Whoopee! (IPC Magazines Ltd.) #01 (09 Mar 1974).
First Appearances:
Ad Lad in Whoopee! #01 (09 Mar 1974).
The Bumpkin Billionaires in Whoopee! #01 (09 Mar 1974).
Daisy Jones' Locket in Whoopee! #01 (09 Mar 1974).
Ernie Learner in Whoopee! #01 (09 Mar 1974).
Little Miss Muffit in Whoopee! #01 (09 Mar 1974).
Lunchin' Vulture in Whoopee! #01 (09 Mar 1974).
Snap Happy in Whoopee! #01 (09 Mar 1974).
Stoker-Ship's Cat in Whoopee! #01 (09 Mar 1974).
Toy Boy in Whoopee! #01 (09 Mar 1974).
The Wolf Pack in Whoopee! #01 (09 Mar 1974).
Births:
Thomas Tegg (1776); John Ryan (1921); Peter Jackson (1922); Glen Baxter (1944); Simon Bisley (1962)
Deaths:
Sidney Conrad Strube (1956); Salvatore Deidda (1990); Camillo Zuffi (2002)
Notable Events:
The Universe and Eye: of Man and New Science by Timothy Ferris & Ingram Pinn published by Pavilion Books in 1993.
Dennis the Menace paid a visit to The One Show, to celebrate Comic Relief, in 2011.
An episode of What Do Artists Do All Day?, featuring Frank Quitely, was broadcast on BBC2 in 2014.
Showing posts with label Simon Bisley. Show all posts
Showing posts with label Simon Bisley. Show all posts
Monday, March 4, 2019
Friday, December 7, 2018
On This Day: 07 Dec
Births:
Freddie Adkins (1894); Barry Kitson (1957); Lee Brimmicombe-Wood (1963)
Notable Events:
The first issue of Viz was collected from the printers in 1979.
Willie Rushton hosted the ninth episode of Friday Night, Saturday Morning, on BBC 2, in 1979.
John Wagner, Alan Grant and Simon Bisley attended a Judge Dredd/Batman: Judgement on Gotham signing at Virgin Megastore, Marble Arch, London, in 1991.
Future Shock! The Story of 2000AD released on DVD in 2015.
Freddie Adkins (1894); Barry Kitson (1957); Lee Brimmicombe-Wood (1963)
Notable Events:
The first issue of Viz was collected from the printers in 1979.
Willie Rushton hosted the ninth episode of Friday Night, Saturday Morning, on BBC 2, in 1979.
John Wagner, Alan Grant and Simon Bisley attended a Judge Dredd/Batman: Judgement on Gotham signing at Virgin Megastore, Marble Arch, London, in 1991.
Future Shock! The Story of 2000AD released on DVD in 2015.
Thursday, November 22, 2018
Toxic! #1
28 Mar 1991. Cover price 99p.
36 pages. Full colour contents.
Apocalypse Ltd.
The Comic Throws Up!
Edited by
Cover by Kevin O'Neill.
Contents:
Punning on Strip's boast with its line "The Comic Throws Up!" may be immature, but little regarding this title which could be considered mature. To compound matters, in opening the first issue with Strip's lead character, Marshal Law, there is a sense of Toxic! engaging in one-upmanship, while providing a counter-point to the much more staid and respectable title. Make no mistake though, this is a minor masterpiece of comic-book creation, ticking every box as it unfolds.
Kevin O'Neill's cover is a fantastic, powerfully dramatic image of Law, carrying the type of immense weapons which would dominate 90s superhero titles, and several imaginatively-designed 'capes' - one of which is modelled after a dinosaur. Mirrored in the line of dialogue is an echo of the exclamation mark from Toxic!'s logo, which adds to the title's interconnected imagery, and even the barcode is slanted at an angle. Details, seemingly insignificant, build into style.
There's no respite in the opening introduction, which is signed 'Doc. Tox' - an unseen Tharg-like figure who is ostensibly in charge of the title. Personally connecting to readers, in however manufactured a manner is essential in presenting possibly-difficult material - and as this title is a determined assault on the senses, every bit of assistance is required. A wonderful sense of anarchy is created through O'Neill's imagery, and the issue's preface adds in one further minor example of brilliance:
While the story pauses on the revelation that Law was once just such a hero, leaving the murder unsolved, there is a solid introduction to the world, brimming with ridiculously attired characters possessing absurd powers. Far more interesting than the abilities of the characters is their status in a place which has changed drastically around them, leaving them behind as society has moved on.
