Fury (Marvel) #01
Thundercats (Marvel Comics Ltd.) #01 (21 Mar 1987)
Total Carnage (Dark Horse Comics International) #01 (Apr 1993)
Now! (Fleetway) #01 (1994)
The Batman Movie Sticker Album (Merlin Publishing Limited; 1990)
First Appearances:
Tao de Moto in 2000 A.D. (Fleetway Publications) Prog 723 (23 Mar 1991).
Births:
Roy Ullyett (Berryman; 1914); G. Freeman Allen (1922); Gino D'Antonio (1927); Chris Foss (1946)
Deaths:
H.G. Hine (1895); Tom Browne (1910); Ian Chisholm (1981); Marcus Morris (1989); Terry Maloney (2008); Steve Moore (2014)
Notable Events:
The Gambols newspaper strip began in The Daily Express in 1950.
Bryan Talbot signed copies of Luther Arkwright and Nemesis Book 6 as part of his Luther Arkwright UK Tour '88 at Exeter University Comics Group, Devonshire House in 1988. Signing appearances continued over the next few weeks at locations across the Britain.
The Comic Relief Charity Pool Championship took place in the Edinburgh Castle public house, in Camden, in 1991. Creators and representatives from Fleetway Publications, Marvel Comics and Stateside Comics PLC took part, with Fleetway winning 12 games and the Championship, raising over £600 in sponsorship for Comic Relief. The teams for Deadline, John Brown Publishing and Titan bowed out in the face of such strong opposition.
Now! replaced Look-In as IPC's teen title in 1994, though it was a title which never quite worked...
Striker newspaper strip became the first newspaper strip to use 3D software in its creation in 1998.
BBC Radio broadcast the first of the six–part Neverwhere adaptation in 2013.
Showing posts with label Steve Moore. Show all posts
Showing posts with label Steve Moore. Show all posts
Saturday, March 16, 2019
Thursday, January 31, 2019
On This Day: 31 Jan
The Man Who Searched For Fear by Bill Lacey. (Bear Alley Books) GN (2014) ISBN-13: 9781907081736
V For Vendetta novelisation by Steve Moore, based on the screenplay by The Wachowski Brothers. (Pocket Books; 2006) ISBN-13: 978-1416516996
Durham Red: Manticore Reborn by Peter J. Evans. (Black Flame; Jan 2006) ISBN-10: 1 84416 323 7
Judge Dredd: Crime Chronicles - Double Zero by James Swallow. (Big Finish Productions; 2010)
Births:
Clive Hudson (1926); Grant Morrison (1960).
Deaths:
Morley Adams (1954)
Notable Events:
The Marvel Family #89 became the last Captain Marvel related title to be published by L. Miller & Son, Ltd. in 1954.
V For Vendetta novelisation by Steve Moore, based on the screenplay by The Wachowski Brothers. (Pocket Books; 2006) ISBN-13: 978-1416516996
Durham Red: Manticore Reborn by Peter J. Evans. (Black Flame; Jan 2006) ISBN-10: 1 84416 323 7
Judge Dredd: Crime Chronicles - Double Zero by James Swallow. (Big Finish Productions; 2010)
Births:
Clive Hudson (1926); Grant Morrison (1960).
Deaths:
Morley Adams (1954)
Notable Events:
The Marvel Family #89 became the last Captain Marvel related title to be published by L. Miller & Son, Ltd. in 1954.
Tuesday, December 4, 2018
Doctor Who Weekly #4
07 Nov 1979. Cover price 12p.
28 pages. B&W contents.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
The Doctor's letter reminds readers not to play with fireworks, noting that they are still explosives despite their packaging and public perception. It is a message which can't be repeated enough, as even all these years later there are still horror stories of needless accidents being reported - such public safety notices have largely fallen out of favour, and these remnants from a time before social media are really evocative.
The Imperial Air-Galley enters the Temple of the Gods, an alien space-ship, and the Doctor convinces Morris to help his escape - which Morris is more than happy to do, given that he hasn't made an escape attempt for a couple of weeks. The Alien Guard, protectors of the temple, rush to prevent the escape of the prisoners. Managing to avoid recapture, the Doctor meets Vesuvius, the oldest robot in Rome. After performing minor repairs on Vesuvius, the Doctor asks where he can find the Gods - and realises that the Romans have been worshiping the Malevilus, most terrible of alien races.
Aliens who take the form of statues? Shades of the Weeping Angels raise this beyond any quibbles regarding the other-dimensional nature of the Romans. Morris is a great character, who really lightens the strip, as well as being oddly likable.
Although interesting, the Yeti aren't quite as memorable - or terrifying - as the Great Intelligence, who really should have formed the focus of the feature. As a history of the robots, however, it is a fine example of the recaps making the threats seem more credible than the episodes managed. The main drawback to the Yeti is their resemblance to Wombles, which is a complete drama-killer. How are the furry, rotund litter-pickers meant to scare when they are so damn cute?
I wouldn't say no to a pet Yeti.
I'll name him George. And I'll hug him, and pet him, and squeeze him...
War of the Worlds is one of the main foundation stones of alien invasions in popular culture, with some of the most dramatic scenes of devastation to focus on such an unlikely location. It should be told as the epic it is, and have at least one or two compelling, memorable images on every page. It should matter. While the adaptation is fine, it isn't exceptional. If there's one word which encapsulates the strip, that word would be "adequate".
The designs of the tripods owe much to the film adaptation, which overwhelms any positive artistic choices. Such a disappointment.
Continuing the recap of The Dead Planet, the same handful of images which always get published are, quelle surprise, dusted off and printed onece more. Are the choices of photographic record for the first doctor so limited that we never get new (or at least unpublished) material? Surely someone was a bit snap-happy on set, and there remains, somewhere, a few pieces we haven't seen dozens of times. Which isn't a complaint aimed at Doctor Who Weekly in specific, but all coverage of the first Doctor.
As endings go, Return of the Daleks pulls out all the stops.
While I'm going to miss Glax, his transformation from amoral exploitation producer to (albeit reluctant) hero has been a great way to expand the confines of the series. The history of the Daleks outside of strict continuity had already produced a few brilliant stories, and if they were to break free of the series, to invade television screens on their own, this strip would have to be considered as an inspiration.
28 pages. B&W contents.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
2 A Letter from the Doctor text feature by Dez Skinn (uncredited).
3 Doctor Who and the Iron Legion, part four, w: Pat Mills & John Wagner; a: Dave Gibbons.
7 Crazy Caption 4 competition; photograph (uncredited).
8 Starting Next Week in Issue Five of... Doctor Who Weekly preview of Throwback strip; a: Paul Neary.
9 The Monsters of Doctor Who The Yeti - Robot Pawns Controlled from Space text feature by Gordon Blows (uncredited); photographs (uncredited).
12 Planet Puzzle Answer (quarter page) / Another S-F Winner from Marvel in-house advertisement for Star Wars Weekly.
13 Tales from the TARDIS War of the Worlds, part four, w: Chris Claremont, based on the novel by H.G. Wells; p: Yong Montano; i: Dino Castrillo, lettering by Pat Condoy.
r: Marvel Classic Comics (Marvel) #14 (1976).
18 The Dead Planet text feature compiled by Jeremy Bentham; photographs (uncredited).
22 Doctor Who Photo-File Tom Baker fact-file (uncredited); photograph (uncredited).
23 The Return of the Daleks, part four, w: Steve Moore; p: Paul Neary, i: David Lloyd.
27 Doctor Who and the Turgids advertisement for Doctor Who Radio from Shortman Trading Company Ltd. w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
28 UNTITLED Tom Baker pin-up; photograph (uncredited).
The Doctor's letter reminds readers not to play with fireworks, noting that they are still explosives despite their packaging and public perception. It is a message which can't be repeated enough, as even all these years later there are still horror stories of needless accidents being reported - such public safety notices have largely fallen out of favour, and these remnants from a time before social media are really evocative.
The Imperial Air-Galley enters the Temple of the Gods, an alien space-ship, and the Doctor convinces Morris to help his escape - which Morris is more than happy to do, given that he hasn't made an escape attempt for a couple of weeks. The Alien Guard, protectors of the temple, rush to prevent the escape of the prisoners. Managing to avoid recapture, the Doctor meets Vesuvius, the oldest robot in Rome. After performing minor repairs on Vesuvius, the Doctor asks where he can find the Gods - and realises that the Romans have been worshiping the Malevilus, most terrible of alien races.
Aliens who take the form of statues? Shades of the Weeping Angels raise this beyond any quibbles regarding the other-dimensional nature of the Romans. Morris is a great character, who really lightens the strip, as well as being oddly likable.
Although interesting, the Yeti aren't quite as memorable - or terrifying - as the Great Intelligence, who really should have formed the focus of the feature. As a history of the robots, however, it is a fine example of the recaps making the threats seem more credible than the episodes managed. The main drawback to the Yeti is their resemblance to Wombles, which is a complete drama-killer. How are the furry, rotund litter-pickers meant to scare when they are so damn cute?
I wouldn't say no to a pet Yeti.
I'll name him George. And I'll hug him, and pet him, and squeeze him...
War of the Worlds is one of the main foundation stones of alien invasions in popular culture, with some of the most dramatic scenes of devastation to focus on such an unlikely location. It should be told as the epic it is, and have at least one or two compelling, memorable images on every page. It should matter. While the adaptation is fine, it isn't exceptional. If there's one word which encapsulates the strip, that word would be "adequate".
The designs of the tripods owe much to the film adaptation, which overwhelms any positive artistic choices. Such a disappointment.
Continuing the recap of The Dead Planet, the same handful of images which always get published are, quelle surprise, dusted off and printed onece more. Are the choices of photographic record for the first doctor so limited that we never get new (or at least unpublished) material? Surely someone was a bit snap-happy on set, and there remains, somewhere, a few pieces we haven't seen dozens of times. Which isn't a complaint aimed at Doctor Who Weekly in specific, but all coverage of the first Doctor.
After 800 years, the Daleks have returned to the planet Anhaut, seeking revenge for their former defeat. Movie producer Glax and his star, Hok Nepo, have found the weapon chamber of the ancient General Nor-Din... Only to have its contents destroyed by the Dalek agent, Kuay, before they could learn its secret...Prepared to kill everyone, and destroy everything, in their path, the Daleks approach the pyramid. Seemingly trapped, and destined to die in the pyramid, Kuay tells Glax that the Daleks' hold on her ended when she touched a crystal helmet - a device which rapidly ages the user. Hok takes the helmet from Kuay, though he cannot get it to work. Knowing her Dalek implants will enable use of the device, Kuay prepares to sacrifice herself to end the menace once and for all.
As endings go, Return of the Daleks pulls out all the stops.
While I'm going to miss Glax, his transformation from amoral exploitation producer to (albeit reluctant) hero has been a great way to expand the confines of the series. The history of the Daleks outside of strict continuity had already produced a few brilliant stories, and if they were to break free of the series, to invade television screens on their own, this strip would have to be considered as an inspiration.
#03
Doctor Who Weekly
#05
Friday, November 30, 2018
Doctor Who Weekly #3
31 Oct 1979. Cover price 12p.
28 pages. B&W contents.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
Albert and Elsie Olthwaite should be revived for the new series, just so this issue's letter from the Doctor can be regarded as canon. An exceptionaly strange manner in which to begin the issue, though the sense of whimsy evoked by such a communication from the Doctor is reminiscent of the Tom Baker era as a whole. Slighty mad, yes, but with insights which pierce through 'common sense' to deliver profound statements.
Which likely makes the show sound a bit pretentious.
The Doctor faces the Ectoslime, which stuns its victims with its odour before liquefying them and drinking them. Searching his memory to recall if he had ever faced one before, he recalls the fact they have a highly developed sense of humour to make up for their appearance - so tells it a joke:
Having saved himself from a gruesome death, he is dragged from the arena and placed as a slave in an Imperial Air Galley by General Ironicus. A fellow captive aboard the ship is surprised that the Doctor isn't afraid of him due to his appearance, though the Doctor explains that, compared to the Ectoslime, he is almost handsome. Catching a glimpse of Caesar's mother, the Doctor thinks he has discovered the secret of the Galactic Roman Empire...
Has anyone attempted to translate the joke? I'm hoping it is presented in a code, and not merely a jumble of symbols, as such small details add a certain something to the character - even if I'm too lazy to find a suitable solution. The design sensibilities of the Roman-inspired world are rich in detail, with a few exceptional panels. The image of Caesar's mother is one of the few times we get to really see the world as the Doctor does.
And there's almost that Bugs Bunny line, for those amused at such things.
Whatever amusement could be gained from the Crazy Caption images is rather muted by the poor choice of images for this purpose. Screen captures of actors in the middle of unlikely and improbable events, with appropriately weird expressions, are much more suited to captioning. Before anyone points out how difficult such images were to get in 1979, such systems were available.
