FAMILY Reviewed by Leon Hewitt

Family

(Rob Williams/Simon Fraser, 64 pages, A4 Hardback £9.99, Rebellion, ISBN: 1904265715)



Throughout it’s nearly thirty years of existence there are many stories that have appeared in 2000AD and its spin offs, that have used the trappings of genres other than the science fiction and fantasy. From the Chandleresque Robo-Hunter to the more recent swashbuckling romance of Nikolai Dante the creators of these strips have taken genre clichés and put their own unique spin on them.

Family, collected from issues 201-207 of Judge Dredd Megazine, into a single handsome volume continues this fine tradition. Family is at first glance a straightforward gangster tale with all the elements one would expect: the hoods, a police force controlled by the ruling gangs, an aging don with a disillusioned daughter and a good cop desperate to clean his city up.

The story opens with the cops preparing to raid a gang at the city docks. They have been tipped off by the ruling gang: the Family. The Odysseus family control everything in the city (the city even appears to be named after them). As Kurt, the young fresh-faced optimistic policeman who acts as out narrator, points out: “…only a bust like this happens because the Family tip us off.”
These opening scenes wouldn’t look out of place in a 1940s gangster movie. It’s not until the arrival of Silver at the docks that things start becoming less traditional. As Silver enters the dock’s warehouse, where the gang are loading a shipment of drugs into a van, we discover that he has been assumed dead for the last twenty years. He is now back and intends to send a message to Gio, head of the Family. His eyes start glowing and before long his whole body glows as a ball of energy erupts from him engulfing everything within the warehouse. This is his message to Gio. It becomes clear that these mobsters aren’t all that they seem.

The tale rattles along at a fair pace as Silver takes his revenge on the Family by killing members off and aiding Kurt in taking the mob down, while we learn how each member of the Family has supernatural powers. All in all though the story feels slight and the characters never rise above being stereotypes. Kurt is out to prove himself following the recent death of his father; Tania, the boss’s daughter, is frustrated by her over protective brothers; and Silver is out for revenge for the wrong done to him by the Family those twenty years ago. Saying that though, it is clear that this is that this is what the creators, Rob Williams and Simon Fraser, set out to do: take gangster stereotypes and twist them. Unfortunately giving the members of the Family super powers doesn’t feel like enough of a twist to make the story interesting. There are hints at a deeper story though when Silver discusses how he came back from the dead, “The bloodline that gave us these powers?” he states. “It woke me. Told me things. Sent me back.” Unfortunately none of this is elaborated on and the plot is quickly wrapped up after this scene. You’re left with the feeling that maybe things have been left open for a sequel – a feeling reinforced by comparing the finished strip to William’s original pitch (a reprint of which rounds off this collection), which includes an epilogue which would have provided a much more satisfying conclusion.

The book is not without merit though. Williams writes some effective dialogue and does a good job recreating the gangster clichés. The death of the mobster Stone is probably the most effective scene in the book. It is a darkly humorous scene that 2000AD strips are renowned for. Simon Fraser’s art tells the story well. It’s never overly flash and he uses black and white well, conveying the hi-octane action and the more tranquil, reflective moments with equal aplomb. Some pages feel a little rushed, but on the whole this is a solid, professional job. The package itself is a delight, modelled as it is on European bande-desineé albums, giving things an air of quality. All in all I think Rebellion should be applauded for keeping their more recent work like this in print and in such an attractive package, which will hopefully help this book and the others in the range reach a wider audience. (LH)

Contact: www.2000adonline.com

SPIDER: KING OF CROOKS Reviewed by Matt Badham

Spider: King of Crooks

(Titan, A4 Hardback, Siegal, Cowan, Bunn, £14.99)



The Spider: King of Crooks, Titan’s new collection of Spider strips is a welcome antidote to the ideas-lite fare that populates most comic shops. Take a trip down memory lane and delight yourself with this collection of playful and inventive strips. You won’t be disappointed.

The Spider, originally published in British boys’ comic Lion throughout the Sixties and early Seventies, is a very simple but clever concept. The eponymous protagonist of the title is a master criminal who fights crime. His reasoning is simple: by dealing with the rest of the criminal fraternity and therefore his potential opposition, he will become the king of the underworld. In the four strips presented in this collection, the Spider fights both the police and other criminals in two-page, and latterly three-page, strips that are full of ideas and twists, and are great fun.

Although this is not to say that the storytelling is perfect. The Spider has more than its fair of deus ex machina cliff-hanger resolutions and, despite the Spider’s self-proclaimed ruthlessness, the main character does have a habit of granting mercy to potential victims, usually if they are recurring characters or if they have a vital part to play in servicing the plot. It’s easy to forgive these storytelling felicities however if you consider that the Spider was designed as throwaway entertainment, a pulpy, if very successful, addition to a boys’ adventure comic. Indeed, the Spider’s creators would probably be very surprised to find out that there is still so much interest in both their creation and his peers, such as Thunderbolt Jaxon and The Steel Claw.

