly spaceships which proliferated throughout DC's titles in the 80s, with the same simplistic design sensibilities. It is nice to see unconventional forces stepping up to take part in the forthcoming battle, and reactions to Schaefer's proclamation about alien forces invading is exactly what one would expect.

Searching for the doc, an unconscious Predator, along with the destroyed ship, is discovered in Iwa Gorge. It is brought to the Med Centre, where investigations into its physiology are begun. With all of the excitement it takes a while before anyone notices that the Lector still hasn't taken off.

A chance encounter with intelligent XTs was considered so remote that the company's off-planet manual contained only one line on the subject:

"Avoid direct contact until specially trained personnel arrive on the scene."

We were about to write a whole new chapter.

Aliens Vs Predator is still a fascinating story, though its inspirations are beginning to be noticeable. There's a definite manga sensibility to some of the images, which is both amusing ans appropriate.

#05

Aliens Vol.1

#07

Aliens Vol.1 #5

Jun 1991. Cover price £1.50.
52 pages. Colour & B&W.
Trident Comics, Ltd.

Edited by Martin Skidmore.

Cover by Chris Warner.
r:

Contents:

 2 Contents / Title Credits / Indicia

 3 Credits / Story So Far text introduction (uncredited).

 4 Aliens Untitled, part five, w: Mark Verheiden; a: Denis Beauvaus, lettering by Bob Pinaha.

r: Aliens (Dark Horse) #02 (Dec 1989).

12 Credits / Story So Far text introduction (uncredited).

13 Predator The Heat, part five, w: Mark Verheiden; a: Chris Warner, lettering by Jim Massara, colouring by Chris Chalenor.

r: Predator #02 (Jun 1989).

28 Credits / Story So Far text introduction (uncredited).

29 Aliens Vs Predator Untitled, part five, w: Randy Stradley; p: Phil Norwood, i: Karl Story, lettering by Pat Brosseau.

r: Aliens Vs Predator (Dark Horse) #01 (Jun 1990).

50 Subscriptions (half page) / Model Aerodrome (quarter page) advertisement for Aliens models. / Fantasy World (quarter page) advertisement for June opening of Another World.

51 Letters Page readers' mail.

52 Aliens - the Graphic Novel, the Portfolio, the Hardback in-house advertisement.

Spears launches, and heads for Earth with his 'trained' aliens, abandoning his men. Newt and Hicks manage to stow away on his ship, though are unable to prevent the mad scheme when Spears locks himself in the cockpit. as Butler - alone with the aliens, the general's men either dead or hiding - transmits a final message to Newt. Gateway Earth Station responds to the arrival of the ship, asking for identification, and stating that there are no landing coordinates. Earth has been considered lost to the aliens. Hicks and Newt realise the only way to get off before Spears lands on Earth is with the emergency escape pod, and in their rush to get away can't check for signs of sabotage.

As satisfying as it is to see Newt escape certain death once more, the situation Earthside is intriguing. With the officials aboard the space-station regarding Earth a hopeless cause, we have to consider the possibilities this offers up - giraffe aliens, manatee aliens, hippo aliens... If, as so often depicted, they are resilient enough to adapt to any circumstance, does this mean they have made in Antarctica a suitable nest? WHich brings up, of course, the question of a Thing crossover.

Or better, Aliens Vs the Thing Vs Predators Vs Terminators.

Throw in a few ED-209's and it will be more entertaining than the human mind can cope with.

Schaefer is woken with a bucket of water in his face, discovering ust how committed Eschevera is to providing him with a painful, protracted death. Managing to escape, he heads for the jungle, hoping to disappear. As he runs, Predators begin to clear out his adversaries.

From the sound of the screams, I figured those things were starting to enjoy themselves.

It was only a matter of time before they turned their attention towards me.

Picked up by his own people, Schaefer is told that the Predators' only interest is in him.