The Ice Warrior is an odd choice for Doctor Who's "monster of the week" feature, as they never really felt like top-tier enemies until later development, though the article is very informative. Behind-the-scenes images of Bernard Bresslaw getting prepared for his role as Varga are wonderful glimpses into the process of bringing the character to the screen, and worth the cover price alone. The paper quality doesn't do the images justice, though any opportunity to get a peek at the workings of Doctor Who's special effects are welcome.
Recapping The Dead Planet, the entrance of Daleks to the series is captured well, yet its importance in solidifying the series' popularity isn't addressed. It should have at least had a few newspaper reviews, or even snippets of Radio Times publicity material, which would have really sold the time period in which the episode was broadcast to readers.
Jon Pertwee's mini-bio highlights the inadequacy of the short overviews - despite being in line with previous entries, there's much more to his career than is presented here. Neither pin-up nor biography, the photo-files are a weird hybrid which serves neither function. While later incarnations of the title would handle the balance better, I find myself frustrated with the self-imposed limitations the title has created for itself.
Return of the Daleks, remaining a beautiful isolated glimmer of gold in the Doctor's universe, finds Glax and Hok knocked from their steeds by a whirling sandstorm. Within the winds, which they struggle through, they find a pyramid which is topped with a strange light. A door opens as they approach it, granting them access to a recording revealing the secret to the Daleks' defeat. Before Glax can learn what they must do, Kuay blasts the device and summons her Dalek masters.
The strips and television series information continues to make this a title which is well worth seeking out, though its lightweight features are beginning to grate.
28 pages. B&W contents.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
2 A Letter from the Doctor text feature by Dez Skinn (uncredited).
3 Doctor Who and the Iron Legion, part three, w: Pat Mills & John Wagner; a: Dave Gibbons.
7 Crazy Caption 3 competition; photograph (uncredited).
8 The Monsters of Doctor Who The Ice Warriors text feature by Gordon Blows (uncredited); photographs (uncredited).
10 Monster Mix Answers (quarter page) / Another S-F Winner from Marvel in-house advertisement for Starburst.
11 Planet Puzzle illustrated by UNKNOWN (uncredited).
12 Tales from the TARDIS War of the Worlds, part three, w: Chris Claremont, based on the novel by H.G. Wells; p: Yong Montano; i: Dino Castrillo, lettering by Pat Condoy.
r: Marvel Classic Comics (Marvel) #14 (1976).
17 The Dead Planet text feature compiled by Jeremy Bentham; photographs (uncredited).
22 Doctor Who Photo-File Jon Pertwee fact-file (uncredited); photograph (uncredited).
23 The Return of the Daleks, part three, w: Steve Moore; p: Paul Neary, i: David Lloyd.
27 Doctor Who and the Turgids advertisement for Doctor Who Radio from Shortman Trading Company Ltd. w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
28 Have Fun With the Amazing Mr. Bellamy advertisement for liquorice novelties.
Albert and Elsie Olthwaite should be revived for the new series, just so this issue's letter from the Doctor can be regarded as canon. An exceptionaly strange manner in which to begin the issue, though the sense of whimsy evoked by such a communication from the Doctor is reminiscent of the Tom Baker era as a whole. Slighty mad, yes, but with insights which pierce through 'common sense' to deliver profound statements.
Which likely makes the show sound a bit pretentious.
The Doctor faces the Ectoslime, which stuns its victims with its odour before liquefying them and drinking them. Searching his memory to recall if he had ever faced one before, he recalls the fact they have a highly developed sense of humour to make up for their appearance - so tells it a joke:
Having saved himself from a gruesome death, he is dragged from the arena and placed as a slave in an Imperial Air Galley by General Ironicus. A fellow captive aboard the ship is surprised that the Doctor isn't afraid of him due to his appearance, though the Doctor explains that, compared to the Ectoslime, he is almost handsome. Catching a glimpse of Caesar's mother, the Doctor thinks he has discovered the secret of the Galactic Roman Empire...
Has anyone attempted to translate the joke? I'm hoping it is presented in a code, and not merely a jumble of symbols, as such small details add a certain something to the character - even if I'm too lazy to find a suitable solution. The design sensibilities of the Roman-inspired world are rich in detail, with a few exceptional panels. The image of Caesar's mother is one of the few times we get to really see the world as the Doctor does.
And there's almost that Bugs Bunny line, for those amused at such things.
Whatever amusement could be gained from the Crazy Caption images is rather muted by the poor choice of images for this purpose. Screen captures of actors in the middle of unlikely and improbable events, with appropriately weird expressions, are much more suited to captioning. Before anyone points out how difficult such images were to get in 1979, such systems were available.
The Ice Warrior is an odd choice for Doctor Who's "monster of the week" feature, as they never really felt like top-tier enemies until later development, though the article is very informative. Behind-the-scenes images of Bernard Bresslaw getting prepared for his role as Varga are wonderful glimpses into the process of bringing the character to the screen, and worth the cover price alone. The paper quality doesn't do the images justice, though any opportunity to get a peek at the workings of Doctor Who's special effects are welcome.
Recapping The Dead Planet, the entrance of Daleks to the series is captured well, yet its importance in solidifying the series' popularity isn't addressed. It should have at least had a few newspaper reviews, or even snippets of Radio Times publicity material, which would have really sold the time period in which the episode was broadcast to readers.
Jon Pertwee's mini-bio highlights the inadequacy of the short overviews - despite being in line with previous entries, there's much more to his career than is presented here. Neither pin-up nor biography, the photo-files are a weird hybrid which serves neither function. While later incarnations of the title would handle the balance better, I find myself frustrated with the self-imposed limitations the title has created for itself.
Return of the Daleks, remaining a beautiful isolated glimmer of gold in the Doctor's universe, finds Glax and Hok knocked from their steeds by a whirling sandstorm. Within the winds, which they struggle through, they find a pyramid which is topped with a strange light. A door opens as they approach it, granting them access to a recording revealing the secret to the Daleks' defeat. Before Glax can learn what they must do, Kuay blasts the device and summons her Dalek masters.
The strips and television series information continues to make this a title which is well worth seeking out, though its lightweight features are beginning to grate.
#02
Doctor Who Weekly
#04
Wednesday, November 28, 2018
Warrior #2
Apr 1982. Cover price 50p.
52 pages. B&W contents.
Quality Communications Ltd.
Edited by Dez Skinn.
Cover by Garry Leach.
Contents:
Under a cover which doesn't quite work as an iconic representation of Marvelman, there's another quality outing for Quality's groundbreaking title. As an entry to the issue, moving straight into the Marvelman saga is a strong statement - there's no need for an editorial, or introduction, or commentary, for so assured and confident is this work that any extraneous fluff would merely be wasted. Of course, it could merely be due to a lack of space...
News reports speculate on events at the Larksmere nuclear power station, with rumination about the nature of one man's second degree burns, and the identification of "a man-like object rising into the sky at a tremendous speed." Mike, still in his Marvelman form, arrives home to Liz, who doesn't recognise him. Talking over coffee, Mike explains his past to Liz about working as a copy boy for the Daily Bugle, and seeing a vision which conferred upon him miraculous powers. Liz laughs at the ridiculous nature of his story, claiming his account sounds stupid.
Building up a serious background to the strip, with a similarly-powered individual, angered at Marvelman's return, hinting at future stories. There's a superb humour in the strip, which isn't something usually noted about Alan Moore's writing, but he has a fantastic sense of who these characters are, allowing levity to arise from interaction.
Axel Pressbutton's adventures had been running in Sounds for a good while when he began appearing in Warrior, so a history of the character, with the strip's inception covered, as well as a checklist of appearances, is a very welcome addition. While there aren't enough reprinted strips included to get a feel of the ongoing narrative, there are enough to satisfy curiosity - as well as, incidentally, encouraging people to hunt down elusive copies of Sounds.
V for Vendetta continues with investigations into V's activities, though nothing can be discovered about his identity or location despite immense manpower being invested. A cover story for the explosion is concocted, going so far as to come up with a plausible reason for the fireworks. V introduces Evie to his Shadow Gallery, his home, where he has collected literature, paintings, and music which the government has banned.
Was I the only one who thought of Droopy when seeing that final panel?
It is appropriate that high and low culture should mesh throughout the strip so well, being equally susceptible to challenges from self-appointed moral guardians - the very people Moore sets out to target here. With some very accomplished artwork, and beautiful lettering, the intimidating scenario in which V and Evie find themselves in is perfectly captured. As omnipresent eyes and ears paying attention to the populace is made literal, one can't help but feeling the rise of surveillance culture was acutely predicted.
A Father Shandor reprint is, perhaps, too close to original publication to be really appreciated. Following such a strip with Madman, which begins this issue, is extremely disorienting - one minute we're following a rather stylish story set in the past, and the next... Well.
Martin Schiller, an epileptic, finds himself in care, and is eventually rendered catatonic where he receives visions. A strange man gives him a substance which sends Martin back to stasis, stating:
It is an incredibly odd strip, with comic-book conventions, such as multiple realities, vying with the more realistic fate of Martin's physical body. To say that it is difficult to get a handle on the scenario and main character is an understatement. It doesn't quite work for me, with far too much incident and not enough set-up.
Small details add to the texture of the world, and there's enough questions hanging in the air to make the series truly compelling.
Picking up events on Ormuz, Laser Eraser and Pressbutton finds the pair preparing to reach Thaxdon Industries through security forces. Axel displays a dislike of plants, and - encountering an android - Mysta concludes that they have been set up by the Dendrellian Order of Assassins, and as they rush to escape from an explosion she realises that Arterius Donthax is likely behind events. Donthax, seeing how the duo have managed to survive his plots, tells Zirk that he has decided to inform Ormuzian security where Mysta is.
Having to fight their way through wave after wave of officers determined to apprehend them, Axel and Mysta manage to reach a space-cruiser Mysta had hidden, and when they are safely in space Axel asks her to explain why Donthax wants her dead, and how she got mixed up with Dendrellian assassins.
The mix of strips is wider than in any comparable title, and though the issue is light on text features, what is present is of great interest. The paper isn't the best, and the lack of colour interiors is a slight drawback for Marvelman, though on the whole this is a very impressive issue. There's a lack of laugh-out-loud comedy, but there's a solid mix of SF, fantasy, social commentary, and... whatever Madman is.
52 pages. B&W contents.
Quality Communications Ltd.
Edited by Dez Skinn.
Cover by Garry Leach.
Contents:
2 Twilight World Illustration by Jim Baikie.
3 Warrior title credits. / Contents / Indicia
4 Marvelman Untitled part two, w: Alan Moore; a: Garry Leach.
10 Comic Showcase advertisement for The Old Comic Shop, London; a: Marshall Rogers.
11 The Life, Death & Earlier Days of Axel Pressbutton, Esquire text feature by Dez Skinn; illustrated by Steve Dillon & Curt Vile [Alan Moore].
15 Quality Mail Sales (two thirds page) in-house advertisement for mail-order service.
16 V for Vendetta Chapter Two: The Voice w: Alan Moore; a: David Lloyd, lettering by Zelda Estrella.
23 Father Shandor, Demon Stalker River of Corpses... Tower of Death w: Steve Moore, from a plot by Dez Skinn & John Bolton; a: John Bolton.
r: House of Hammer (Top Sellers, Ltd.) #16 (Jan 1978).
30 Madman Visions of Stasis w:/a: Paul Neary.
35 The Spiral Path Untitled w:/a: Steve Parkhouse.
40 Laser Eraser and Pressbutton Untitled w: Pedro Henry (Steve Moore); a: Steve Dillon.
49 Dispatches text feature.
50 Roar - the Movie (half page) advertisement; w: Dez Skinn; a: Steve Dillon.
51 HOH Collector's Item Back Issues in-house advertisement.
52 People Like Us Shop at... Forbidden Planet advertisement; a: Brian Bolland.
Under a cover which doesn't quite work as an iconic representation of Marvelman, there's another quality outing for Quality's groundbreaking title. As an entry to the issue, moving straight into the Marvelman saga is a strong statement - there's no need for an editorial, or introduction, or commentary, for so assured and confident is this work that any extraneous fluff would merely be wasted. Of course, it could merely be due to a lack of space...
News reports speculate on events at the Larksmere nuclear power station, with rumination about the nature of one man's second degree burns, and the identification of "a man-like object rising into the sky at a tremendous speed." Mike, still in his Marvelman form, arrives home to Liz, who doesn't recognise him. Talking over coffee, Mike explains his past to Liz about working as a copy boy for the Daily Bugle, and seeing a vision which conferred upon him miraculous powers. Liz laughs at the ridiculous nature of his story, claiming his account sounds stupid.