This interest is deserved however. Both the writing and art in The Spider are excellent. The Spider artist Reg Bunn is a fantastic graphic storyteller. That the strips have so much energy is due in large part to his skills. He also does a great line in gothic weirdness, and the kinky, leather costume that the Spider wears is a design classic. Add to this beautifully rendered urban cityscapes, easily distinguishable and recognisable characters and a rogues gallery of freaks and oddballs to rival Batman’s, and you’ve got a welcome trip down memory lane for some and a real Britcom find for others (including this reviewer, who will be going out to buy the Steel Claw collection and any further Spider collections as soon as they become available). Also welcome is the introduction that gives information about The Spider, his creators and parent comic Lion.

The Spider: King of Crooks is a great collection. It’s well packaged, nice to look at, features wonderful art and is, in the best pulp tradition, a cracking read. And I can think of no higher accolade than that. (MB)

Contact: www.titanbooks.com

RENEGADE #0 Reviewed by Peter Rogers

Renegade #0

(Edited by Chris Atkins, Various, Rebel Comics UK, 44 pages, A4 format, £2.00)

“The UK Comics revolution starts here”. This is the bold statement on the front of RENEGADE, the latest addition to the UK small press anthology ranks. It features 6 stories, a passionate introduction from the Editor and a heartfelt epilogue from contributor Martin Lock. In his introduction Atkins talks about the gap in the market since WARRIOR, name checking V for Vendetta and Marvel (Miracle) Man. The lack of successor point is valid, but the slightest mention of such esteemed work, like christening a young footballer the next George Best or a band the new Beatles, adds the pressure of unfair comparison. I put such lofty associations to the back of my mind and judged this interesting book on its own merits, finding it to be a solid anthology with a consistently high standard throughout. It scores highest on the variety front, as Lock says it should, “a selection of styles and creators… something new to surprise the reader every time”.



Opener Barbarienne: Room Service by Lock and Paul Naring, originally appeared in VALKYRIES and putting this well written, well illustrated story first was sensible, setting the bar nice and high. In this bawdy tale, female warrior Barbarienne is hired to investigate a series of deaths at The Bright Welcome Inn. Blending adventure, humour, intrigue and a touch of nudity and violence, this unedited version certainly presses the right buttons, and it is good to know her ongoing adventures will continue in Issue 1. The only drawback is the scanning means some pages look rather grainy and blurred.

It’s a good old-fashioned adventure story next, courtesy of small press stalwart Jason Cobley, Captain Winston Bulldog in Greed drawn by Phil Elliott. Cobley excels at marketing his work, with extremely professional promotional material that puts most in the industry to shame. Bulldog’s appearance here is perfectly timed, linking with ULTIMATES style reboot BULLDOG EMPIRE advertised later in the issue. In this enjoyable, nostalgic romp, Winston embarks upon an intriguing mission in a Scottish castle. The dialogue and art are perfectly pitched with deft characterisation and exemplary attention to detail, even if Lord Haitland does look uncannily like Ian St. John.

I’m ashamed to say I had not read a Bulldog story before, and if there were a comics equivalent of the Magic Circle that would surely be grounds for my expulsion. Thankfully RENEGADE let me discover a series I may otherwise have missed, and I have had the chance to warm to the Captain and his devil may care tally ho attitude.

The third strip, the first by Editor Chris Atkins, is very much in the vein of a 2000AD Futureshock. When an anthology’s editor is also a contributor there can be concerns over quality control, but it is quickly evident that Almost There would have made the grade regardless of who was editing the book. It tells the story of Theo Raveller, (T Raveller, geddit?) who has invented a way to leave your body and coexist elsewhere, a clever concept taking the invisible man legend in a new, futuristic direction.

At times Sandra Scholes’ art lacks consistency, and some pages fall short of the high standard set in the 3rd page montage. Another drawback is that Atkins’ vocabulary doesn’t always feel natural, with a tendency to use overly complicated language. Phrases like “Whereby an individual can…” and “mere shell” make the story’s tone somewhat aloof. Raveller’s dialogue is also erratic, “This place is cool” and “I’ll take my share of this little bonanza” don’t sound suited to the same character. Despite these niggles I really enjoyed the story and it set itself up well for the requisite sting in the tail.

John Millar creation Doom of the Skool, first seen 12 years ago, centres around two men looking back to their school days, and their science based pranks. The ink heavy McCloud-like art is well rendered and the story, which feels somewhat autobiographical, is an interesting one. Millar manages to link the start and end very tightly, without sacrificing the pay off too early. What didn’t work for me was the Scottish dialogue. I don’t like writers using specific accents or localisation as it slows the pace; I’d rather the reader created voices for the characters in their own head.

Counterself, from Atkins and regular conspirator Ed Doyle, centres on a young married couple and a mirror with a mysterious past. This is a good yarn from the talented paring, with a Hammer House of Horror feel. But having also read their mini series URBAN SERIAL, I noticed both sets of characters look very similar, particularly the female lead. There is a fine line between having a trademark style and not differentiating between your characters. Again Atkins needs to be careful with his use of language, as at times it can feel a little too eloquent. “Paucity of willing relatives necessitated” is a phrase from one noticeable caption, and when an everyman character refers to the mirror as a “magnificent article” it doesn’t ring true. On the whole though, this is a very well told suburban horror, with a beautifully executed climax.