Prisoner Edward Ross has been diagnosed as suffering from mutomania, a condition which makes him prone to an irresistible urge to disobey. Attempts have, of course, been attempted to cure him of this by Edutechs, though his condition is terminal - expelled from the penotech, he is to be expelled into space. The door, alas, doesn't work. Ordered to shoot Ross by the governor, a guard finds that his gun has jammed. Escaping, Ross is warned that he won't get far...
McMahon's art is, in its own way, gorgeous, and the story is packed with interesting concepts which cry out or development - of the material in the first issue, this is the strip which - at first blush - appears to hold the most promise. A penal colony in space, a man blessed with luck, and on the run. This is high concept storytelling with its tongue firmly in cheek, and delightfully mad.
Once Upon a Time in the West is notable for some wonderful Bisley art, though the case of mistaken identity here has, I'm afraid, been rather overdone. While not a top-tier story, it doesn't take up too much room in the telling.
With only two immediately engaging strips, this is a title which doesn't provide a wholly positive first impression, but a strong visual identity for the title, and the promise of forthcoming strips, gives hope that things will improve in future issues.
36 pages. Full colour contents.
Apocalypse Ltd.
The Comic Throws Up!
Edited by
Cover by Kevin O'Neill.
Contents:
2 Welcome to Our Dump! editorial by (uncredited); illustrations by Kevin O'Neill. / Indicia
3 Marshal Law The Hateful Dead!, part one, Rise of the Zombies w: Pat Mills; a: Kevin O'Neill, lettering by Steve Potter.
12 Aliens - The Comic Magazine advertisement.
13 Accident Man UNTITLED [Money for a Bimota] w: Pat Mills & Tony Skinner; a: Martin Edmond.
21 Mutomaniac Space Cannibals w: Pat Mills; a: Mike McMahon.
27 Coming Soon... Sex Warrior preview; a: Will Simpson.
28 Once Upon a Time in the West w: Alan Grant; a: Simon Bisley.
35 Burning Rubber in Hell! The Driver pin-up; a: David Leach.
36 Do Your Friends Have Mad Comic Disease? pin-up; a: Kevin O'Neill.
Punning on Strip's boast with its line "The Comic Throws Up!" may be immature, but little regarding this title which could be considered mature. To compound matters, in opening the first issue with Strip's lead character, Marshal Law, there is a sense of Toxic! engaging in one-upmanship, while providing a counter-point to the much more staid and respectable title. Make no mistake though, this is a minor masterpiece of comic-book creation, ticking every box as it unfolds.
Kevin O'Neill's cover is a fantastic, powerfully dramatic image of Law, carrying the type of immense weapons which would dominate 90s superhero titles, and several imaginatively-designed 'capes' - one of which is modelled after a dinosaur. Mirrored in the line of dialogue is an echo of the exclamation mark from Toxic!'s logo, which adds to the title's interconnected imagery, and even the barcode is slanted at an angle. Details, seemingly insignificant, build into style.
There's no respite in the opening introduction, which is signed 'Doc. Tox' - an unseen Tharg-like figure who is ostensibly in charge of the title. Personally connecting to readers, in however manufactured a manner is essential in presenting possibly-difficult material - and as this title is a determined assault on the senses, every bit of assistance is required. A wonderful sense of anarchy is created through O'Neill's imagery, and the issue's preface adds in one further minor example of brilliance:
No cash prizes for the best bile!Providing an outlet for readers to vent their frustrations is a masterstroke, guaranteeing that those who send in suggestions will hang around to see if their choice is published. While I have reservations about the use of the word 'hate' in such a prominent position, it is a notion which has previously provided a deal of entertainment in other forms.
Readers, pop in the bile box and trash any one or anything you hate.
It's the war of the future.Peacetime uses are less noble than fighting in apocalyptic wars, with locales such as the "Foul Play" club having sprung up, where heroes fight each other for the entertainment of wild crowds. Other heroes have taken to working in stress relief parlours, where regular citizens pay for the pleasure of beating them up. It is in one of these establishments, the Cobweb Palace, that Marshal Law discovers the badly-mangled corpse of a man who had paid for the pleasure of beating on Razorhead, though after uncovering a Kalinga big game knife the case appears to be justifiable homicide.
With Shocc Troopers - genetically altered warriors - fighting battles of such savagery as to resemble a Halloween night in Hell.
It's otherwise known as The Zone".
Now the conflict's over... And men with superpowers designed for war...
Have to find a peacetime use for their talents.
While the story pauses on the revelation that Law was once just such a hero, leaving the murder unsolved, there is a solid introduction to the world, brimming with ridiculously attired characters possessing absurd powers. Far more interesting than the abilities of the characters is their status in a place which has changed drastically around them, leaving them behind as society has moved on.