"I suppose you're right. Actually saying it out loud like that, it does sound... Well... Pretty unlikely. I never really thought about it before. But I had to believe it. Don't you see? I was Marvelman! I was a being of almost unlimited power!!This was the first time that the nature of a superhero's origin story was acknowledged in-universe as being patently idiotic, although the dialogue is handled so well that it doesn't really feel as if the text is being deliberately transgressive. With Liz's laughter stopping once the sincerity of Mike's words become apparent, he relates his final adventure with the Marvelman Family - his friends murdered in an a-bomb explosion aboard a sky fortress hanging over the North Sea.
And I wasn't the only one. Within a year I was joined by another young man with 'atomic powers' like mine. His name was Dicky Dauntless...
You're laughing again.
Building up a serious background to the strip, with a similarly-powered individual, angered at Marvelman's return, hinting at future stories. There's a superb humour in the strip, which isn't something usually noted about Alan Moore's writing, but he has a fantastic sense of who these characters are, allowing levity to arise from interaction.
Axel Pressbutton's adventures had been running in Sounds for a good while when he began appearing in Warrior, so a history of the character, with the strip's inception covered, as well as a checklist of appearances, is a very welcome addition. While there aren't enough reprinted strips included to get a feel of the ongoing narrative, there are enough to satisfy curiosity - as well as, incidentally, encouraging people to hunt down elusive copies of Sounds.
V for Vendetta continues with investigations into V's activities, though nothing can be discovered about his identity or location despite immense manpower being invested. A cover story for the explosion is concocted, going so far as to come up with a plausible reason for the fireworks. V introduces Evie to his Shadow Gallery, his home, where he has collected literature, paintings, and music which the government has banned.
Was I the only one who thought of Droopy when seeing that final panel?
It is appropriate that high and low culture should mesh throughout the strip so well, being equally susceptible to challenges from self-appointed moral guardians - the very people Moore sets out to target here. With some very accomplished artwork, and beautiful lettering, the intimidating scenario in which V and Evie find themselves in is perfectly captured. As omnipresent eyes and ears paying attention to the populace is made literal, one can't help but feeling the rise of surveillance culture was acutely predicted.
A Father Shandor reprint is, perhaps, too close to original publication to be really appreciated. Following such a strip with Madman, which begins this issue, is extremely disorienting - one minute we're following a rather stylish story set in the past, and the next... Well.
Martin Schiller, an epileptic, finds himself in care, and is eventually rendered catatonic where he receives visions. A strange man gives him a substance which sends Martin back to stasis, stating:
"There are six hundred and thirty three different elements of existence... and each possesses an earth which differs slightly from all the others! The people of most of these earths have recourse to stasis through some means or another... Our Earth lies in the 18th element and we are involved in a vast struggle against all the other existences, Martin... and we need your help!"Told only to trust those from the 18th existence or the Observers - who are neutral, and above reproach - on his journey.
It is an incredibly odd strip, with comic-book conventions, such as multiple realities, vying with the more realistic fate of Martin's physical body. To say that it is difficult to get a handle on the scenario and main character is an understatement. It doesn't quite work for me, with far too much incident and not enough set-up.
Across the plains of Tairngir they marched - the Legion of Lost Souls - doomed to eternal battle for their relic-king Artûk.The Spiral Path is proving to be the hidden delight in Warrior, with Nuada racing through enemy lines - despite being injured in his attempt, he faces the captain of the enemy forces, who may be more than any warrior could expect to defeat.
And all who stood in their path must perish... Or else fly for their very lives!
Artûk! Lord of death, prince of the air, stealer of dreamers' souls. A triumph of demented will over dead flesh!
Small details add to the texture of the world, and there's enough questions hanging in the air to make the series truly compelling.
Picking up events on Ormuz, Laser Eraser and Pressbutton finds the pair preparing to reach Thaxdon Industries through security forces. Axel displays a dislike of plants, and - encountering an android - Mysta concludes that they have been set up by the Dendrellian Order of Assassins, and as they rush to escape from an explosion she realises that Arterius Donthax is likely behind events. Donthax, seeing how the duo have managed to survive his plots, tells Zirk that he has decided to inform Ormuzian security where Mysta is.
Having to fight their way through wave after wave of officers determined to apprehend them, Axel and Mysta manage to reach a space-cruiser Mysta had hidden, and when they are safely in space Axel asks her to explain why Donthax wants her dead, and how she got mixed up with Dendrellian assassins.
The mix of strips is wider than in any comparable title, and though the issue is light on text features, what is present is of great interest. The paper isn't the best, and the lack of colour interiors is a slight drawback for Marvelman, though on the whole this is a very impressive issue. There's a lack of laugh-out-loud comedy, but there's a solid mix of SF, fantasy, social commentary, and... whatever Madman is.
Monday, November 26, 2018
Doctor Who Weekly #2
24 Oct 1979. Cover price 12p.
28 pages. Colour & B&W.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
K-9, looking remarkably spiffy, shares a cover with Tom Baker, and there is no hint of any animosity which Baker felt for the useless tin can. Although designed with television in mind it is a photogenic prop, although red blinds over its eyes still makes little to no sense.
Alternate realities may be fine for the Marvel superheroes, but... The answer as to the origin of the robots is a bit of a cop-out. It fits perfectly with what we have seen, yet feels as if it hasn't been given enough consideration given the multitude of strange events already seen in the series - it doesn't stretch the parameters of the character to fit the medium, as much as it pastes conventions of comics to the format of the series. The end of this installment is, however, a perfect note to conclude on, though ending every single strip on a physical threat, rather than a puzzle or revelation, might get old if overused.
The Cybermen does a fairly good job of untangling the (at times confusing) continuity of the characters, though stops short of providing a background to their creation for the show. There have subsequently been a number of publications which have provided more comprehensive information, giving the episode's air-dates and cast, though I'm sure readers were glad to have their memories jogged by such a tight recap of essential details.
Although obviously aimed at younger readers, Monster Mix is a wordsearch which has me thinking - have writers, needing appropriately alien names, used the jumble of letters to form the basis of alien names, species, or worlds? I actually started looking for various names (Saxon isn't present, sadly), but I couldn't remember enough without a reference book handy.
Patrick Troughton remains an enigma, despite the Photo-File's admirable attempt to cover his career, admitting in a disclaimer that the man was so shy he never participated in the usual publicity rigmarole which has become part and parcel of the role. He rarely seems to be properly credited for increasing the scope of the series in a substantial manner, and numerous questions linger regarding his acceptance into the series.
Return of the Daleks opens with Hok Nepo, star of the hologram-movie escaping from the Daleks, who are under the impression that he is their enemy Nor-Din. As the Daleks begin attacking the studio, Glax and Hok manage to escape to a police station, where they inform the officers of events. The police are soon overwhelmed, and decide the situation is best left to the military. Glax, seeing his studio destroyed, decides to head to the Desert of Vash to learn how the Daleks were originally defeated, taking Hok along with him. Kuay, the Daleks' faithful servant, follows them...
You don't need any knowledge of Doctor Who, or the spin-off material, to enjoy the story, which is a great benefit to the story's entertainment value as it increases in scale - still a self-contained piece of storytelling, with no overt call-backs to the Dalek strips of old, there's real tension created by using characters and a setting which haven't been seen before. While we know London isn't going to get destroyed, this hitherto-unseen planet doesn't have the same protection hanging over it.
28 pages. Colour & B&W.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
2 SEACON '79 Photographs from the 1979 World Science Fiction convention; photographs by Joyce A. Agee.
3 Doctor Who and the Iron Legion, part two, w: Pat Mills & John Wagner; a: Dave Gibbons.
7 A Letter from the Doctor text feature by Dez Skinn (uncredited).
8 The Cybermen text feature by Gordon Blows; photographs (uncredited).
11 Monster Mix wordsearch; illustration by UNKNOWN (uncredited).
12 Tales from the TARDIS War of the Worlds, part two, w: Chris Claremont, based on the novel by H.G. Wells; p: Yong Montano; i: Dino Castrillo, lettering by Pat Condoy.
r: Marvel Classic Comics (Marvel) #14 (1976).
17 An Unearthly Child text feature compiled by Jeremy Bentham.
21 Crazy Caption 2 competition; photograph (uncredited).
22 Doctor Who Photo-File Patrick Troughton fact-file (uncredited); photograph (uncredited).
23 The Return of the Daleks, part two, w: Steve Moore; p: Paul Neary, i: David Lloyd.
27 Doctor Who and the Turgids advertisement for Doctor Who Radio from Shortman Trading Company Ltd. w: UNKNOWN (uncredited); a: UNKNOWN (uncredited).
28 Have Fun With the Amazing Mr. Bellamy advertisement for liquorice novelties.
K-9, looking remarkably spiffy, shares a cover with Tom Baker, and there is no hint of any animosity which Baker felt for the useless tin can. Although designed with television in mind it is a photogenic prop, although red blinds over its eyes still makes little to no sense.
The Doctor has fallen foul of the Iron Legion - strange war robots, led by the sinister General Ironicus. He makes a dash for the TARDIS as one of the Legions tanks opens fire!Caught in a dimensional disturbance, the TARDIS isn't happy at being thrown around. He eventually manages to arrive at the Rome Hyp-Arena, where Maximus Bilious is commentating on events for viewers watching elsewhere. Seized by the Emperor's guards, the Doctor comes to the realisation that he is witnessing events from an alternate Earth where Rome never fell, instead developing a sophisticated technology with which to conquer the entire galaxy.
At the very second the shell explodes, the Doctor has thrown the TARDIS out of dimension!
Alternate realities may be fine for the Marvel superheroes, but... The answer as to the origin of the robots is a bit of a cop-out. It fits perfectly with what we have seen, yet feels as if it hasn't been given enough consideration given the multitude of strange events already seen in the series - it doesn't stretch the parameters of the character to fit the medium, as much as it pastes conventions of comics to the format of the series. The end of this installment is, however, a perfect note to conclude on, though ending every single strip on a physical threat, rather than a puzzle or revelation, might get old if overused.
Not wanting to trust the pigeon post from Ganymede again, I'm sending this letter via Beam-a-Zeat. I did notice they were also sending a batch of smoked klim-bait (a local delicacy) in the same container, so sincerest apologies if this letter pongs a bit.The Doctor was hanging out with Ace Rimmer back in 1979? This is news which could only be improved if we were to get the revelation he also borrowed Arthur Dent's towel to flick at a Dalek.
The Cybermen does a fairly good job of untangling the (at times confusing) continuity of the characters, though stops short of providing a background to their creation for the show. There have subsequently been a number of publications which have provided more comprehensive information, giving the episode's air-dates and cast, though I'm sure readers were glad to have their memories jogged by such a tight recap of essential details.
Although obviously aimed at younger readers, Monster Mix is a wordsearch which has me thinking - have writers, needing appropriately alien names, used the jumble of letters to form the basis of alien names, species, or worlds? I actually started looking for various names (Saxon isn't present, sadly), but I couldn't remember enough without a reference book handy.
London, November 1963. Under a blanket of thick, swirling fog a policeman pounds his solitary beat amid the high brick walls of the inner metropolis.The first four episodes of the series are covered by Jeremy Bentham, though there's nothing to indicate a separate pilot was shot prior to broadcast. While the brief recaps are very well written, the lack of detail about the shooting, or other circumstances surrounding the broadcast, leaves this feeling somehow incomplete as an account of the early days of the series. While we are informed that the shooting budget was a mere £2000 per episode, we get no indication of how this was allocated, nor if it was achieved without rewrites. A note on the series reception hints at the praise, though there's no reproduction of the reviews, which would have been a fantastic glimpse into the audience's immediate reactions.
Casting a pale yellow beam, the light of his torch falls upon the large wooden gates of a junkyard, bearing the words: "I.M. FOREMAN, 76 TOTTERS LANE".
As the policeman walks into the darkness, he fails to notice one of the gates swing open.
Had he noticed it, he would have been most puzzled by what was inside.
For, among the debris of the scrapyard was the then-familiar blue shape of a London Police Public Call Box.
Yet this police box was not what it seemed. For, unlike every other one in the city, this police box hid an awesome secret.
Just audible to human hearing, it was emitting a humming sound along with a faint vibration coming from within...
Patrick Troughton remains an enigma, despite the Photo-File's admirable attempt to cover his career, admitting in a disclaimer that the man was so shy he never participated in the usual publicity rigmarole which has become part and parcel of the role. He rarely seems to be properly credited for increasing the scope of the series in a substantial manner, and numerous questions linger regarding his acceptance into the series.