The book ends with my personal highlight, Sponge by Chris Arkham. An excellent example of scene setting, it really builds your anticipation for the next instalment. The story itself is simple; essentially the arrival of General Synod in his tank, but Arkham manages to create a living, breathing environment and some vividly atmospheric scenes. I loved everything about it, especially the sparse visuals and minimal copy, which allowed the artwork to tell the story and dictate the pacing. It made the anthology for me, and I’m itching to read the next part.

RENEGADE isn’t going to revolutionise UK comics, not yet anyway, however this trial first issue is as good as most, and better than some, of the more established anthologies around. Judging from the level of talent involved, and Atkins’ enthusiasm and commitment it could be destined to make quite an impression in the future. (PR)

Contact: atkinschris@supanet.com

ONE LAST TIME Reviewed by Peter Rogers

One Last Time

(Graeme Neil Reid, Reid, 32 pages, ? format, £2.50)



When REM left their first record label IRS, they released a “Best of” compilation that predates the bulk of their worldwide success. On leaving EMI, the Red Hot Chili Peppers released their own retrospective collection titled “What Hits?”. Both of these bands started out in relative underground obscurity, and have since gone on to achieve enormous commercial success having been wholeheartedly embraced by the mainstream. It is easy to argue though; in many ways their earliest work remains their most original, and most interesting.

Now you’re probably wondering what on earth I am doing rambling on about these two multi platinum selling bands, when I am supposed to be giving you the low-down on ONE LAST TIME. Well, basically, this book is Graeme Neil Reid’s own greatest hits package. And like the aforementioned albums it feels like a personal sign off. Perhaps it is Reid’s way to wave goodbye to his status on the fringes of the industry, before launching a major offensive on big name publishers on both sides of the Atlantic.

This highly professional looking collection features 11 of Reid’s short stories, previously seen in the pages of CARNOPOLIS, MEANWHILE… , NEGATIVE BURN, TURN and VIOLENT, and covering the period 1991-1999. All eleven were drawn by Reid and, apart from one exception, were also written by him. The book also features the comics’ equivalent of a DVD style director’s commentary, where Reid gives you a real insight into his work and illustrates how he has developed both as a writer and artist. As the stories themselves are presented in chronological order, you really feel like you’re getting to watch his talent blossom right in front of you.

Reid’s writing, with its strong sense of the absurd, along with his 70s/80s style artwork gives the book a nostalgic, distinctly British feel. It features a wide range of stories, from COMMANDO style wartime pastiche Achtung! to superhero parody Choke!, from the pitfalls of a hapless window cleaner in 3rd time lucky and One step at a time, to the retro dentist based horror Open Wide. Most of the stories are black comedies and close with a Tales of the Unexpected style surprise pay off.

The notable exception to this is also the book’s highpoint, the beautifully poignant Eight Months Ago. Dealing with the after effects of a child’s death, Reid uses painted panels for many of the flashback scenes and inked panels to represent the present. This makes the present far sparser and means you emotionally connect with the characters, not just from the writing but also through Reid’s art. It is a very mature story that focuses on loss and regret, showing more depth and emotion in 3 pages than most creators manage in 24.

There are no fillers in this superb anthology, and Reid shows in every story featured that he is extremely adept at telling a complete and compelling story in very few pages, which is a relatively rare attribute. With many writer/artists you can tell which is their true talent, either their writing overshadows their art or their art looms large over their writing. Graeme Neil Reid on the other hand is equally talented in both areas. He really understands how and why graphic storytelling works, and uses this knowledge to play to the comics medium’s strengths. If ONE LAST TIME were a typical anthology book with a variety of creators I would certainly recommend it. As a unique snapshot of a very talented British creator, it is an essential purchase.



It was after I finished the book that I started thinking about REM and the Red Hot Chili Peppers; you see there is method in my madness. I couldn’t help but wonder whether the talented Scot would end up going down a similar route to the one they both have. I don’t expect him to be filling Wembley or Hyde Park, but I am interested in how his career will pan out when he does break through, which I’m sure he will. We always say undiscovered talents are going on to “bigger and better” things, but as we all know bigger isn’t always better. With so much obvious potential I hope that Reid’s next work continues to allow him the creative freedom to express his considerable talents. I will be watching his career with interest, hoping this collection of highly original work is just the tip of his creative iceberg. I suggest you do the same. (PR)

Contact: http://www.gnreid.co.uk/ gnreid@gnreid.co.uk

MESSIAH #2 Reviewed by Peter Rogers

Messiah #2

(Steve Causer, Christos, WARPTON COMICS EXTREME, 24 pages, US format, £2.00)



Of all the publishers on the UK independent scene, Swindon based Warpton Comics are among the slickest. Their output consists of professional looking, full colour books on high quality paper. Belying their humble origins Warpton’s work looks equally at home on comic shop shelves, as it does on convention tables.