Rasche realises that the authorities intend to hand Schaefer over - using his anger to his advantage, he takes out his federal babysitters, exiting with the helmet in his possession once more, heading for the meeting which has been arranged...

The final panel sets up a stand-off between humans and Predators atop the Pan-Am building, which is both slightly anachronistic and very amusing reading the story now. While the tropical segments of the strip have never quite felt as sticky and uncomfortably hot as they should, the New York sequences are better depicted. Unfortunately the colouring isn't quite up to the task of conveying the feel of the city, with swathes of bright colours limiting the effect to a degree.

Sickly Rhynth are discovered, yet the lethargic behaviour isn't treated as a serous ailment. Shigeru Chigusa, son of the company's head, announces that is en route, as alien face-hugger corpses are discovered on Ryushi, although Dr. Revna isn't sure precisely what he is looking at. Deciding to investigate Iwa Gorge, he discovers Predators rather than the aliens he was looking for, and is soon discovered. In a race for his life, his vehicle smashes into the Predator vessel causing an immense explosion.

There are a few extremely amusing incidental scenes, as well as some very attractive art, yet five issues in and we're still to see the two aliens go at each other. This isn't a complaint, as the plot is growing into a maze of conflicts and puzzles, which seems to be working for the strip. Machiko Noguchi is beginning to get some really good scenes, and her interactions with employees - Scott, in particular - makes the slow pace worthwhile.

Spaceship names are hard to get right. Sometimes the names are a bit soft and unconvincing, as if the visual component was more important than the name, though here a rather strong name causes problems - the Lector may or may not be a direct reference to The Silence of the Lambs, but it distracts from what has, so far, been a carefully constructed world.

If readers were getting impatient, the aliens finally make their presence known.

#04

Aliens Vol.1

#06

Total Carnage

Apr 1993 - Jan 1994 (10 issues)
Dark Horse

01 (Apr 1993; cover price ) Free cover-mounted tattoo. Batman Vs. Predator, Army of Darkness, The Mask and Grendel: War Child reprints begin.

02 (May 1993)

03 (Jun 1993)

04 (Jul 1993)

05 (Aug 1993)

06 (Sep 1993)

07 (Oct 1993)

08 (Nov 1993)

09 (Dec 1993)

10 (Jan 1994)

Aliens Vol.1 #4

May 1991. Cover price £1.50.
52 pages. Colour & B&W.
Trident Comics, Ltd.

Edited by Martin Skidmore.

Cover by Dave Dorman.
r:

Contents:

 2 Letters Page readers' mail.

 3 Contents / Title Credits / Indicia

 4 Credits / Story So Far text introduction (uncredited).

 5 Aliens Untitled, part four, w: Mark Verheiden; a: Denis Beauvaus, lettering by Bob Pinaha.

r: Aliens (Dark Horse) #02 (Dec 1989).

13 Credits / Story So Far text introduction (uncredited).

14 Predator The Heat, part four, w: Mark Verheiden; a: Chris Warner, lettering by Jim Massara, colouring by Chris Chalenor.

r: Predator #02 (Jun 1989).

34 Credits / Story So Far text introduction (uncredited).

35 Aliens Vs Predator Untitled, part four, w: Randy Stradley; p: Phil Norwood, i: Karl Story, lettering by Pat Brosseau.

r: Aliens Vs Predator (Dark Horse) #01 (Jun 1990).

50 Next Month (half page) / Subscriptions (half page)

51 Letters Page readers' mail, cont.

52 Makabre - Coming Soon in Toxic! advertisement.

The arrival of readers letters allows Aliens to feel more connected to the readership, and Martin Skidmore's responses are appropriately optimistic regarding the continued success of Trident, suggesting that original covers might be forthcoming, hinting at new titles, and being a great cheerleader for British comics in general. While there are still problems with the title - that expanse of wasted black space on the contents page remains - it is a positive step towards a more balanced presentation of material.