Return of the Daleks opens with Hok Nepo, star of the hologram-movie escaping from the Daleks, who are under the impression that he is their enemy Nor-Din. As the Daleks begin attacking the studio, Glax and Hok manage to escape to a police station, where they inform the officers of events. The police are soon overwhelmed, and decide the situation is best left to the military. Glax, seeing his studio destroyed, decides to head to the Desert of Vash to learn how the Daleks were originally defeated, taking Hok along with him. Kuay, the Daleks' faithful servant, follows them...
You don't need any knowledge of Doctor Who, or the spin-off material, to enjoy the story, which is a great benefit to the story's entertainment value as it increases in scale - still a self-contained piece of storytelling, with no overt call-backs to the Dalek strips of old, there's real tension created by using characters and a setting which haven't been seen before. While we know London isn't going to get destroyed, this hitherto-unseen planet doesn't have the same protection hanging over it.
#01
Doctor Who Weekly
#03
Sunday, November 25, 2018
Tornado #1
[24 Mar 1979]. Cover price 10p.
32 pages. Colour & B&W contents.
IPC Magazines Ltd.
Edited by Roy Preston.
Cover by UNKNOWN (uncredited).
Contents:
The launch of a title is an opportunity to show the readers something they haven't seen before. An opportunity to break free of tradition and stretch out into concepts and designs which haven't been attempted. Launch issues are, in short, the perfect place to show off. No matter the budgetary restraints, editorial constraints, or possible audience complaints, there is no reason to hold back on great ideas or artwork.
By 1979 IPC already had a solid run of successful launches (along with a few troublesome titles), so it would make sense that creative personnel had studied those achievements, taking away all the lessons available. It would have been natural to emulate massively popular characters, to grow under-appreciated ideas into thrilling strips, and show up the rest of IPC's output with top-notch strips. A newly-launched title ought to take every advantage available in order to succeed.
Which is why this issue is such an infuriating read.
The cover is, admittedly, not as bad as some contemporary launches, yet it doesn't scream quality. The mass of conflicting lettering is an eye strain, and dainty stars sprinkled over the left side of the cover bring to mind a style more commonly associated with girls comics - at least the space beneath the free gift hasn't been wasted, though it is still important space casually wasted. The most intriguing aspect of the launch straddles the bottom of the cover, where we are promised "the U.K.'s First Real Live Superhero!"
Many attempts at bringing superheroes to British comics had already been attempted, though this was something different. Unlike Marvelman or Captain Britain, Big E (who should have been dusted off in the nineties for the acid house crowd) was a real superhero, as seen in photographs throughout the title's run - though his credibility is diminished firstly by looking like a young Jim Belushi, and secondly by having an a ridiculously poor costume. It is, of course, Dave Gibbons in the ill-fitting superhero garb rather than a professional model, which shows how little thought had gone into the depiction.
It is surprising, looking back, that no touching up had been attempted on the photographs. Numerous talented airbrush artists were working in London during the late seventies, any one of whom could have taken rough photographs and transformed them into spectacular - and extremely life-like - depictions of a fantastic nature. Of course, that would have shown up the ugly Tharg mask for the piece of tat it was, and undermined the authority of the esteemed editor of 2000 A.D..
Opening with a relaunched version of a vintage character might have worked for 2000 A.D., but Sexton Blake (under an assumed name here) isn't Dan Dare, and - worse - the time period is preserved for this outing. Unlike the BBC series Sherlock, there's no sense of untapped possibilities being exposed and expanded. There's little point in bringing a character back to print if things aren't altered, and this is, sadly, simply too old-fashioned to capture an audience led into the title by Tharg's recommendation.
I'm not sure I've ever got to the end of a Sexton Blake novel, and I can't imagine the character's appeal was significantly greater during the time of this issue's launch.
Fearing that he will be turned into a human guinea pig, Wolfie goes on the run.
With his each of his name containing a first letter reading ESP (though jumbled), this maintains IPC's tradition of handing its characters meaningful names, and the set-up, while containing more than a few well-worn scenes, is visually arresting and well-paced. Not quite SF enough to justify Tharg's presence in the title, but an interesting take on some themes which were strongly represented in fiction during the late seventies.
Getting into a fight with the Earthmen on his property, Matthew chases them away - but when he checks his computer finds his water supply has been cut off.
If The Angry Planet was an attempt to channel Heinlein's vision of man's future, then it lacks a certain believability. Yes, corporations are inherently against individuals (the bottom line always comes first), though the degree to which the persecution of an individual is handled in a cartoonish and patently unbelievable manner. Stopping a person's water supply on a planet where such a resource is unavailable elsewhere is pretty much a death sentence, and something which ought to be handled through a robust legal system - which is entirely absent in the narrative.
There's much potential in telling the story of Martian colonisation, yet all of the interesting possibilities are brushed over in favour of a simplistic revenge story.
Wagner's Walk is a post-WWII tale of Major Kurt Wagner, and his discovery of an atlas which gives him the notion to walk to freedom, out of Siberia. It isn't a story which I'm particularly fond of. Captain Klep is, likewise, a very difficult strip to like, being a parody of Superman, in particular, and superhero conventions in general. It isn't as funny or as biting as it could have been, and pales when compared to Marvel's own satires.
This is a comic without a clear personality. Or, rather, it is in possession of more than one distinct personality, preventing a quick and simple identification of what a Tornado strip ought to be. With Misty, Battle Picture Weekly, or 2000 A.D., the strips fit the title's personality perfectly, and it is possible to identify recurring elements linking those strips. Here... anything goes.
A very poor launch issue.
32 pages. Colour & B&W contents.
IPC Magazines Ltd.
Edited by Roy Preston.
Cover by UNKNOWN (uncredited).
Contents:
2 Welcome to the World of Heroes! 2000 A.D. Productions Present - Tornado introduction by Tharg; photographs (uncredited). / Introduction by Big E. / Enjoy Your Turbo-Flyer Safely! Free gift instructions; illustration (uncredited).
3 Victor Drago The Terror of Troll Island!, part one, w: Bill Henry [Chris Lowder]; a: Mike Dorey.
9 The Mind of Wolfie Smith UNTITLED [Departure from Mason Street], part one, w: Tom Tully; a: Vanyo.
15 The Angry Planet UNTITLED [No Water for Markham], part one, w: Alan Hebden; a: Massimo Belardinelli.
21 Tornado's True Tales The Tale of Benkei, part one, w: Steve Moore; a: Xavier Musquera.
26 Wagner's Walk UNTITLED [A Child's Atlas], part one, w: R.E. Wright [Pat Mills]; a: Lozano.
31 Next Week - Your Chance to Join Team Tornado preview. / Indicia
32 Captain Klep UNTITLED [Strangest Visitor from Another World] w: Dave Angus & Nick Landau; a: Kevin O'Neill.
The launch of a title is an opportunity to show the readers something they haven't seen before. An opportunity to break free of tradition and stretch out into concepts and designs which haven't been attempted. Launch issues are, in short, the perfect place to show off. No matter the budgetary restraints, editorial constraints, or possible audience complaints, there is no reason to hold back on great ideas or artwork.
By 1979 IPC already had a solid run of successful launches (along with a few troublesome titles), so it would make sense that creative personnel had studied those achievements, taking away all the lessons available. It would have been natural to emulate massively popular characters, to grow under-appreciated ideas into thrilling strips, and show up the rest of IPC's output with top-notch strips. A newly-launched title ought to take every advantage available in order to succeed.
Which is why this issue is such an infuriating read.
The cover is, admittedly, not as bad as some contemporary launches, yet it doesn't scream quality. The mass of conflicting lettering is an eye strain, and dainty stars sprinkled over the left side of the cover bring to mind a style more commonly associated with girls comics - at least the space beneath the free gift hasn't been wasted, though it is still important space casually wasted. The most intriguing aspect of the launch straddles the bottom of the cover, where we are promised "the U.K.'s First Real Live Superhero!"
Many attempts at bringing superheroes to British comics had already been attempted, though this was something different. Unlike Marvelman or Captain Britain, Big E (who should have been dusted off in the nineties for the acid house crowd) was a real superhero, as seen in photographs throughout the title's run - though his credibility is diminished firstly by looking like a young Jim Belushi, and secondly by having an a ridiculously poor costume. It is, of course, Dave Gibbons in the ill-fitting superhero garb rather than a professional model, which shows how little thought had gone into the depiction.
It is surprising, looking back, that no touching up had been attempted on the photographs. Numerous talented airbrush artists were working in London during the late seventies, any one of whom could have taken rough photographs and transformed them into spectacular - and extremely life-like - depictions of a fantastic nature. Of course, that would have shown up the ugly Tharg mask for the piece of tat it was, and undermined the authority of the esteemed editor of 2000 A.D..
London - February, 1929!From out of the darkness steps a formidable figure, a pipe set firmly in his mouth - Vincent Drago.
A bitter wind sweeps over the chill waters of the river Thames, hurling a white fury of snowflakes before it in savage gusts!
On such a night as this, there's no honest profit to be made out of doors!
On the other hand - for those who seek a dishonest profit...
...Such a night has many advantages!
A name that struck terror into the most hardened of evil-doers - from the slums of London's East End to the teeming waterfront of Shanghai, Drago was the private detective who never gave up a case - often succeeding where the toughest policemen failed!His associate Spencer, and his dog Brutus, soon have the majority of the ne'er-do-wells under control, and Drago himself deals with the remaining two, before the authorities arrive to cart away their prey. Leaving the police to wrap things up, Drago heads home, finding his 'phone ringing upon arrival - Philip Moffat, of Troll Island (off the North Cornwall coast) requests assistance, but the call is cut off before he can relate more. Drago and Spencer race through the night in his car, the Silver Lady, hoping to arrive in time...
Opening with a relaunched version of a vintage character might have worked for 2000 A.D., but Sexton Blake (under an assumed name here) isn't Dan Dare, and - worse - the time period is preserved for this outing. Unlike the BBC series Sherlock, there's no sense of untapped possibilities being exposed and expanded. There's little point in bringing a character back to print if things aren't altered, and this is, sadly, simply too old-fashioned to capture an audience led into the title by Tharg's recommendation.
I'm not sure I've ever got to the end of a Sexton Blake novel, and I can't imagine the character's appeal was significantly greater during the time of this issue's launch.
Colossal brain-power is not exclusive to adults. Even as a child, Leonardo da Vinci... the legendary Italian scientist and painter... had a profound knowledge of mathematics...Able to remember facts by reading them only once, able to move objects with his mind, and possessing the ability to know the contents of a bag without opening it, "Wolfie" Smith checks his local library to see what is happening to him, and reading about psychic abilities, he learns he has E.S.P. - Extra Sensory Perception. When he arrives home, ready to tell his parents what he has learned, he finds Mr. Venner has accused him of cheating on a test, and that his class photograph has been ruined by what others consider a trick - which Wolfie knows is caused by his psychic aura.
At the tender age of 7, the Austrian composer, Mozart, went on a musical tour, playing minuets that he had written himself...
And by the time he was nine years old, Ernest Patrick Smith, of No.11, Mason Street, Humberton, could make a pepper-pot move, ust by thinking about it!
Fearing that he will be turned into a human guinea pig, Wolfie goes on the run.
With his each of his name containing a first letter reading ESP (though jumbled), this maintains IPC's tradition of handing its characters meaningful names, and the set-up, while containing more than a few well-worn scenes, is visually arresting and well-paced. Not quite SF enough to justify Tharg's presence in the title, but an interesting take on some themes which were strongly represented in fiction during the late seventies.
Mars... the fourth planet of the solar system, with an average surface temperature that was colder than an Antarctic winter... An atmosphere of deadly carbon dioxide... and no surface water!Matthew Markham, the first Martian-born human, now with a family of his own to care for, awaits a water delivery, though discovers the price has increased for the third time in six months, doubling its cost in under a year. As Mars Inc. has a monopoly on the planet there is no choice but to pay up, though with decreasing payments for his farm's produce the prospects of continuing to exist as they are look bleak. Matthew learns neighbouring farmers are abandoning their homes in search of work elsewhere, and when he returns home finds Mars Inc. prospecting for copper deposits on his land.
An unprotected man would be dead in seconds!
When the first manned missions discovered vast mineral deposits, the great multi-national companies of energy-starved Earth formed Mars Incorporated to mine it and ship it back home.
Then, in the first years of the 21st century, as Mars Inc. was drilling for oil in the desert-like Arcadian region...
The drills struck something... and it wasn't oil!
It was oxygen... PURE OXYGEN!
For the next 25 years the planet's surface was "oxygenated" so that by the middle of the century, Mars could support life.
When their contracts expired many of the Mars Inc. employees elected to stay on their adopted planet and settle it... or die in the attempt.
Many died... But more lived. In 2062 the first human child was born on Mars.