This second issue is part of an ambitious 15 part series from writer Steve Causer, Warpton’s founder, publisher and editor, and artist Christos. Like recent Warpton one-shot CONFESSIONAL, there is a religious backdrop to MESSIAH. It revolves around teenager Jacob, a deeply spiritual young man whose dreams are haunted by a feeling he may be the second coming. Don’t worry if you haven’t read the first issue because it doesn’t really feel like you are joining an established story. This is achieved by the powerful opening, with its clever transition from the Crucifixion to the Church pulpit, and then to the classroom. This well paced start draws you into the story quickly, heightening your interest in the unfolding story.

MESSIAH works best when the visuals are either being active or symbolic, like the school fight scene and surreal dream sequences. Where it falls short is when it relies on talking heads, particularly in the classroom scene. As the classroom comes straight after the strong opening, it makes the book lose momentum at the wrong time. These four pages dramatically reduce the pace, largely due to very wordy dialogue and pedestrian visuals. The shift is so noticeable that you quickly feel the interest you had in the story starting to wane.

There are some very long sections of dialogue here, so long in fact that some panels are badly obscured by it, so that the art is almost completely lost. The dialogue itself is a little stilted at times too, this suits Jacobs’ disturbed character, as he is an outsider and it makes him seem even more different, but when other characters adopt the same laboured speech patterns it feels somewhat awkward.

Once this talking heads scene is over the story starts to gain pace again, and Christos’ painted art goes from strength to strength. However his blend of realism and quirkiness meant I did find myself falling in and out of love with his art as the pages progressed. At times it was strikingly realistic, with images that leapt off the page, but at others the characters felt rushed and almost comical. Overall his backgrounds seem a lot more accomplished than his people do. The main highlights in the art are the almost photographic qualities of the certificate on the office wall, the inspired two-way mirror scene, the school exterior panel, and hugely impressive cinematic aerial shots. One artistic choice that didn’t work for me was making a mundane office scene into a splash page. This approach would have been far more suited to one of the book’s more symbolic or dramatic images instead.



The story is set in a small British town, but we do move away from this locale as one scene takes us to the offices of the FBI. This scene works well, giving a sense of what is likely to unfold in the next few issues, and also an indication of the story’s scope as a tale that will affect far more than one small town. This interlude is a little too brief though, and as soon as you become interested in what is happening, you are back to the main story. A couple more pages here, or later in the book, would have made you far more inquisitive about the FBI’s role, and in turn more likely to buy Issue 3. The FBI scene could have fallen into the talking heads trap that the classroom one did, and it almost does. The dialogue is less natural and more expositional here but the art, particularly the two-way mirror sequence, elevates it above the classroom scene.

Overall the book’s religious theme, as is many other comics work, allows the artist to explore some powerfully universal, evocative imagery. But by focussing so heavily on religious ideology at times the story feels a little laboured, as if trying to convert you to Christianity rather than entertain you.

Despite looking like the finished article, the thing that lets Messiah down most is the proof reading. Every time you stumble across a typo, spelling mistake or grammatical error the book’s interesting ideas, polished artwork and eye-catching production values lose their impact. Editing others is certainly more straightforward than editing yourself, and maybe if an independent editor had been involved with MESSIAH, you wouldn’t have such long bursts of dialogue and such easily corrected errors. This issue did do enough though to make me interested in how the story develops, and I am particularly interested in seeing how Christos’ artwork develops across the other 13 planned issues. (PR)
Contact: www.warpton.co.uk

TUSK SPECIAL Reviewed by Peter Rogers

Tusk Special

(Robin Etherington, Lawrence Etherington, Blink Twice, 22 pages, US format, £3.00)



Fans of MALCOLM MAGIC, the sublime funny book from the Etherington brothers, are in for a treat with this quirky spin off. TUSK is essentially a situation comedy in comic form, and the situation in this comedy is a universally successful one, the pub. Like Cheers, Early Doors, Time gentlemen please and Phoenix nights, it uses this well understood backdrop to introduce us to a bizarre assortment of characters whose main similarity is their choice of watering hole. The setting is inspired, as it leaves the creative door wide open to be able to experiment with various self contained ideas without affecting any ongoing continuity.

The TUSK of the title is a loveable Westcountry rhino landlord, and the book features 5 stand alone stories set in his pub, The Last Mammal Standing. The formula that has made MALCOLM MAGIC so successful has been recreated here. Once again there is a titular male lead is surrounded by a ragtag bunch, each of whom has their own particular neurosis. It is quite a bold move for the Etherington brothers to attempt to put together yet another ensemble cast, but they have been able once again to create a distinctive and interesting cast of characters.

The first story Wot? No Beer centres on the mysterious appearance of an elephant in the pub. Not only is the elephant taking up a lot of room, it has also managed to drink the cellar dry leaving the career drinking regulars pining for some beer. This quirky tale is the perfect way to introduce each of the main characters and it is pretty funny too. It even manages some product placement with references to award winning Old Thumper beer.



Killing them Softly, the second story, is about the Last Mammal Standing’s open mic night. The musical backdrop gives writer Robin the chance to have some fun with the characters, with some clever humour, and playful dialogue. The art is really expressive and the writing gives you an even better understanding of the relationship between the characters. The story works well and they set it up perfectly for the punch line climax.