Butler drags himself to a computer terminal in order to watch events on the monitors. Seeing Spears order Newt to be taken to the breeding centre - and certain death - he moves through corridors filled with aliens, and past the screaming humans remaining, to reach a functional control panel. As the aliens approach Newt, he activates an emergency pressure seal to block their access to her.

Not much happens in this issue, though the art - as always - is great. Butler has some real character development here, with an extended insight into how he sees the world around him, and the problems his programming creates.

That night I rested - and remembered, when Dutch and I were kids, we would hunt in the woods behind our father's cabin.

It wasn't the sport we liked as much as the challenge of the hunt - being on our own, testing ourselves against nature.

Opening day of deer season, we came across a bunch of local boys shooting up the woods. They'd been drinking since daybreak and they had that weird look in their eyes.

Guess they were trying to impress each other.

They'd cornered a buck and took turns pumping slugs into it, watching it bleed into the cool October air.

These boys weren't that different from me and Dutch, except they needed to see the blood.

That's when I learned that there's a world of difference between killing because you have to - and killing because it's fun.

Filling in the blanks regarding Dutch's past, the explanation for his tenacity and resilience in his battle with the Predator becoming less fantastic thanks to his upbringing. Sharing Dutch's sense of certainty when facing such an unusual enemy, Schaefer is hunting now. The tracker in his neck provides him advance warning of the alien presence, and he readies his automatic shotgun.

The Predator duly appears, and Schaefer unloads his weapon before charging headfirst into the depths of the jungle eager to end the battle quickly, though the Predator is prepared for his advance. Seeing the wound he has inflicted on it, Schaefer draws his knife and stabs the Predator, but merely enrages it. Running from the Predator, he comes to a cliff edge, and (through luck as much as skill) manages to send it tumbling to its death below. Returning to his camp, Schaefer discovers that his guide knows more than he has let on.

Rasche tries on the Predator helmet, seeing dozens of ships hanging in the air above New York. Taking the news to McComb, he is told that he faces a full departmental review for withholding evidence, so storms out of the department - only to be stopped by federal agents. Due to manpower shortages, the IRS have been called in to assist...

Dual story threads raise the threat posed to the city by several levels, with a dead Predator in South America and ships hanging in the air over New York, there's enough of material for several stories here. The death of a Predator ought to be more dramatic than falling off a cliff, and it seems rather too easy for Schaefer to defeat a member of the species so off-handedly.

Which is a good a place as any to suggest... Abbott and Costello meet the Predator. I'm serious. I would pay for a fully-painted, photo-realistic series crossing the franchises without a moments hesitation.

The dialogue following this scene is, however, worth the conceit, and indicates that there is a long and troubled history between Predators and humanity. This is more interesting than merely having the species pop up every so often for a murderous rampage, and hints at a conspiracy tacitly approved by those in a position of power. Conspiracy stories, especially when wrapped in the blanket of SF, can make for the very best narratives - had this been developed in the second film, the franchise would probably not have stuttered to an abrupt halt for so long.

Aliens Vs Predator has dragged along at a snail's pace since the first issue, so it is something of a surprise to have a proper story unfolding now.

The planet Ryushi,
at the edge of the Chigusa Corporation's holdings in the Beta Cygni system.

Only human populace: 'Prosperity Wells.'
Population: 115 primary freelance ranchers and their families, plus a token staff of corporate overseers.

Despite the opening sequence seemingly promising dinosaur-type alien hybrids, this appears to be present for the sole purpose of showcasing formidable Predator techniques. As intriguing as dinosaurs and Predators mixing it up would be, there's a genre shit to the "space western" in both appearance and text, which is a slightly larger leap than was probably intended.

The 'terror' came from the stars.

It wasn't indigenous. Even if the survey teams had missed it four years ago, we would have encountered it before the trouble began.

No, it came from somewhere else - some Hell-world beyond Ryushi.

Where? I don't know - and I hope we never find out.

But I know when it came...

The 'Terror' arrived at high noon.