Narrow-boned, because of the weak gravity and large-lunged, because of the thin air, he was the first of a new generation that could never live on Earth... The first Martian.
Getting into a fight with the Earthmen on his property, Matthew chases them away - but when he checks his computer finds his water supply has been cut off.
If The Angry Planet was an attempt to channel Heinlein's vision of man's future, then it lacks a certain believability. Yes, corporations are inherently against individuals (the bottom line always comes first), though the degree to which the persecution of an individual is handled in a cartoonish and patently unbelievable manner. Stopping a person's water supply on a planet where such a resource is unavailable elsewhere is pretty much a death sentence, and something which ought to be handled through a robust legal system - which is entirely absent in the narrative.
There's much potential in telling the story of Martian colonisation, yet all of the interesting possibilities are brushed over in favour of a simplistic revenge story.
And now, welcome to our 'Triple T' spot, that's Tornado's True Tales... a series of sagas about unusual Heroes in amazing feats of Heroism that ACTUALLY HAPPENED! The first saga occurred a long time ago, in a world very different from our own. It tells...There's a warm place in my heart for this strip, but once more the title looks to the past rather than exploiting Tharg's presence in promoting the comic. Telling the story of the warrior monk Saitō Musashibō Benkei, and it is a fairly standard version which is repeated here. While it would have been more attractive without the border, the art is superb, and it performs its role as an educational element well.
The Tale of Benkei
Japan, 1179 A.D.: Few travellers crossed the Gojo bridge at night... and none crossed it sword in hand...
Wagner's Walk is a post-WWII tale of Major Kurt Wagner, and his discovery of an atlas which gives him the notion to walk to freedom, out of Siberia. It isn't a story which I'm particularly fond of. Captain Klep is, likewise, a very difficult strip to like, being a parody of Superman, in particular, and superhero conventions in general. It isn't as funny or as biting as it could have been, and pales when compared to Marvel's own satires.
This is a comic without a clear personality. Or, rather, it is in possession of more than one distinct personality, preventing a quick and simple identification of what a Tornado strip ought to be. With Misty, Battle Picture Weekly, or 2000 A.D., the strips fit the title's personality perfectly, and it is possible to identify recurring elements linking those strips. Here... anything goes.
A very poor launch issue.
Tornado
#02
Friday, November 23, 2018
Doctor Who Weekly #1
17 Oct 1979. Cover price 12p.
28 pages. Colour & B&W.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
There's a fair few conventions of cover design which, in principal, are entirely justifiable, but are nevertheless completely inexplicable. The free gift (here transfers) is almost always prioritised over the cover art (or, in this case, photograph), despite the likelihood that most copies will be deprived of their items soon after sale. What this means, in terms of aesthetics, is that first issues can tend to be rather unappealing. There is a large blank box upon which the transfers would be affixed, had they been present, though there's no real need to cover the photograph so.
Is the Dalek shy? Is it hiding a spot of rust? Is it trying to disguise itself as a piece of cheese?
The panoramas, on the inside covers, are interesting, though add nothing to the universe of the Doctor. Had they been tied in to stories appearing in the title, or acted as a bridge between television episodes and the comic, then there would be a real incentive to study them for details. On their own, and without any continuation of the narratives, they are simply pretty pictures with some justifying text.
Robots and Roman legionnaires. Two staples of British television brought to the printed page in glorious, mad, and rather brilliant fashion. There have been a multitude of stories placing the Doctor in small villages which are tormented by extraterrestrial dangers, and this follows most of the conventions save for the immediate death of what appears to be the sole surviving inhabitant. Without companions, and the man killed immediately, the opportunity for his prodigious running commentary on events, and asides, is limited, though with such speedy pacing this ought not to be a critical problem.
Getting through so much in such a brief page count does mean we have no sense of how long the robots have been prowling the streets. For a character so tied to time, the nebulous time-frame in which an organised invasion (however contained) could be mounted is a niggle which eats at enjoyment of what ought to be a riotous celebration of the character finally earning his own title.
The letter from the Doctor helpfully suggests that the reader look out for #879 ("It really was a beauty"), which suggests that, when it appears, it had better pull out all the stops. A double length issue with a plethora of free gifts, and a complete comic strip... If your copy of #879 isn't an epic tour de force, then you need to immediately return the issue to Panini with a strongly-worded letter of outrage, demanding they immediately send you the highlight of the series.
Now, where was I? Oh, yes.
Day of the Daleks, which recounts both the inspiration for the appearance of the race, and briefly recounts their first appearance, is the kind of light, breezy feature which doesn't push forward the history of the series to any great degree. There are plenty of facts present, though with only three pages to include the entire history of the Daleks it is understandable that the omissions outweigh inclusions.
The Story of Dr Who is a puff-piece which isn't far removed from the kind of features seen in general SF magazines, suggesting caution hanging over the issue - not brave enough to really dig into intricacies of script development or continuity, though attempting to centre attention on the series regardless. A Photo-File of William Hartnell (to whom the first issue is dedicated) is so light on biographical information that it doesn't cover his life away from the screen at all, which is, in these days of round-the-clock reality television inanity, rather incomprehensible. He's someone who exuded charm and charisma, and really deserved more than this.
The Return of the Daleks centres on Anhaut, once the scene of a Dalek invasion.
A slight, though amusing, story of the real deal being mistaken for props, which is a slightly worn set-up, the story nevertheless holds enough charm to excuse its plot. These are characters who are deserving of more added to their story. Even if all we get is a cutaway scene of the Doctor watching one of the hologram-movies between bouts of running through corridors, there's something about the story which always appealed.
If this type of launch, with short comic strips and insignificant text features, had appeared as little as ten years later it would have been laughed off the shelves, but nobody had really exploited a live-action television series to this degree before. As a launch of its era it is very impressive. It isn't perfect, but it is very British.
Read it with a bag of jelly babies to hand, and enjoy the fleeting moments of genius.
28 pages. Colour & B&W.
Marvel Comics Ltd.
Edited by Dez Skinn.
Photo cover (uncredited).
Free transfers.
Contents:
2 "Things looked bad for me after the TARDIS materialised on board a Vorgan space platform." Panorama; a: Dave Gibbons.
3 Doctor Who and the Iron Legion, part one, w: Pat Mills & John Wagner; a: Dave Gibbons.
8 A Letter from the Doctor text feature by Dez Skinn (uncredited).
9 Day of the Daleks text feature by B. Aldrich [Dez Skinn] & G. Blows; photographs (uncredited).
12 Tales from the TARDIS War of the Worlds w: Chris Claremont, based on the novel by H.G. Wells; p: Yong Montano; i: Dino Castrillo, lettering by Pat Condoy.
r: Marvel Classic Comics (Marvel) #14 ().
16 Two More S-F Winners from Mighty Marvel (half page) in-house advertisement for Star Wars Weekly and Starburst.
17 "Hello again, all." text feature by Dez Skinn (uncredited).
18 The Story of Doctor Who text feature (uncredited).
20 Crazy Caption 1 competition; photograph (uncredited).
21 Chew the Gum (half page) advertisement for Bazooka Joe. / 111 Stamps (All Different) FREE (half page) advertisement for Bridgnorth Stamp Co. Ltd.
22 Doctor Who Photo-File William Hartnell fact-file (uncredited); photograph (uncredited).
23 The Return of the Daleks w: Steve Moore; p: Paul Neary, i: David Lloyd.
27 I'd only landed on Magnon 5 to stretch my legs, but a malfunction of the TARDIS caused it to disappear, leaving me stranded!" Panorama; a: Dave Gibbons.
28 Have Fun With the Amazing Mr. Bellamy advertisement for liquorice novelties.
There's a fair few conventions of cover design which, in principal, are entirely justifiable, but are nevertheless completely inexplicable. The free gift (here transfers) is almost always prioritised over the cover art (or, in this case, photograph), despite the likelihood that most copies will be deprived of their items soon after sale. What this means, in terms of aesthetics, is that first issues can tend to be rather unappealing. There is a large blank box upon which the transfers would be affixed, had they been present, though there's no real need to cover the photograph so.
Is the Dalek shy? Is it hiding a spot of rust? Is it trying to disguise itself as a piece of cheese?
The panoramas, on the inside covers, are interesting, though add nothing to the universe of the Doctor. Had they been tied in to stories appearing in the title, or acted as a bridge between television episodes and the comic, then there would be a real incentive to study them for details. On their own, and without any continuation of the narratives, they are simply pretty pictures with some justifying text.
They fought their way across a thousand planets - robot veterans of the eternal war - destroying, with ruthless discipline, all who stood in their way!The Doctor lands the TARDIS in a small village, immediately heading for the nearest store to stock up on provisions. The owner is distracted, however, and cryptically utters "They're coming!" before explaining himself - the town is surrounded, and he returned to the store as he didn't know what else to do. At that moment a robot smashes into the building and demands that the inhabitants remain where they are. Killing the man, it soon becomes confused at the Doctor's odd biology, which the Doctor uses to his advantage, learning the robot is First Cohort of the Ninth Legion.
And now, the peaceful tranquility of the English countryside is rudely shattered as they appear - as if from nowhere - brutally dragging people out and razing their houses to the ground!
And yet... for all the robots' strangeness, there is something... grimly familiar about them!
Robots and Roman legionnaires. Two staples of British television brought to the printed page in glorious, mad, and rather brilliant fashion. There have been a multitude of stories placing the Doctor in small villages which are tormented by extraterrestrial dangers, and this follows most of the conventions save for the immediate death of what appears to be the sole surviving inhabitant. Without companions, and the man killed immediately, the opportunity for his prodigious running commentary on events, and asides, is limited, though with such speedy pacing this ought not to be a critical problem.
Getting through so much in such a brief page count does mean we have no sense of how long the robots have been prowling the streets. For a character so tied to time, the nebulous time-frame in which an organised invasion (however contained) could be mounted is a niggle which eats at enjoyment of what ought to be a riotous celebration of the character finally earning his own title.
The letter from the Doctor helpfully suggests that the reader look out for #879 ("It really was a beauty"), which suggests that, when it appears, it had better pull out all the stops. A double length issue with a plethora of free gifts, and a complete comic strip... If your copy of #879 isn't an epic tour de force, then you need to immediately return the issue to Panini with a strongly-worded letter of outrage, demanding they immediately send you the highlight of the series.
Now, where was I? Oh, yes.
Day of the Daleks, which recounts both the inspiration for the appearance of the race, and briefly recounts their first appearance, is the kind of light, breezy feature which doesn't push forward the history of the series to any great degree. There are plenty of facts present, though with only three pages to include the entire history of the Daleks it is understandable that the omissions outweigh inclusions.
No one would have believed in last years of the nineteenth century that this world was being watched keenly and closely by intelligences greater than man's and yet as mortal as his own...Though the adaptation only reaches the discovery of the cylinder on Horsell Common, the telling - both script and art - are slightly above average for the form. While it isn't visually daring, there are nice touches, such as the horse-drawn carriage on the first page. The appearance of the tripod isn't, it has to be said, the most exciting or logical solution to the book's description.
With infinite complacency, men went to and fro over this globe about their little affairs. Serene in their assurance of their empire over matter.
No one gave a thought to the older worlds of space as sources of human danger, or thought of them only to dismiss the idea of life upon them as impossible or improbable.
The Story of Dr Who is a puff-piece which isn't far removed from the kind of features seen in general SF magazines, suggesting caution hanging over the issue - not brave enough to really dig into intricacies of script development or continuity, though attempting to centre attention on the series regardless. A Photo-File of William Hartnell (to whom the first issue is dedicated) is so light on biographical information that it doesn't cover his life away from the screen at all, which is, in these days of round-the-clock reality television inanity, rather incomprehensible. He's someone who exuded charm and charisma, and really deserved more than this.
The Return of the Daleks centres on Anhaut, once the scene of a Dalek invasion.
Today, Anhaut is a thriving peaceful world... at least, it's thriving unless you listen to our friend here... His name's Glax... and he's the owner of Galactic Glax Picture Corporation...Concerned about declining returns on his hologram-movie releases, Glax overhears a mother chide her child for bad behaviour, warning him a Dalek will get him if he doesn't behave. Pondering this as a possible plot, Glax wanders off deep in thought. Hunting in the archives for information, he finds a view-film from eight hundred years earlier. Describing how a Dalek scout landed one night, the footage shows how a band of 23 Daleks rampaged across the planet, slaughtering and destroying. Although the end of the story is tantalisingly vague, Glax is determined to commit the story to film. Unbeknown to Glax, the real Daleks are freed from their prison, and roaming the set.
A slight, though amusing, story of the real deal being mistaken for props, which is a slightly worn set-up, the story nevertheless holds enough charm to excuse its plot. These are characters who are deserving of more added to their story. Even if all we get is a cutaway scene of the Doctor watching one of the hologram-movies between bouts of running through corridors, there's something about the story which always appealed.