Proof of Age is quite a slight tale really, and because of this it doesn’t work as well as the first two do. Roddy the turtle takes centre stage this time, and Tusk himself does not feature in what is essentially a one-joke strip about under age drinkers.

One page strip Shaggy Dog Story is the weakest tale for me. There is a lot of dialogue and the art is basically talking heads, with Ed the mortician telling the fabled ghost story of local loony Cartoof. It isn’t as funny as the other strips and does nothing to develop the characters; leaving you feeling it is nothing more than a filler.

Double Down marks a return to the character driven, ensemble feel and sense of humour that worked so well in the first two stories. This time it is the turn of Falcoon, the pub’s resident cool cat, to take top billing. He is an interesting character, and you get a solid understanding of who he is. Like The Fonz in TV’s Happy Days, he walks a very fine line between being very cool indeed and not very cool at all. Here Falcoon decides to set up a casino in the bar, which proves rather unsurprisingly to be a big mistake. This tale isn’t quite as funny as the first two, but it has its moments and is probably the best example of Lawrence’s artwork in the book. Overall the confined pub setting restricts the book artistically, especially as we have grown used to the inspirational, expansive backgrounds that have brought this book’s parent title to life so well.

As well as the five short stories, this special edition also features enough extras to keep even the most rabid Blink Twice fan happy. There is a behind the scenes tour of The Last Mammal Standing, a sneak preview of two playable environments from the forthcoming Malcolm Magic and the very cherry sherry computer game, along with 5 pages of the redrawn, rewritten, revamped MALCOLM MAGIC Issue 1 ready for the Worldwide release of the Redux edition. While most self publishers are running around frantically trying to get their books out between conventions, the Etheringtons manage to release book after book, market them extensively and add extras like these, I have to assume they have chosen to forgo all sleep.

TUSK is a really interesting companion piece to its father title, and is a thoroughly enjoyable book in its own right. The setting and characters lend themselves to an unlimited series of short adventures, and I don’t think it will be long before the unassuming rhino and his drinking buddies return. The MALCOLM MAGIC pages are an interesting addition to the book, and they remind you why that book works so well. This is well worth a read, and the pub based sit com environment makes it very original, but it doesn’t quite live up to the standard of the book that spawned it. In time though this book’s very own magic should blossom. (PR)

Contact: www.malcolmmagic.com, www.studioblinktwice.com

MALCOLM MAGIC #6-7 Reviewed by Peter Rogers

Malcolm Magic #6 & #7

(Robin Etherington, Lawrence Etherington, Blink Twice, 24 pages each, US format, £3.00)



You know what it’s like when you are the odd one out, like when you’re the only person you know who hasn’t read the latest Harry Potter, or the only one who hasn’t got around to seeing Batman Begins yet. Well, until I picked up Issue 6, I felt I was the only one missing out on the MALCOLM MAGIC phenomenon. It certainly is one of the most talked about UK independent titles of recent years, and those Etherington boys sure know a thing or two about self-marketing. Their stand at 2005's Bristol Comic Expo was very noticeable, and it made them among the most prominent publishers across the weekend. Now that I have had the chance to read their work for myself, I am happy to say that all the hype surrounding MALCOLM MAGIC is extremely well deserved.



For those of you who aren’t familiar with the world the Etherington brothers have created, it finds rabbit hero Malcolm spending his time flitting between his ordinary hometown of Fuzzton and the rather extraordinary dimension known as Happy Hippy Dale. He has a motley assortment of animal friends to fall back on, but they don’t believe Happy Hippy Dale exists, putting the whole thing down to his rather excessive drinking habits.

This particular story, the climax to the first rabbit related story arc, finds Malcolm and his cohorts en route to his old school. Their aim is to try and rescue his old class 2B (cue the obligatory Hamlet gag) from the clutches of evil Happy Hippy Dale exile, and fellow bunny, Bright Eyes. If you still can’t keep up there is a handy rundown of the events from the first five issues in the front cover.

From the second I opened the book, with its gorgeous wraparound cover, I was hooked. This is Wind in the Willows on acid, Jamie and the Magic Torch writ large for the media savvy ‘00s audience. The art is breathtaking; Lawrence manages to create beautifully in-depth surroundings without sacrificing subtlety, and his artwork is so vivid and expressive you could happily stare at it for hours. He manages to create a living, breathing world full of individual looking, effervescent characters. Thankfully brother Robin’s writing is just as good, each of the characters is well defined and when the book’s humour hits the mark it really is laugh out loud funny. One of the series’ main strengths is its ensemble cast, but with so many characters involved you do obliged to commit to the book for the long haul. Only then will you be able to get to know each of the main characters in any real detail.

The dialogue is lively and interesting, and unlike other similar books, here you get the feeling every phrase has earned its place on the page. I love the quirky Britishness of some of the dialogue too, it almost has a John Mills jolly hockey sticks feel at times. I can already picture the animated series, complete with Alexander Armstrong, he of the Pimms ads and one half of Armstrong and Miller, voicing our titular hero. The book’s tone, though more contemporary and edgy, shares the grand tradition of subversion found in old Tex Avery cartoons. Movie, music and TV references are bandied around like there’s no tomorrow, and on virtually every occasion they hit the mark. And even when they don’t quite work, the book’s frantic pace and disarming charm mean you hardly notice. It manages to be nostalgic yet modern, of its time yet timeless, clever yet still dumb fun, all at the same time. The story showcases both brothers’ strengths, with a strong story, scattershot gags and some excellent set pieces. There are even some very clever colour effects thrown in for good measure at the end too.