In the searing heat of Ryushi's nineteen-hour daylight period, nothing stirs of its own volition - not even the armored fire crawlers.

With every living creature burrowed in, restivating, or otherwise sheltered against the heat, it's not surprising there were no witnesses to its arrival.

The personal lives of the characters add to the story's believability, though it is all too... cosy. It isn't a world which is seething on the brink of cultural or societal transformation, even without the addition of external pressures, and - without a mirror to the larger threat - the sense of things about to quickly head south isn't as pronounced. Taking motifs of the western (the frontier town, an enemy riding in at high noon) without addressing the core of western literature - that the problem was present all along, and merely needed the arrival of an outside force to finally shatter fragile cohabitation - it loses a degree of tension.

There's some fine artwork, and a great introduction to the means by which the Predators infest a location with Alien seeds for their hunt. It may have been a slow build-up to the point where the two species can be put together, but it is a strip which is improving massively.

#03

Aliens Vol.1

#05

Aliens Vol.1 #3

Apr 1991. Cover price £1.50.
52 pages. Colour & B&W.
Trident Comics, Ltd.

Edited by Martin Skidmore.

Painted cover by Denis Beauvais.
r: Endpaper from Aliens: Book Two.

Contents:

 2 Planet-X advertisement.

 3 Contents / Title Credits / Indicia

 4 Credits / Story So Far text introduction (uncredited).

 5 Aliens Untitled, part three, w: Mark Verheiden; a: Denis Beauvaus, lettering by Bob Pinaha.

r: Aliens (Dark Horse) #02 (Dec 1989).

29 Credits / Story So Far text introduction (uncredited).

30 Predator The Heat, part three, w: Mark Verheiden; a: Chris Warner, lettering by Jim Massara, colouring by Chris Chalenor.

r: Predator #01 (Jun 1989).

43 Credits / Story So Far text introduction (uncredited).

44 Aliens Vs Predator Untitled, part three, w: Randy Stradley; p: Phil Norwood, i: Karl Story, lettering by Pat Brosseau.

r: Aliens Vs Predator (Dark Horse) #01 (Jun 1990).

48 Here are a selection of pages from Toxic! the all new weekly comic. ON SALE NOW! preview section.

r: page four of Marshal Law strip from Toxic! (Apocalypse Ltd.) #01 (28 Mar 1991). / page five of Accident Man strip from Toxic! (Apocalypse Ltd.) #01 (28 Mar 1991). / page three of Mutomaniac strip from Toxic! (Apocalypse Ltd.) #01 (28 Mar 1991).

51 Editorial Editor Vacancy (quarter page) / O.U.T.L.A.N.D. Mail Order Comics (uarter page) advertisement. / Crime Doesn't Stand a Chance (half page) advertisement for Uncanny Comics.

52 Do Your Friends Have Mad Comic Disease? advertisement for Toxic! #01 (28 Mar 1991).

When a cover appears to depict an alien which has lit its fart on fire, there's a problem.

Attempting to present the characters here with the same intensity as the cinematic versions is compromised when the first impression is so ridiculous, however well intentioned, and it is an image so strong that everything which follows is tainted by association. Though it is meant to be dramatic, the framing is such that the comedic value presents instantly and refuses to dissipate. Which is unfortunate, as the strips are very good indeed.

When I joined the Marines, I was proud to serve my country. They want that - they want you to think you're doing something right and noble.

Sometimes you believe it. Sometimes it's even true.

Powell was second-in-command, reporting directly to General Spears. He had followed me into the lower decks of my stranded cargo ship because he needed me.

Spears believed, and the purity of his belief was terrifying

Powell reveals to Hicks that the General has transformed the civilian terraforming base into a breeding station, killing everyone living there, and intends to utilise the aliens as living weapons. Being in the military compound is no guarantee of safety, as it has been wired - staff monitoring senior officers round the clock. When the General is angered by the behaviour of his men, as he is every few days, they soon disappear. Being told about the experiment and seeing it are two different things, and Hicks is soon confronted with incontrovertible evidence of the insane techniques with which the general has managed to bring his creatures under control.