If this type of launch, with short comic strips and insignificant text features, had appeared as little as ten years later it would have been laughed off the shelves, but nobody had really exploited a live-action television series to this degree before. As a launch of its era it is very impressive. It isn't perfect, but it is very British.
Read it with a bag of jelly babies to hand, and enjoy the fleeting moments of genius.
Doctor Who Weekly
#02
Sunday, November 4, 2018
Hulk Comic #1
07 Mar 1979. Cover price 10p
24 pages. B&W contents.
Marvel Comics, Ltd.
At last... in his own comic!
Edited by Dez Skinn.
Cover by Brian Bolland.
Sal Buscema Hulk head placed on Bolland Hulk body.
Bagged with free Hulk sticker album and stickers.
Contents:
There's something slightly off about Bolland's cover, which isn't entirely successfully made to fit Marvel house style by the use of a Sal Buscema head, though the use of new material - any new material - in a Marvel title is to be celebrated. It is unfortunate that this bold start is immediately paused for a preview of the contents which offers nothing save for a promise of free gifts in the subsequent issue. A small text introduction is always preferable to these clip art-like illustrations. Thankfully, the selected images are mostly good, though I'm not sure what to make of Ant Man.
A very slight story, with an amusing use of the Hulk's body chemistry to propel the plot. For a three-page strip, this has an awfully high body-count, highlighting the casually-handled mortality rate in superhero comics. There's also the problem of the Hulk's haircut, which is especially distracting. The ending has the hallmark of old morality plays, which seem very dated now, though oddly works to the story's advantage.
Mordred, learning of the Black Knight's return, sets his nightmarish birds of prey loose. Two rockets manage to dismount the knight, and...
The story cuts off, mid-scene. While the story serves as a perfectly reasonable introduction to the character, having such an abrupt ending really affects the way the story is received. There's a great atmosphere delivered through very attractive art, but there are too many events crammed into the first installment, without explanation, that I'm left feeling slightly short-changed by the strip. I've got a feeling this is a story which would greatly benefit from being read through without interruption.
Fury gets Duggan to accompany him on a separate line of investigation, but come up empty in the records. Gaffer and Pallis report that someone replaced components, as well as installing a hologram projector behind panelling. Before anything else can be revealed, the Heli-Carrier goes on Red Alert - a missile which splits into seven warheads is about to strike. They are stopped, and a trace of the final detonation pattern reveals a pattern identical to that which appeared in the training area.
This is a beautiful, and SF-heavy, introduction to Fury, with enough background to tie the story to American comics, and a decent mystery for him to solve. While Richardson is no Steranko, he gives the visuals everything he's got - occasionally nearing iconic imagery, as with the shot of Fury, gun held in front of him. It isn't an entirely successful opening, but has a quirky style I could grow to like.
While the story is paper-thin, the atmosphere generated in the strip is far more resonant than the rest of the title combined, instantly setting a tone slightly darker than mainstream Marvel usually employs. There aren't many characters who brand their enemies, and this is the big selling point for the character.
And no, in case you were wondering - the sticker album wasn't located with this issue.
24 pages. B&W contents.
Marvel Comics, Ltd.
At last... in his own comic!
Edited by Dez Skinn.
Cover by Brian Bolland.
Sal Buscema Hulk head placed on Bolland Hulk body.
Bagged with free Hulk sticker album and stickers.
Contents:
2 Hulk Comic Introductory page. / Indicia
3 The Incredible Hulk UNTITLED [Storm Over Arbory] w: Steve Moore; a: Dave Gibbons.
6 The Black Knight UNTITLED [Rare Blood Delivery] w: Steve Parkhouse; p: Steve Parkhouse, i: John Stokes.
9 From Trebor Double Agents H.Q. advertisement.
10 Watch out Hulk! Rampage Monthly now features The X-Men (one third page) in-house advertisement. / Journey into the world of the Weird -- the Occult -- the Magical (one third page) in-house advertisement for Rampage Monthly. / The Micronauts (one third page) in-house advertisement for Star Wars Weekly.
11 Nick Fury, Agent of S.H.I.E.L.D. UNTITLED [Seven Stars, Seven Missiles] w: Steve Moore; a: John Richardson.
15 2 More Triumphs from Marvel (half page) in-house advertisement for Savage Sword of Conan and Starburst. / 111 Stamps (All Different) Free (half page) advertisement for Bridgnorth Stamp Co. Ltd.
16 Ant-Man The Man in the Ant Hill w: Stan Lee; p: Jack Kirby, i: Dick Ayers.
r: edited from Tales to Astonish (Marvel Comics) #27 (Jan 1962).
19 Don't Miss the Latest Issue of Marvel Comic (half page) in-house advertisement. / On Sale Now - Spider-Man Comic (half page) in-house advertisement.
20 Night-Raven UNTITLED [] w: Steve Parkhouse; a: David Lloyd.
23 Star Flight News Zero Minus 15 (half page) advertisement for Starflight Rocket Fleet model toys. / Every Week Marvel Comic (half page) in-house advertisement.
24 The Incredible Hulk is just too big for only one comic! in-house advertisement for Rampage Magazine.
There's something slightly off about Bolland's cover, which isn't entirely successfully made to fit Marvel house style by the use of a Sal Buscema head, though the use of new material - any new material - in a Marvel title is to be celebrated. It is unfortunate that this bold start is immediately paused for a preview of the contents which offers nothing save for a promise of free gifts in the subsequent issue. A small text introduction is always preferable to these clip art-like illustrations. Thankfully, the selected images are mostly good, though I'm not sure what to make of Ant Man.
Victim of Gamma Radiation, Bruce Banner now finds himself transformed in times of stress into the most powerful creature ever to ealk the Earth.Arbory is in the midst of one of the most vicious electrical storms in living memory, which has plunged the inhabitants into darkness. The Hulk, struck by lightning, is somehow able to hold the charge - glowing incandescent blue - which terrifies locals, believing aliens have landed. A mugging, suddenly illuminated by the Hulk's accidental intervention, turns to murder when the victim recognises his assailants. Fleeing the scene, they run into the Hulk...
A very slight story, with an amusing use of the Hulk's body chemistry to propel the plot. For a three-page strip, this has an awfully high body-count, highlighting the casually-handled mortality rate in superhero comics. There's also the problem of the Hulk's haircut, which is especially distracting. The ending has the hallmark of old morality plays, which seem very dated now, though oddly works to the story's advantage.
Somewhere in the skies over South-West England a military helicopter in engaged upon a mission of mercy... Carrying vital medical supplies to a hospital in Cornwall, cut off by freak storms and blizzards...As the cloud cover breaks, the pilot observes the Black Knight flying through the air on his steed, a distracting enough sight to cause a crash. The Black Knight lands in order to determine the nature of the pilot's quest, and - upon learning that a rare blood type is being transported - decides to take matters into his own hands. Far below, old Sarah Mumford - out collecting firewood - considers the 'dark rider' a bad omen, while an armed Harrier takes off with the intent of taking down a UFO. Or an unidentified knight on his flying horse, if you prefer.
Mordred, learning of the Black Knight's return, sets his nightmarish birds of prey loose. Two rockets manage to dismount the knight, and...
The story cuts off, mid-scene. While the story serves as a perfectly reasonable introduction to the character, having such an abrupt ending really affects the way the story is received. There's a great atmosphere delivered through very attractive art, but there are too many events crammed into the first installment, without explanation, that I'm left feeling slightly short-changed by the strip. I've got a feeling this is a story which would greatly benefit from being read through without interruption.
Thousands of feet above the Eastern seaboard of the United States, a gigantic Heli-Carrier hangs motionless and quiet... the mobile command headquarters of the organisation known as SHIELD...Utilising the training room to keep in top shape, Nick Fury is distracted by the sudden appearance of seven glowing stars in a circle - long enough to allow a blast to hit him, numbing his arm. Duggan races to shut the power down, though Fury deals with the problem himself, blasting the control unit. Sidney E. Levine, "Gaffer," SHIELD's weaponry expert and inventor, and Carlyle Pallis, head of SHIELD's internal security, are summoned to investigate whether the stars were the result of malfunction or sabotage.
Fury gets Duggan to accompany him on a separate line of investigation, but come up empty in the records. Gaffer and Pallis report that someone replaced components, as well as installing a hologram projector behind panelling. Before anything else can be revealed, the Heli-Carrier goes on Red Alert - a missile which splits into seven warheads is about to strike. They are stopped, and a trace of the final detonation pattern reveals a pattern identical to that which appeared in the training area.
This is a beautiful, and SF-heavy, introduction to Fury, with enough background to tie the story to American comics, and a decent mystery for him to solve. While Richardson is no Steranko, he gives the visuals everything he's got - occasionally nearing iconic imagery, as with the shot of Fury, gun held in front of him. It isn't an entirely successful opening, but has a quirky style I could grow to like.
It all began only a few weeks ago. Pym was working on a fantastic project. A secret serum. Anything could be reduced in size and shipped for a fraction of the cost! An entire army could be transported in one airplane... And finally... for Henry Pym, success!Another outing for the origin of Ant-Man, albeit a curtailed one. It isn't bad, but overly familiar thanks to repeated appearances.
Night-time in the city, in a downtown hotel room a high-level business conference approaches stalemate...As negotiations between criminal groups break down, Night-Raven makes his presence known. Escaping out a window as gunfire ricochets around him, Night-Raven grabs Granacco and pulls him up to the roof. Distracting two of the mobsters, he sneaks back to the conference room and brands the third criminal, leaving his calling card before departing unseen.
While the story is paper-thin, the atmosphere generated in the strip is far more resonant than the rest of the title combined, instantly setting a tone slightly darker than mainstream Marvel usually employs. There aren't many characters who brand their enemies, and this is the big selling point for the character.
And no, in case you were wondering - the sticker album wasn't located with this issue.
Wednesday, October 31, 2018
The House of Hammer #1
[Oct 1976]; Cover price 30p.
52 pages. B&W.
General Book Distribution.
Edited by Dez Skinn.
Cover by Joe Petagno III.
Contents:
It will come as little surprise to anyone that I love Hammer films, but despite my affection for the lurid cinematic treats they produced in their heyday I can see problems within their output - scripts were often rough in places, the visual effects tended towards the obvious, and the posters were always better than the films managed to be. Yet the company holds an appeal beyond simply restating novels and television classics for a big-screen audience. They were important.
Hammer itself was on the downturn, only able to release To the Devil a Daughter during the existence of the title, despite some fabulous ideas being suggested - there are many people who would quickly suggest that a big-budget Zeppelin vs. Pterodactyls film be made, based only on the poster commissioned to sell the proposed feature, and they wouldn't be wrong.
The cover for the first issue of The House of Hammer doesn't feel like a finished piece of work. Petagno's illustration is slightly off, looking more like a 1980s video cassette sleeve for an Italian or Spanish knock-off than it does an official Hammer product. The brick effect on the logo is quirky enough, but the pasted-on bat is something more appropriate for Monster Fun or Shiver and Shake. Even the text at the bottom of the cover is slightly crude in appearance. A glimpse on Dez's website at the intended first cover shows that the main problem is the garish yellow border.
Thankfully looks can be deceiving.
The adaptation on the 1958 Dracula film (itself an adaptation of Stoker's novel) is excellent in every regard. How good? It is far better than Marvel's use of the character, and easily stands up to the Classics Illustrated novel adaptation by Nestor Redondo. Every panel seems to have been lovingly crafted by Paul Neary to wring tension out of even the most innocuous moments. The likeness of Dracula is clearly based on Christopher Lee, which assists the feeling that this is the genuine article.
With lettering black-on-white, and chapter breaks separating the scenes, the adaptation works well in condensing events to the most important elements, and (although wordy in places) doesn't feel too rushed. A seralised adaptation might, in hindsight, have been better (with separately-available collected volumes, and more time spent with each story), but it is hard to argue with the finished product's appeal.
the Dracula strip is followed by a feature on Christopher Lee, which is relatively brief, though with enough accompanying photographs to cover the fact that it is, essentially, a promo piece. Delving into his history, and his relationship with the character, would have made the article more interesting, but it was early days for the title. The filmography is, in these days of instant information and specialised websites, redundant, but at the time was an invaluable resource.
It may be difficult for some to believe, but even in the nineties finding good filmographies was difficult. That such a piece could have been written twenty years earlier is testament to the skill of the creators.
The most fascinating part of Media Macabre is the Dan Dare news:
Hands up if you can pick Peter Lucas out of a crowd. Yeah...