Issue 7 picks up unsurprisingly where Issue 6 left off, and is the first part of Book 2. Again the cover is gorgeous and it really captures your imagination and interest. In this story Malcolm has been separated from his furry companions, and in a Wizard of Oz style move, Doorum Valley, where he finds himself, appears in glorious Technicolor. Lawrence’s art is amazing when presented in black and white, but the addition of colour to these key pages makes it even more sumptuous and engaging than before.

While Malcolm gallivants in full colour, the rest of the gang are left in the monochrome Happy Hippy Dale, and it isn’t long before they realise Malcolm has been telling the truth all along. This issue is slightly slower than the previous one and it doesn’t rely on so many clever gags, but it still works just as well. Letting the other characters have an adventure without Malcolm helps them feel like more than just supporting players too.



This is an ambitious edition, and it introduces us to two more locations within the Malcolm mythology, each with their own look and feel. With mythology in mind, there is an Ewok style village in this issue along with a storyline where two bands of heroes have been separated. These could well be intentional nods to both the Star Wars and Lord of the Rings trilogies. In fact both references are relevant, as this issue has a far more wide ranging and epic feel than Issue 6. It would be interesting to know if this marks a change of direction for the book as a whole.

Overall the issue isn’t quite as much fun as its hilarious predecessor, but on the art front it is even more spellbinding. With some colour pages, along with lots of characters and a variety of settings Issue 7 was a real chance for Lawrence to flex his artistic muscles. I won’t spoil the ending, but prepare yourself for a double cliffhanger that will have you on the edge of your seat.

MALCOLM MAGIC really is an un-missable treat from start to finish, it feels, looks and reads like the work of a major publisher rather then two independent guys from Bristol. If you haven’t been caught by the bug yet I suggest you play catch up with back issues or the two trades, Collected Edition 1 (reprinting issues 1-3) and 2(Issues 4-6), which are available for £10 each. With a computer game in the pipeline, merchandise, spin offs, a cracking website and an International distribution deal around the corner, it won’t be long before the Etherington brothers get the exposure they deserve. I am actually planning on buying myself a hat, purely so I can take it off to them. Because if their books were available on the newsstands of Britain tomorrow we might just have the catalyst we need to put the UK comic industry back together. (PR)

Contact: www.malcolmmagic.com, www.studioblinktwice.com

HOPE FOR THE FUTURE #7, #9 Reviewed by Peter Rogers

Hope for the Future #7, #9

(S.Perrins, A Livesey, Flying Monkey comics, £2.50, 25 pages, A5 format, £2.50
(S.Perrins, Flying Monkey Comics, 27 pages, A5 format, £2.50)



I first discovered HOPE FOR THE FUTURE at the Comic Expo in Bristol back in May, where creator Simon Perrins was probably the most low key contributor to the State of Independents panel. When asked about his comic work he seemed almost apologetic, revealing he felt it was “a bit of fun” compared to the “serious” work of the other self published creators on the stage. When the panel was over I was handed a copy of Issue 5 of his series, along with some other freebies, and this was my first taste of this thoroughly enjoyable series. With its strong sense of story and character, cutting humour and clever pop culture references this student based supernatural adventure comic was my favourite discovery at this year’s Expo, so I’m really pleased that I have had the chance to review two further instalments here.



In Issue 7 Perrins has turned over the art duties to Andrew Livesey, and his simpler, more cartoon style suits the book well. The cover, complete with “Suggested for immature readers” warning, is a very good pastiche of Back to the Future, giving us an insight into the fact that time travel is indeed the theme of this issue. HOPE FOR THE FUTURE is about 3 students thrown together by a series of bizarre events, spooky loner Hannah, IT nerd Greg and cool but dumb music fan Lee who seems to be more than a little autobiographical. In this issue Hannah sees a ghost, which convinces her they need to find out more about a painting they discovered in a previous issue. Hannah is sure that going back to 1995 is the answer, and she convinces Greg and Lee to go with her. This means we are treated to some 90s music references and nods to various movies dealing with time travel, but thankfully not at the expense of the narrative. In fact, the story is so well realised that you are kept on the edge of your seat right up until the final splash page leaves you desperate for more. They even manage to create a sense of peril and urgency, a quality that is very rarely achieved in even the best modern comics.

Now I am usually a stickler for word economy, and like graphic story telling to be just that. I don’t often like to see lengthy captions and dialogue, as these can dominate the panels so that the art isn’t being left enough room to tell the story. There are some lengthy passages here, where the panel is nearly all prose, however in this case it isn’t a drawback. This is because of the very well written, natural sounding dialogue, which actually serves to help with the pacing of the book, managing to enhance the art, rather than suppress it.