He should be home soon.Accident Man is a contract killer with a knack for disguising his hits, though the murder seen in the opening installment appears to be rather less than perfect. We get a fight sequence with random people, then are introduced to other hit-men, in a story which isn't quite as polished as the rest of the issue's contents, though has potential. Introducing so many characters in the first part of a story, and in rapid succession, makes it difficult to care about them, and the main character is quite unlikeable - even the slightly amusing incidental jokes don't play as well as those in Marshal Law.
A man shouldn't be late for his own death.
10 millimetre climbing rope. 1,100 lb breaking strain.
I'm the best. I only use the best.
When I'm going to hit someone, I always make it look like an "accident"...
...or a suicide.
Prisoner Edward Ross has been diagnosed as suffering from mutomania, a condition which makes him prone to an irresistible urge to disobey. Attempts have, of course, been attempted to cure him of this by Edutechs, though his condition is terminal - expelled from the penotech, he is to be expelled into space. The door, alas, doesn't work. Ordered to shoot Ross by the governor, a guard finds that his gun has jammed. Escaping, Ross is warned that he won't get far...
McMahon's art is, in its own way, gorgeous, and the story is packed with interesting concepts which cry out or development - of the material in the first issue, this is the strip which - at first blush - appears to hold the most promise. A penal colony in space, a man blessed with luck, and on the run. This is high concept storytelling with its tongue firmly in cheek, and delightfully mad.
Once Upon a Time in the West is notable for some wonderful Bisley art, though the case of mistaken identity here has, I'm afraid, been rather overdone. While not a top-tier story, it doesn't take up too much room in the telling.
With only two immediately engaging strips, this is a title which doesn't provide a wholly positive first impression, but a strong visual identity for the title, and the promise of forthcoming strips, gives hope that things will improve in future issues.
Toxic! (Apocalypse Ltd.)
#02
Wednesday, November 21, 2018
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:
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.
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.
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."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.
"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."
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
Monday, November 19, 2018
On This Day: 19 Nov
In the Heat of the Scribble: Political Cartoons of Tim by Tim Sanders. (Bookmarks; 1995)
First Appearances:
The V.C.s in 2000 A.D. (IPC Magazines Ltd.) Prog 140 (24 Nov 1979).
Jim Corrigan (Silo) in 2000 A.D. (Fleetway Publications) Prog 706 (24 Nov 1990).
Births:
Geoff Campion (1916); Terence Parkes (Larry; 1927); Mel Croucher (1948)
Deaths:
David Bogue (1856); David Austin (2005); Bill Swinton (2006); John Piggott (2012)
Notable Events:
Paul Temple newspaper strip began in the London Evening News in 1951.
Flook newspaper strip began in The Daily Mirror (after a run in The Daily Mail) in 1984.
Pat Mills and Simon Bisley signed copies of the Sláine: The Horned God graphic novel at Mega City Comics, 18 Inverness Street, Camden in 1989.
The 14th Cartoon Art Trust Awards took place at The Mall Galleries, London, in 2008.
Raymond Briggs received a lifetime achievement award, at the 14th Cartoon Art Trust Awards, in 2008.
The Leeds Sequential Art Festival began, in association with Thought Bubble, in 2009.
John Ryan: A Retrospective exhibition began at the Rye Art Gallery in 2011.
First Appearances:
The V.C.s in 2000 A.D. (IPC Magazines Ltd.) Prog 140 (24 Nov 1979).
Jim Corrigan (Silo) in 2000 A.D. (Fleetway Publications) Prog 706 (24 Nov 1990).
Births:
Geoff Campion (1916); Terence Parkes (Larry; 1927); Mel Croucher (1948)
Deaths:
David Bogue (1856); David Austin (2005); Bill Swinton (2006); John Piggott (2012)
Notable Events:
Paul Temple newspaper strip began in the London Evening News in 1951.
Flook newspaper strip began in The Daily Mirror (after a run in The Daily Mail) in 1984.
Pat Mills and Simon Bisley signed copies of the Sláine: The Horned God graphic novel at Mega City Comics, 18 Inverness Street, Camden in 1989.
The 14th Cartoon Art Trust Awards took place at The Mall Galleries, London, in 2008.
Raymond Briggs received a lifetime achievement award, at the 14th Cartoon Art Trust Awards, in 2008.
The Leeds Sequential Art Festival began, in association with Thought Bubble, in 2009.
John Ryan: A Retrospective exhibition began at the Rye Art Gallery in 2011.
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:
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:
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.
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.
Sunday, October 21, 2018
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:
32 Everybody's Kung-Fu Fighting text feature by Dave Hughes.
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.
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 '90s48 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.
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