The Captain Kronos feature wisely neglects to mention how oddly-paced and weird the film feels, playing it up with a recap which makes the film sound much more appealing than it actually is. It isn't a bad film, in any estimation, but suffers from pacing issues and a lack of intensity. The five-page strip which follows is a large improvement on the cinematic outing, and would have convinced me that the character had what it takes to sustain an ongoing series of adventures.
The character's name is hard to justify, but the bare bones of a franchise were present from the moment the film was released. That it wasn't rapidly followed by either a sequel or a television series is (in these days of sequel-friendly, shared universe, multimedia-friendly campaigns) a crying shame.
Horror Around the World is a (very) abbreviated look at foreign films, anticipating the boom in videos - although films were being rented for home-use, the selection in the seventies was relatively small, edited for length, and extremely expensive. As a list of titles to look out for, it still has a certain amount of use. The main focus of the article is the Coffin Joe films (under the name of Coffin Ze here), which... Actually have to be seen to be believed.
John Brosnan's Effectively Speaking covers the history of special effects in horror films, and is well worth a read. Steve Moore's history of vampires is not quite a comprehensive history of vampires (no mention is made of Arnold Paole, nor the numerous vampire texts which appeared before and after the publication of Dracula), but does a good job of covering vampire films. Much of vampire literature history is still only half-heartedly covered, and an accompanying feature might have raised the bar for other horror magazines.
Voodoo Vengeance, opening with a strange illustration of Peter Cushing as Van Helsing, the host, is an atmospheric Haiti-set horror tale of spurned love and zombies. The script is satisfying, there's solid art, and it doesn't outstay its welcome. The choice of subject is rather strange - had the topic been vampires, tying in with the adaptation of Dracula, it could have been more cohesive a first issue.
Overall, the quality of the features is impressive, and the strips are a delight to read. Highly recommended.
52 pages. B&W.
General Book Distribution.
Edited by Dez Skinn.
Cover by Joe Petagno III.
Contents:
.2 Bargain Basement advertisement.
.3 Contents
.4 Editorial (half page) by Dez Skinn. / Stop Press (half page) news.
.5 Dracula w: Dez Skinn, based on the screenplay by Jimmy Sangster; a: Paul Neary.
.6 Dracula, part one: Castle Dracula
12 Dracula, part two: The Curse Spreads
19 Dracula, part three: The Final Chase
26 Hammer House Biography No.1 Christopher Lee - the Man Behind the Monster text feature by UNKNOWN.
30 Christopher Lee Filmography
32 Media Macabre news feature by Dez Skinn (?).
34 Captain Kronos: Vampire Hunter text feature by UNKNOWN.
35 Captain Kronos: Vampire Hunter UNTITLED, part one, w: Brian Clemens; a: Ian Gibson.
36 Horror Around the World text feature by Barry Pattison.
38 Effectively Speaking text feature by John Brosnan.
45 Drinkers of Blood... Stealers of Souls text feature by Steve Moore.
49 Van Helsing's Terror Tales Voodoo Vengeance w: UNKNOWN; a: Angus McKie.
52 Fantastic Value! advertisement.
It will come as little surprise to anyone that I love Hammer films, but despite my affection for the lurid cinematic treats they produced in their heyday I can see problems within their output - scripts were often rough in places, the visual effects tended towards the obvious, and the posters were always better than the films managed to be. Yet the company holds an appeal beyond simply restating novels and television classics for a big-screen audience. They were important.
Hammer itself was on the downturn, only able to release To the Devil a Daughter during the existence of the title, despite some fabulous ideas being suggested - there are many people who would quickly suggest that a big-budget Zeppelin vs. Pterodactyls film be made, based only on the poster commissioned to sell the proposed feature, and they wouldn't be wrong.
The cover for the first issue of The House of Hammer doesn't feel like a finished piece of work. Petagno's illustration is slightly off, looking more like a 1980s video cassette sleeve for an Italian or Spanish knock-off than it does an official Hammer product. The brick effect on the logo is quirky enough, but the pasted-on bat is something more appropriate for Monster Fun or Shiver and Shake. Even the text at the bottom of the cover is slightly crude in appearance. A glimpse on Dez's website at the intended first cover shows that the main problem is the garish yellow border.
Thankfully looks can be deceiving.
The adaptation on the 1958 Dracula film (itself an adaptation of Stoker's novel) is excellent in every regard. How good? It is far better than Marvel's use of the character, and easily stands up to the Classics Illustrated novel adaptation by Nestor Redondo. Every panel seems to have been lovingly crafted by Paul Neary to wring tension out of even the most innocuous moments. The likeness of Dracula is clearly based on Christopher Lee, which assists the feeling that this is the genuine article.
With lettering black-on-white, and chapter breaks separating the scenes, the adaptation works well in condensing events to the most important elements, and (although wordy in places) doesn't feel too rushed. A seralised adaptation might, in hindsight, have been better (with separately-available collected volumes, and more time spent with each story), but it is hard to argue with the finished product's appeal.
the Dracula strip is followed by a feature on Christopher Lee, which is relatively brief, though with enough accompanying photographs to cover the fact that it is, essentially, a promo piece. Delving into his history, and his relationship with the character, would have made the article more interesting, but it was early days for the title. The filmography is, in these days of instant information and specialised websites, redundant, but at the time was an invaluable resource.
It may be difficult for some to believe, but even in the nineties finding good filmographies was difficult. That such a piece could have been written twenty years earlier is testament to the skill of the creators.
The most fascinating part of Media Macabre is the Dan Dare news:
Another comic strip is heading for the screen, and possibly TV. It's Dan Dare, the space exploration hero to millions of readers of "Eagle" comic in Britain and Commonwealth. A new production company, Phenomenal Films, has acquired theatrical rights from the owner International Publishing Corp. and is planning a multi-million dollar series of six films.
First of the six, Return of the Mekon, is in development this spring. The producers have obtained stage actor Peter Lucas to play dare as a Bond-style hero some 1,500 years in the future. Cornel (Naked Prey) Wilde is listed as possible director.
Hands up if you can pick Peter Lucas out of a crowd. Yeah...
The Captain Kronos feature wisely neglects to mention how oddly-paced and weird the film feels, playing it up with a recap which makes the film sound much more appealing than it actually is. It isn't a bad film, in any estimation, but suffers from pacing issues and a lack of intensity. The five-page strip which follows is a large improvement on the cinematic outing, and would have convinced me that the character had what it takes to sustain an ongoing series of adventures.
- Tremble as Kronos hunts an Abchanchu in the Bolivian rainforest!
- Witness the vengeance of the Jiangshi as it hunts down Kronos!
- Quake in fear as Kronos enters the valley of the Dakhanavar!
- The dark desires of a Baobhan Sith threaten to overwhelm Kronos!
The character's name is hard to justify, but the bare bones of a franchise were present from the moment the film was released. That it wasn't rapidly followed by either a sequel or a television series is (in these days of sequel-friendly, shared universe, multimedia-friendly campaigns) a crying shame.
Horror Around the World is a (very) abbreviated look at foreign films, anticipating the boom in videos - although films were being rented for home-use, the selection in the seventies was relatively small, edited for length, and extremely expensive. As a list of titles to look out for, it still has a certain amount of use. The main focus of the article is the Coffin Joe films (under the name of Coffin Ze here), which... Actually have to be seen to be believed.
John Brosnan's Effectively Speaking covers the history of special effects in horror films, and is well worth a read. Steve Moore's history of vampires is not quite a comprehensive history of vampires (no mention is made of Arnold Paole, nor the numerous vampire texts which appeared before and after the publication of Dracula), but does a good job of covering vampire films. Much of vampire literature history is still only half-heartedly covered, and an accompanying feature might have raised the bar for other horror magazines.
Voodoo Vengeance, opening with a strange illustration of Peter Cushing as Van Helsing, the host, is an atmospheric Haiti-set horror tale of spurned love and zombies. The script is satisfying, there's solid art, and it doesn't outstay its welcome. The choice of subject is rather strange - had the topic been vampires, tying in with the adaptation of Dracula, it could have been more cohesive a first issue.
Overall, the quality of the features is impressive, and the strips are a delight to read. Highly recommended.
Wednesday, October 24, 2018
Captain Britain Vol.2 #1
Jan 1985. Cover price 50p.
36 pages. B&W contents.
Marvel Comics Ltd.
Edited by Ian Rimmer.
Cover by Alan Davis.
Contents:
Proudly boasting an Eagle Award Winner stamp, despite it appearing to be clumsily added. Alan Davis' cover illustration is perfect for the relaunch of the series, perfectly capturing the character's nature in a fourth wall-breaking pose. The choice of red text is interesting and eye-catching, adding to the appeal of the issue - an extremely restrained cover, considering several text-heavy examples published by Marvel over the previous decade.
Ian Rimmer's introduction tempts fate in a manner which would prove prophetic:
Chief Inspector Dai Thomas gives a slide-show to his superiors where he outlines his theory that Brian Braddock and Captain Britain are the same person. Lining up corresponding dates and locations, Dai attempts to make clear that the presence of superheroes is a threat to civilians. Dai requests authority to investigate Braddock, as innocent lives are in danger as long as he operated unchecked, but is told to refrain from taking action. Brian, meanwhile, is relaxing in Braddock Manor with his sister, but admits that he enjoys the thrill of being Captain Britain. As they talk, someone watches from outside.
A remarkably low-key way to begin the series, yet very effective. The use of jigsaw puzzle-shaped panels is the kind of visually attractive trick which elevates what is usually drab flashbacks into something which retains interest throughout - the slide-show presentation is also handled meticulously, as befits such an impressive creative team.
Abslom Daak isn't a perfect fit for the title, but his strip is well worth seeing again, as is Night-Raven. It is a shame that such a reliance on reprints is affecting the title from the start, but when reprints are this good it doesn't really matter. Paragon of Painthorpe Street is a welcome change of pace - a text story about forty-eight year old Redmond Jonah Pringle, a rather mundane man who dreams about superheroics - reminiscent the stories in John Varley's Superheroes anthology, it doesn't tie in to the main strip in any way, but is still entertaining.
Free-fall Warriors, created by Steve Parkhouse and Dave Gibbons, is an odd bunch.
36 pages. B&W contents.
Marvel Comics Ltd.
Edited by Ian Rimmer.
Cover by Alan Davis.
Contents:
.2 Classifieds
.3 UNTITLED (quarter page) editorial by Ian Rimmer. / Captain Britain illustration from strip, a: Alan Davis. / Freefall Warriors illustration from strip, p: Jerry Paris, i: Steve Parkhouse. / Indicia
.4 Captain Britain Myth, Memory and Legend w: Jamie Delano; a: Alan Davis, lettering by Steve Craddock. Edited by Chris Gill.
16 Abslom Daak, Dalek Killer UNTITLED [23 Charges of Murder, Pillage, Piracy, Massacre, and Other Crimes] w: Steve Moore; a: Steve Dillon.
r: Doctor Who Weekly (Marvel Comics Ltd.) #17 (06 Feb 1980).
20 The Mysterious Night-Raven UNTITLED [] w: Steve Parkhouse; David Lloyd.
r: Hulk Comic (Marvel Comics Ltd.) #01 (07 Mar 1979).
23 Paragon of Painthorpe Street, part one, text story by Steve Alan; illustrated by Jeff Anderson.
27 Freefall Warriors Freefall Warriors Introduction to characters.
28 Freefall Warriors Warworld w: Steve Parkhouse; p: Jerry Paris, i: Steve Parkhouse. Edited by Alan McKenzie.
36 Spidey Watches advertisement.
Proudly boasting an Eagle Award Winner stamp, despite it appearing to be clumsily added. Alan Davis' cover illustration is perfect for the relaunch of the series, perfectly capturing the character's nature in a fourth wall-breaking pose. The choice of red text is interesting and eye-catching, adding to the appeal of the issue - an extremely restrained cover, considering several text-heavy examples published by Marvel over the previous decade.
Ian Rimmer's introduction tempts fate in a manner which would prove prophetic:
There are two ways we'll get to know your views if you are unhappy with anything... you can write to us via the Captain Britain Communications page, or you can stop buying the title.Not that we want to remind him of those words.
Chief Inspector Dai Thomas gives a slide-show to his superiors where he outlines his theory that Brian Braddock and Captain Britain are the same person. Lining up corresponding dates and locations, Dai attempts to make clear that the presence of superheroes is a threat to civilians. Dai requests authority to investigate Braddock, as innocent lives are in danger as long as he operated unchecked, but is told to refrain from taking action. Brian, meanwhile, is relaxing in Braddock Manor with his sister, but admits that he enjoys the thrill of being Captain Britain. As they talk, someone watches from outside.
A remarkably low-key way to begin the series, yet very effective. The use of jigsaw puzzle-shaped panels is the kind of visually attractive trick which elevates what is usually drab flashbacks into something which retains interest throughout - the slide-show presentation is also handled meticulously, as befits such an impressive creative team.