Issue 9’s colour cover is beautifully rendered, and it is Perrins himself who is back on pencilling duties. With this in mind I was expecting the art to be very much the same as in Issue 5, but gone were the solid inked shades of that issue, replaced with a sketchier style and atmospheric grey shading. It seems that the art style is changing on each issue and that really helps keep the book fresh and interesting.

In this instalment, after a drunken one-night stand Lee thinks a witch has cursed him so Hannah and Greg are on the case to help him investigate. This issue wasn’t quite as exciting as Issue 7, with a more down to earth setting, and less scope for the book’s trademark in jokes. However because this is a slightly slower burning tale, we do manage to find out even more about the three central characters. I am starting to think that Lee’s success with the ladies might well be wish fulfilment on the part of the creator, but then again I may be wrong. They seem to have the knack of creating strong endings, and this issue’s final splash page leaves your appetite thoroughly whetted for Issue 10. Even the back cover is a treat, with a pin up of the lead characters meeting HELLBOY, first seen as part of the Charity Deck of Cards 2 project.



Many books from major publishers are either totally impenetrable to the new reader, or are so geared up to be a jumping on point that they are crammed full of exposition. Perrins' work manages to elevate above this. In both these issues he has created strong enough stories that anyone can pick them up without reading previous issues, without compromising the series as a whole as he still manages to let each of his characters grow and develop.

HOPE FOR THE FUTURE is the comics’ equivalent of TV show Spaced (which could mean all Simon P’s are created to be this talented). It manages to be laugh out loud funny and knowingly referential while creating an exciting ongoing story, with totally believable characters you quickly grow to care about. Perrins may claim that his book is just a bit of fun, but this labour of love is vastly superior to many other series that take themselves very seriously indeed. Having been lucky enough to read three issues without cause to open my wallet, I will most certainly be buying the next issue for myself. In a nutshell this is one of the best UK comics around at the moment from one of the UK independent scene’s most talented unsung heroes. Miss it at your peril! (PR)

Contact: usby@freeuk.com, www.usby.freeuk.com

HUNTERS Reviewed by Nick Margerrison

Hunters

(Simeon Aston, edited by Huw J Davies, 38 pages, £3)



Bloody hell, that was hard work! Before I go any further, this is not a comic in the traditional sense. It’s a storybook with nice pictures. There’s an element of the pictures following a sequence so in a roundabout and very loose sense it’s sort of sequential art. However in any real sense what you have here is a short prose story, not a comic book.

The pictures, firstly, are great to look at. The art style reminds me of, Eastman and Laird and their good early Teenage Mutant Ninja Turtles stuff. There’s some lovely composition and potentially iconic imagery. The prose however is simply not up to scratch. The shame is that the pictures form the backdrop to it and therefore the prose assumes the most important role. There’s an irony in that it’d really work better the other way round.

Here’s a sample sentence of the prose style I’ve just endured: “then Prowlisk and another of his crew where flung inside like rag dolls they slamming into the crates, the Beast landed on the ramp behind them his roar shaking the shuttle as he caught a laser blast in the back”. Spell check is a wonderful thing but it’s no match for a good solid bit of proof reading. The introductory page was so bad I thought it must be a stylistic invention: “Divided into three sector’s , Red sector for gambling ,pleasure suites and bars ,for finance and loans the ship yards and docking bays in Blue sector are the place to be .”

As the work progressed I developed a theory. This is one of the first small press ‘comics’ I’ve read where there’s someone credited as editor, Huw J Davies. My mind wandered back to the days when I suffered from dyslexia and would get my mate to read over the cartoons I submitted to the school magazine. I’m guessing something similar has happened here. Simeon Aston is clearly a gifted artist. The best thing by far about this booklet is the illustrations. I’m guessing what we have here is an illustrator who felt they had a story to tell. In truth I’m guessing few will ever be told it outside his group of friends. This booklet is not a comic book, it will only appeal to people who like cool drawings. I’d be surprised if anyone other than this reviewer gets as far as the end, which serves as “the beginning” because this work is “to be continued”.



To be honest, if that’s really the case and what we’re seeing here is the start of an epic tale, I’d suggest an urgent re-think. If I was speaking directly to the creator I’d argue that at £3 you can make this the collector’s edition which one day will be worth a fortune because few will own it. This is not currently a comic strip but in places it is sequential art. If this story is truly worth telling, it’s worth telling well. Bite the bullet and make it a proper comic book.
Grammatical errors and bizarre punctuation are the mark of an amateur, the illustrations show a level of professionalism not reflected in the prose. Beautiful prose and rubbish stick figure drawings wouldn’t a good booklet make. The same goes for beautiful art and awful prose. Possibly the easiest path would be to hook up with a writer and do this whole ‘epic’ properly. Plot the story out and go the whole hog, add your tale to the revolution we’re seeing in comic books. If the dialogue was all in balloons Huw J Davies might spend more time proofreading it like my mate used to at school.