The Queen understands what is happening. She watches as her offspring are burned by the General. She waits.

Attempting to wrest control of the facility before Spears' return, Hicks rounds up the soldiers loyal to the General, though things soon go wrong. An alien is freed from captivity, Hicks and Newt running for the Docking Bay. Spears arrives in the nick of time, his flamethrower bringing the aliens under control - and orders traitors executed and transports readied for a return journey to Earth.

The cynicism which runs through this title is refreshingly overt, though the running theme of untrustworthy officials is becoming tired. Should a genuinely concerned figure of authority be presented, it would be a twist on the formula. As it is, the General is a twisted, unhinged parallel to Apocalypse Now's military figure exposed to the darkness and unable to return to civilisation. His plan, to fight aliens with more aliens, is at once completely mad and yet, in a way, entirely logical.

As much as I want to see the return to Earth prevented, I'm also intrigued by the notion of a battle between two factions of aliens in the middle of a city.

Cops in New York tend to get used to things.

Like the time some livewire tied a cow to the chairman of "Federal Beef" and pitched 'em both off the Chrysler building.

It was supposed to be some sort of protest against chemically treated meat, but when that Jersey pancaked into Lexington Avenue, all Hell broke loose.

City sanitation must have gone through a dozen mops cleaning up the mess, but they didn't care - free steaks for Christmas.

The point is, that's the job. You learn to deal with it.

Schaefer, after coming face-to-face with the Predator, is thrown from the fifth floor of the building. His fall broken by clothes lines and trash, Schaefer alive, he is seriously injured, though the experience allowed him close enough to steal something from his assailant - its mask. The Predator also managed to give him something - a tag on his neck which the officer decides must be a tracking device of some kind. Discharging himself from hospital against doctor's orders, he travels to Rasche's home to convalesce.

A confrontation with his captain convinces Schaefer that he won't get answers through any official channels, and may even spend time in jail if he keeps pushing his investigation. Returning to Colombia, where he once worked narcotics, and where his brother disappeared, to see if the killings in his city are connected. A guide leads him through the jungle, and he is astonished to find a giant crater - where locals say the sun appeared at midnight.

Tying things closer to the film, three years on, we don't get an answer as to why a Predator is hinting in a new location. Such an alteration to tradition is something which warrants a passing mention, at the very least, and it is something I hope isn't brushed over.

The interaction between Schaefer and Rasche is rather underplayed, though the camaraderie between the men is evident here in small touches - splitting them up so soon seems to be dictated more by the plot than their personalities, and Schaefer's departure comes across as a random connection instead of deductive reasoning. That they are so different, and their reaction to what is happening so downplayed, that there seems to be a build-up to Rasche uncovering what is actually happening.

The Aliens and Predators haven't actually met yet in the back-up Aliens Vs Predator series, and the plot is so slow to move forward that I'm reluctant to pass judgement.

For a title which is named after the Alien franchise, it is unfortunate that the highlight is a follow-up to Predator.

#02

Aliens Vol.1

#04

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

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

Aliens Vol.1 #2

Mar 1991. Cover price £1.50.
52 pages. Colour & B&W.
Trident Comics Ltd.

Edited by Martin Skidmore.

Cover by Denis Beauvais.
r: cover from Aliens (Dark Horse) #4 (May 1989).

Contents:

 2 Marshal Law Takes Manhattan in-house advertisement; illustration by Kevin O'Neill.

 3 Contents / Title Credits / Indicia

 4 Credits / Story So Far text introduction (uncredited).

 5 Aliens Untitled, part two, w: Mark Verheiden; a: Denis Beauvaus, lettering by Bob Pinaha.

r: Aliens (Dark Horse) #02 (Dec 1989).