Abslom Daak isn't a perfect fit for the title, but his strip is well worth seeing again, as is Night-Raven. It is a shame that such a reliance on reprints is affecting the title from the start, but when reprints are this good it doesn't really matter. Paragon of Painthorpe Street is a welcome change of pace - a text story about forty-eight year old Redmond Jonah Pringle, a rather mundane man who dreams about superheroics - reminiscent the stories in John Varley's Superheroes anthology, it doesn't tie in to the main strip in any way, but is still entertaining.
Free-fall Warriors, created by Steve Parkhouse and Dave Gibbons, is an odd bunch.
Cool BreezeWe don't actually see them in action - save for Big Cat's piloting skills - so it is far too early to say whether I like this or not. Far too short, though with some beautiful artwork, it's the type of story which 2000 A.D. could have easily accommodated. Does it add to the overall quality of the issue? I'm going to be optimistic - on the strength of all the ideas floating around, along with the quality of art, the strip shows a lot of promise.
The latest development in bio-engineering from the laboratories of Intra-Venus Inc. But unknown to the executives of that company, an extra factor had been built into this android's genetic code - the "soul" factor!
Big Cat
The Free-Fall Warriors' maximum leader. Originally a mercenary flier, leader of the Hellcats Flight - he's capricious, vicious and vindictive. One quality sets him apart from his human counterparts... He can see in the dark!
Machine Head
Originally human, massive implants transformed this operational high flier into one of the most devastating weapons in the Intra-Venus armoury - a Dive Fighter of Warworld!
Bruce
Product of the surgeon-sculptors of Rubicon, this shark-faced weirdo started life as a "sub-spacer," cruising the lower strata of sub-space and pouncing on victims as they passed. In short, a pirate. Once wrecked on the planet Mahmoud and raised to deity status by stunned aborigines, he had bestowed upon him the gift (or curse) of invulnerability in battle. Seems to have held good so far.
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.
Thursday, October 18, 2018
Warrior #1
Mar 1982. Cover price 50p.
52 pages. B&W contents.
Quality Communications, Ltd.
Edited by Dez Skinn.
Cover by Steve Dillon, c: Garry Leach.
Contents:
.2 Laser Eraser & Pressbutton Untitled illustration by Garry Leach.
.3 Contents / Indicia
.4 Freedom's Road Editorial by Dez Skinn.
.5 Marvelman ...A Dream of Flying w: Alan Moore; a: Garry Leach.
13 Marvelman The Mightiest Man in the Universe text feature by Dez Skinn.
17 The Spiral Path First Prologue w:/a: Steve Parkhouse.
22 A True Story? w: Steve Moore; a: Dave Gibbons.
24 The Legend Of Prester John w: Steve Moore; a: John Bolton.
50 Warriors All text feature on creators
There's no sense of historic importance within the pages of the first issue of Warrior, but the watershed moment is there nevertheless. Steve Dillon's cover isn't the best the title would have, and Axel's leg looks strange - or, I should clarify, stranger than usual. That the cover doesn't feature either Marvelman or V for Vendetta (which, all these years later, could be considered the big-ticket stars) is somehow appropriate. Warrior has a sense of calm assurance in its' contents, best summed up by Dez Skinn's editorial:
Marvelman's return to the printed page stands out not because it is a British superhero, but because it is a superhero story without ridiculous strained faces, bulging muscles, and hysterical, hyperbolic dialogue so familiar to the genre. Right up until the appearance of Marvelman, in a blaze of lightning, the story could have been for a Doomwatch or The Professionals strip. It is set in the world around us, rather than one in which people take to the skies with abandon.
While the accompanying feature is a brief three-and-a-half pages, it fills in the history admirably. A regular series of articles, with greater focus on key moments of the character's past in each, could have been more helpful for readers without any knowledge of Marvelman and the (often very strange) friends, foes and adventures associated with the title. And some of us really, really like the war stories. Unfortunately, the reprinted panels show just how important good lettering is on the printed page - one aspect I would gladly see tinkered with for reprint purposes.
The Spiral Path has a fast-moving introduction which breathlessly informs us of the important details, though doesn't skimp on style in doing so. The land of Tairngir, invaded by hostile forces, is the setting, and King Galbrain - now deposed - approaches the furthermost border with a handful of his warriors, riding through torrential rain. A druid assists them as enemies approach, leading the men to a place in the mountains where they can shelter. It has the feel of a world where life is cheap, and fans of Game of Thrones should take to it effortlessly.
Comic strips about comic strips often walk a thin line - too cartoony and you are in fourth wall-breaking territory, while too serious a strip can be hard to take enjoyment from. A True Story? straddles the line with finesse, believably set in a solid world before dropping into the ninth dimension with exquisite ease. Dave Gibbons draws aliens as if they are real. They are beautiful in their own way, and the story they exist in is amusing enough to justify its inclusion.
Taken from a 12th century tale, The Legend of Prester John is set during the sixth crusade, and features the most unlikely of protagonists - Sir Randolph, too old to defend himself, and suffering from an ailment of the lungs. He is saved from certain death at the hands of heathens, and in his shocked state is convinced that he glimpsed the form of Prester John. Sir Randolph tells the story of Prester John to Ganelon, the son of his saviour. It is an understated story, beautifully written and drawn, and accomplishes more in seven pages than many can manage in twice that space.
Alan Moore and David Lloyd's V for Vendetta should need no introduction. Chiaroscuro visuals, ridiculously detailed in places, are complimented by masterful lettering which bleeds into the images. There are flourishes which elevate the story in subtle ways - chapter titles, reminiscent of silent movies, set the pace. V's mask, three-dimensional in design, recalls the free cardboard masks given free in Buster and the like, and signal the character as a mythic hero. We are deep in Scarlet Pimpernel territory, albeit one without the safety net of an assured happy ending.
Laser Eraser & Pressbutton takes what could have been an entirely predictable outing and turns expectations around in an amazingly short page count, proving that the range of material approached by the title would not be constrained by expectations. On the planet Ormuz, seemingly influenced by the cityscape in Blade Runner, Oris Pelagon is assassinated by a sniper (prompting the funniest line in the issue), and the pair of miscreants responsible... Well, those are our heroes.
Mysta "Laser Eraser" Mistralis and Pressbutton are soon made aware that their target, Venivi Divici, a dream-racketeer, wasn't the subject of the hit, but Oris instead. Worse, he was the Minister of Weather, not to mention a duly-elected Priest of Skatl. Threatened with arrest, Pressbutton does his thing, which isn't a thing we get the privilege of witnessing, but is assuredly a thing which leaves three people dead.
The feature at the back, in which Warrior creators are given brief biographies, is better than it sounds and not as out of place as it seems. Unfortunately, it doesn't go far enough in certain regards - we don't, for instance, get birthdates for all the contributors, chronological lists of works at the time, nor a cohesive layout. A minor quibble, perhaps, but the staggered layout really is distracting for me.
Capping off an exceptional debut, the Forbidden Planet advertisement at the back is classic Bolland.
52 pages. B&W contents.
Quality Communications, Ltd.
Edited by Dez Skinn.
Cover by Steve Dillon, c: Garry Leach.
Contents:
.2 Laser Eraser & Pressbutton Untitled illustration by Garry Leach.
.3 Contents / Indicia
.4 Freedom's Road Editorial by Dez Skinn.
.5 Marvelman ...A Dream of Flying w: Alan Moore; a: Garry Leach.
13 Marvelman The Mightiest Man in the Universe text feature by Dez Skinn.
17 The Spiral Path First Prologue w:/a: Steve Parkhouse.
22 A True Story? w: Steve Moore; a: Dave Gibbons.
24 The Legend Of Prester John w: Steve Moore; a: John Bolton.
32 V for Vendetta Chapter One: The Villain w: Alan Moore; a: David Lloyd, lettering by Zelda Estrella.
38 Father Shandor, Demon Stalker Spawn from Hells Pit! w: Steve Moore & Dez Skinn; a: John Bolton.
r: House of Hammer (General Book Distribution) #08 (Mar-Apr 1977).
44 Laser Eraser & Pressbutton w: Pedro Henry (Steve Moore); a: Steve Dillon.50 Warriors All text feature on creators
There's no sense of historic importance within the pages of the first issue of Warrior, but the watershed moment is there nevertheless. Steve Dillon's cover isn't the best the title would have, and Axel's leg looks strange - or, I should clarify, stranger than usual. That the cover doesn't feature either Marvelman or V for Vendetta (which, all these years later, could be considered the big-ticket stars) is somehow appropriate. Warrior has a sense of calm assurance in its' contents, best summed up by Dez Skinn's editorial:
Personally, I've always felt embarrassed when looking back on first issues I've been involved in. We've usually managed to get things right after a few issues, but not this time. We wanted to get it right first time round.You can read that as arrogance if you like, but he's not wrong. It a mission statement which would soon show just how far from standard the title was to be. The title feels weighty, it looks good, and the contents...
Marvelman's return to the printed page stands out not because it is a British superhero, but because it is a superhero story without ridiculous strained faces, bulging muscles, and hysterical, hyperbolic dialogue so familiar to the genre. Right up until the appearance of Marvelman, in a blaze of lightning, the story could have been for a Doomwatch or The Professionals strip. It is set in the world around us, rather than one in which people take to the skies with abandon.
While the accompanying feature is a brief three-and-a-half pages, it fills in the history admirably. A regular series of articles, with greater focus on key moments of the character's past in each, could have been more helpful for readers without any knowledge of Marvelman and the (often very strange) friends, foes and adventures associated with the title. And some of us really, really like the war stories. Unfortunately, the reprinted panels show just how important good lettering is on the printed page - one aspect I would gladly see tinkered with for reprint purposes.
The Spiral Path has a fast-moving introduction which breathlessly informs us of the important details, though doesn't skimp on style in doing so. The land of Tairngir, invaded by hostile forces, is the setting, and King Galbrain - now deposed - approaches the furthermost border with a handful of his warriors, riding through torrential rain. A druid assists them as enemies approach, leading the men to a place in the mountains where they can shelter. It has the feel of a world where life is cheap, and fans of Game of Thrones should take to it effortlessly.
Comic strips about comic strips often walk a thin line - too cartoony and you are in fourth wall-breaking territory, while too serious a strip can be hard to take enjoyment from. A True Story? straddles the line with finesse, believably set in a solid world before dropping into the ninth dimension with exquisite ease. Dave Gibbons draws aliens as if they are real. They are beautiful in their own way, and the story they exist in is amusing enough to justify its inclusion.
Taken from a 12th century tale, The Legend of Prester John is set during the sixth crusade, and features the most unlikely of protagonists - Sir Randolph, too old to defend himself, and suffering from an ailment of the lungs. He is saved from certain death at the hands of heathens, and in his shocked state is convinced that he glimpsed the form of Prester John. Sir Randolph tells the story of Prester John to Ganelon, the son of his saviour. It is an understated story, beautifully written and drawn, and accomplishes more in seven pages than many can manage in twice that space.
Alan Moore and David Lloyd's V for Vendetta should need no introduction. Chiaroscuro visuals, ridiculously detailed in places, are complimented by masterful lettering which bleeds into the images. There are flourishes which elevate the story in subtle ways - chapter titles, reminiscent of silent movies, set the pace. V's mask, three-dimensional in design, recalls the free cardboard masks given free in Buster and the like, and signal the character as a mythic hero. We are deep in Scarlet Pimpernel territory, albeit one without the safety net of an assured happy ending.
Laser Eraser & Pressbutton takes what could have been an entirely predictable outing and turns expectations around in an amazingly short page count, proving that the range of material approached by the title would not be constrained by expectations. On the planet Ormuz, seemingly influenced by the cityscape in Blade Runner, Oris Pelagon is assassinated by a sniper (prompting the funniest line in the issue), and the pair of miscreants responsible... Well, those are our heroes.
Mysta "Laser Eraser" Mistralis and Pressbutton are soon made aware that their target, Venivi Divici, a dream-racketeer, wasn't the subject of the hit, but Oris instead. Worse, he was the Minister of Weather, not to mention a duly-elected Priest of Skatl. Threatened with arrest, Pressbutton does his thing, which isn't a thing we get the privilege of witnessing, but is assuredly a thing which leaves three people dead.
The feature at the back, in which Warrior creators are given brief biographies, is better than it sounds and not as out of place as it seems. Unfortunately, it doesn't go far enough in certain regards - we don't, for instance, get birthdates for all the contributors, chronological lists of works at the time, nor a cohesive layout. A minor quibble, perhaps, but the staggered layout really is distracting for me.
Capping off an exceptional debut, the Forbidden Planet advertisement at the back is classic Bolland.
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