Friday, 13 March 2015
For my next dip i'm going almost to the end of the school years remit for this site, only two months before i left school.
So, issue 2 of Starlord and we've an odd cover - the Timequake figures at the bottom are certainly by Brian Bolland, but the Droon up top? Sure not his style at all.
Anyway, turn the page and we've got the first episode of "Mind Wars". I've gone on record as not being a fan of this strip, but the stunning art of Redondo makes it a must-read. Its a bit of an odd introduction to a hero twins - she's bathing ina very Forbidden Planet-style rock pool affair and her brother gallantly turns away as his sister emerges. This is very unusual for a strip of the time, to have actual nudity. I wonder if that was in the strip, or something Redondo came up with?
After that, we get a break-neck 4 pages of action depicting their parents murder, their abducution, their ship crashing, and their powers manifesting. Phew! Exhausting stuff, with superlative art:
We've next got "Timequake" with, bless him, the recently departed John Cooper on art duties. Quite a neat premise but hampered by having such a dunderhead as Blocker for the hero - him twigging they've started the Great Fire Of London is a classic.
"Strontium Dog" next and nothing more to say on that other than it was a bona-fide classic from the get-go, with a firing on all cylinders Carlos Ezquerra, complete with lovely garish 70's colouring:
And then we're on to "Planet Of The Damned," I LOVED this strip and i really don't understand why its not mentioned more. Fantastic art from Pena, with a real nasty edge to it - this could've been in Action two years before.
Finishing off, the superb "Ro-Busters" and this issue is noticble for me for two things - this shot of the Preying Mantis being attended to by Maintenance Droids, and the very first glimpse at Hammerstiens first head, pretty different to what we're used to it looking like:
Despite quite a few deaths this issue, none.
Tuesday, 24 February 2015
Wednesday, 18 February 2015
Saturday, 24 January 2015
We all know Action, yes? We all know about the thrills and the violence and the, er, action and how great and groundbreaking and different it was.
Well, i've just gotten this issue to fill in my collection and re-read it for the first time in nigh-on 39 years and was quite taken aback at just how nasty and vicious some of the strips were.
Now, i'm no prude, you'll know if you've been here for a while what a fan i am of the comic and how it pushed all the right buttons for me back then, and to this day. But here, it just doesn't have the excellence of past issues and seems to be focussing on the outrageous over originality.
Lets look at some cases in point.
After the glorious cover we go straight into "Dredger" and here he is being briefed by his M-style boss, who's hidden in the shadows in a very Blofield way. I don't remember him, nor him being hidden like that and i don't know if anything ever came of it but, really, that fact and the novelty of the speech balloons with their straight lined tops and bottoms really are the best things about the strip:
Its some piffle about a US politician setting up another politician for a fall, which Dredger susses out really quickly and could've arrested the crokk pretty easily. Instead we get a couple of innocent CIA men killed for just doing their jobs and the baddie is dispensed with thus at a function:
Next up is "Greene's Grudge War" and its the usual thing for boys comics of the time, the hook of the story being played out exactly the same each week slightly differently. So we get, yet again, Greene seething over Bold, trying to do something to set him up for a fall and failing. But the artwork by Belardinelli is his usual top-notch work:
"Hell's Highway" was the usual plod, with standard action scenes:
And then we get to the centre colour pages and "Hookjaw" and unfortunately we're in the middle of the island resort story. Which not only means rubbish story, but truly rubbish art. Still, we do have a bonkers moment, with a lovely panel being my highlight of the issue - the bloke who's made a remote control, full size, great white shark (as you do) swims out to try and stop Hookjaw eating it (why would he?) and lovingly gives the dorsal fin a cuddle:
Next we have "Hellman". This used to be my second favourite strip, but that was when we had fantastic art by the like of Mike Dorey on it. But such talent has long gone and, boy, does it show.
Anyway, we have another staple of boys comics here, a plot device crudely dropped in at the start which you just know (even as a nipper) will be important later on. In this case, the Nazi's lovingly looking after their flag:
As i say, decent art had long gone by now. The splash page made a big deal about which of the three types of tank will be victorious in the battle, but just look at what we get for tanks - all three types just look like shoeboxes with guns stuck on. Go back and compare with the Belardinelli page for a contrast:
When we get further into the story, the unpleasentness is back - tank crews being burnt alive:
And, wouldn't you know it, the petrol-sodden SS flag being useful by being thrown on the flamethrower unit to burn them alive too:
The violence is even in "Look Out For Lefty", where the football is being used like a guided missle:
But the issue ends on a quirky note - if you've ever wondered what a badly damaged cyborg sounds like as he limps away, now you know, courtesy of "Death Game 1999":
So, a strange old issue then, would've been a pretty duff one if it wasn't for Massimo's art and the guy hugging a fin.
An elongated "AIEEEEEE!" from the Nazi tank and again from under the burning flag in "Hellman".
The almost there "AWWWWEEEEEE!" from Rico the Cyborg in "Death Game 1999".
Monday, 12 January 2015
Lion and Thunders cover feature of "The Mighty Ones" featuring all manner of massive, gigantic, impressive and, er, mighty things now turns to the shrew.
Yep, the humble shrew. Words like massive, mighty and impressive don't exactly spring to mind when considering the lil' fella but, according to this cover, if one was tiger sized it would be the most feared and ferocious animal on the planet.
Well, yes - apparently not only does it have a "shark jaw", it can eat an animal ten times its size and eats more than its own body weight every day.
Turning the cover stunned from that revelation, nothing else really matches.
Black Max is a bit of a so-so episode, but we do get one of those classic pages with a massive amount going on in each panel of the page, along with a terrific portrait of Max, clearly showing his Boris Karloff insperation:
Adam Eterno starts off with the Big Guy landing in the time of the Caveman, finding it out by being flattened by a mammoth:
And for three pages we get the standard routine of Adam taking sides in two warring factions, but now with more bear skins, and looks like it will play out in the usual manner we've become accustomed to.
Except at the end of page three, the bad clan pull laser guns and start mowing folk down. Adam might be a bit dim but recognises a "ray gun" when he sees one and, turning the page, we find out why - aliens are behind it all. For me, this is the first time a SF concept has featured in Adam Eterno other than the time travelling angle, and it'll be interesting to see where this story goes and if its a one-off.
"AIEEEE!" WATCH: Finally! A not-quite-there "AAIEE!" from a right drama queen of a caveman, who expells it at the sight of the mammoth landing on our hero.
Friday, 5 December 2014
Lion & Thunder, 22nd May 1971.
Again, a pretty duff episode of Black Max - lots of taking off, landing and taking off again, with not much else. Apart from the fantastic notion yet again, done with seemingly no sense of irony whatsoever, of Max storing his massive Giant Bat in the very slim, narrow rear fuselage:
The rest of the issue has the customary for the period titles: "Carson's Cubs", "Spellbinder", "Fury's Family" etc, and sometimes there's something in them to make me take note, but not here.
Not the case with "Adam "Eterno" - a terrific mid tale episode that finds the fella in 11th century Europe, falling off a cliff after being shot in the leg by a golden arrow. Being helped by a boy living out in the woods, he learns that the area is being stricken by more and more savage wolves, with tales of a man leading them.
We then get this fantastic two panel study of Adam, possibly the best i've ever come across, where the penny starts to drop for the guy - can you guess where this story might be leading?
Next up, we get some just stunning black and white, dead moody artwork along the way to the patently obvious who is the bad guy cliff-hanger, which has the very rare sight of Adam being threatened by a non-gold menace:
"AIEEEE!" WATCH = Still nothing