30 Credits / Story So Far text introduction (uncredited).

31 Predator The Heat, part two, w: Mark Verheiden; a: Chris Warner, lettering by Jim Massara, colouring by Chris Chalenor.

r: Predator (Dark Horse) #01 (Jun 1989).

45 Credits / Story So Far text introduction (uncredited).

46 Aliens Vs Predator Untitled, part two, w: Randy Stradley; p: Phil Norwood, i: Karl Story, lettering by Pat Brosseau.

r: Aliens Vs Predator (Dark Horse) #01 (Jun 1990).

51 Aliens Next Issue (quarter page) in-house advertisement. / Comic Marts '91 (quarter page) advertisement. / Meanwhile... (quarter page) advertisement; illustrated by UNKNOWN (uncredited). / Fantasy World - Another World (quarter page) advertisement.

52 Toxic! A Major New Weekly Magazine in-house advertisement.

While it might have been more useful for fans had Trident reprinted every Alien appearance from the start, by picking and choosing pieces to package in bite-size chunks we are presented with fantastic artwork such as the Beauvais cover. Effective as the format is, the lack of supplementary material continues to bug me. It would have been relatively easy (in 1991, at least) to list all the Alien strips on a page, allowing those interested to hunt down whatever is unlikely to be reprinted.

There's no editorial, leaving a gaping black space on the third page, which makes the issue look rushed and incomplete. Small details, so important to building confidence in the title, which linger in the mind. One such detail stands out on the introduction to the first story, where the first letter of Story So Far is printed in red, while the rest are white. Against a black background it reads as "Tory So Far" at a glance. Not the best impression to give.

Picking up with Newt telling Commander Spears that they were lucky to survive, to which he responds that it wasn't luck but sedition - he orders Newt and Hicks taken to isolation, in order that they can be analysed, and as they pass through the station they discover that transmissions from Earth are still being received - civilians, desperate for assistance, being all but ignored.

A group of dissatisfied military personnel plan their escape from Spears' command, stealing a tractor to traverse the wasteland outside. Lt. Powell is made aware of Hicks and Newt's history, and informs Spear of records which have come to light. Spear, who has seen an Alien Queen up close, and come away from the experience a changed man, tells them that the Aliens may have the strength and power of true soldiers, but lack leadership. He hopes to provide that for those in his custody.

Hicks investigates the ship on which he arrived, locating a cut communications bundle. Powell, Spears' second-in-command, tells Hicks that the General is insane, while the absconded soldiers discover the colony to be less of a refuge than they anticipated.

Creepy rather than horrific, there is a lot to like in the continuation of Newt's story. Some of the artwork is slightly rougher, but the story is building up a head of steam. Some of the darker artwork hasn't been reproduced well, and a few pieces look too soft and out of focus, but overall captures the world of the characters well.

Carr has survived the Predator's assault, and - in the belief that police had orchestrated the murders - begins firing on Schaefer. The gunman escapes, running into the night.

In the aftermath of another subway attack, Schaefer and Rasche take it upon themselves to attend the scene, drawing ire from McComb, who threatens to have them suspended. They get a hint to keep away from matters from an associate of Dutch's, though Schaefer returns to Lamb's headquarters to try and piece together what he can from the crime scene. Encountering the creature responsible, Dutch attempts to apprehend the killer.

The Heat is stylish and - in places - extremely effective at selling the notion of a Predator hunting in the city. There's a great shot of the Predator standing over Schaefer, and a nice close-up which shows the Predator in all his glory, though the colouring is rather poor in places, taking away from the effectiveness of the art. Subtler tones and more blending of hues would have elevated what is a good strip into a great one.

The final strip, Aliens Vs Predator continues slowly, building tension while highlighting the workings of the Predator preparations. With only five pages to play with, it doesn't move far enough along to offer much in the way of narrative development, but the art is pretty. This is going to get frustrating if developments aren't forthcoming...

#01

Aliens Vol.1

#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.