There’s a website http://www.nefisa.co.uk/ which is touted at the back of the book. I found flicking through that infinitely more enjoyable than reading this booklet. Have a look, you might like it. (NM)

MONKEYS WITH MACHINE GUNS #0 Reviewed by Nick Margerrison

Monkeys With Machine Guns #0

(W: Chris Lynch, A: Stu.art and Dark Smith, 32 pages, US format, £2.50)

The way in which 2000AD recruit their writers is the stuff of legend. You write a short story with a twist called a Future Shock and they decide if they want to buy it. The result of this is that there’s lots of ‘failed’ writers who’ve got loads of scripts lying around that will never see the light of day. Hence the following thought process often emerges: “Oooh, I’ve written a load of Future Shock scripts and Tharg won’t publish them. What should I do? I could always publish them myself…”. It’s a tactic which is easy to deride but one that often bares interesting fruit. I’m pleased to say it looks like this comic may be part of that bounty. What you get in this promo booklet is a selection of hit and miss short stories illustrated professionally and packaged beautifully.

This promo copy contains the following tales: Society, The Accomplice, The Other Woman, Stopped for Coffee, and the text story Wrathbones. There’s also a series of (in my opinion) utterly pointless adverts for forthcoming stories. Promo copies of stuff always confuse me. It’s difficult to make anything of a one page advert for something like The Magpye. Rather than entice, the pictures of some bloke with a swastika on his head hitting people actually made me think less of the comic as a whole. Advertising is bad enough in the corporate nonsense filled world we live in each day, I’d rather not see it inflicted upon us in the beautiful world of small press comics. Nothing speaks louder than the quality of someone’s work. Also I can’t hide my disappointment at seeing a text story, particularly one with awkward italics.

Despite these faults there’s some sheer talent at work here. The anthology format saves you becoming bored with an idea that perhaps doesn’t work and also makes you feel like you’ve got more for your money. The stories themselves are well delivered and there’s clearly a voice emerging here with something to say. I’d argue that occasionally the writer lets himself down a little bit in that some of the stories are a bit obscure and it’s a bit unclear what’s going on. This is either down to lack of skill or self-indulgence. I can sympathise with either but would suggest avoiding both.



I suspect there’s a level of self-indulgence mainly because this comic book is so professionally made you’d never suspect it was a small press piece: it’s glossy, the artwork is great. The stories are professionally written. It’s got a great flow to it. It just leaves me with a sort of “meh” feeling. Despite the fact parts of it work really well it lacks the effortless style of some of the other pieces I’ve read over the last few months. There’s a self-consciousness about it which I found distracting, but that’s a bit like saying you didn’t like someone because they had a rubbish tie. As a reviewer I would suggest that this comic book is good but not great. Although you’d probably think I hated it after reading this review, but I really didn’t. Honestly. (NM)

DOGBREATH 12 & 13 Reviewed by Nick Margerrison

Dog Breath Issues 12 & 13

(Various, Issue 12: 42 pages, Issue 13: 40 pages both priced £2, A4 format)

I’m not a fan of Strontium Dog it always seemed a bit dull to me, this fanzine makes me want to be part of the gang. I feel bad for not cottoning on to what is surely a great 2000AD character. It must be, it’s inspired a genuinely good fanzine. The shame is that there’s got to be a huge chunk of comic book fans who think, like me, that Strontium Dog is rubbish. So they’ll never read this fanzine. The only reason I’ve read it is because it was chucked onto my reviewing desk. I’m glad it was because I’ve just spent some happy time reviewing it. What ironically makes things worse is I noticed lots in here that would appeal to those who’re not into Tharg’s fine publication. However, nothing I say is going to make you bother with it unless you’re already a fan of Strontium Dog. I know this because I’ve only read it because it’s been given to me to review. Even then I was tempted not to bother. Because I don’t like Strontium Dog! Is that message clear?



The fact this comic is therefore niche by design annoys me more than it should. I need help. Anyway, I think it’s clear I disapprove. Having read some truly great stuff over the last month it seems a shame to limit your horizons with a small press effort aimed at a small audience. That said of all the things I’ve reviewed this is the only thing I’d already heard of prior to joining REDEYE. I guess ultra niche publications like this provide a powerful self-marketing device which works in some way or other. Gah! It frustrates me that there’s good stuff in here which will never reach a wider audience. If you like comic books but aren’t too keen on Strontium Dog, read issue 12. It’s the better of the two. Some of the stories don’t need to be in the SD universe. In my opinion they’re better than the stuff I’ve read in old 2000AD stories concerning the character.

As I mentioned, Issue 12 is better than Issue 13. I get the feeling the latter was rushed after something of a hiatus in Issue 12. You’ve got long chunks of text in the latter where you’ve got more solid comic in the former. Also there’s a photo love story in issue 12 which shouldn’t work but really does. Both issues contain work by Al Ewing who’s recently been making a name for himself with work in 2000AD itself. A quick flick round the net reveals him to be a writer who is building up a mystique around himself which I hope he maintains when genuine mainstream success inevitably seizes him in the future.



The production values on both these issues are occasionally below par with slightly faded pictures being present in some cases. This is the exception rather than the norm though. There’s a real sense of these works both being a true team effort, this is a good illusion to pull off. I still keep coming back to the problem that this publication is aimed at a niche within a niche. Shouldn’t the team be working on something for everyone? In summary: an unexpected delight. (NM)
CONTACT: strontdog@btinternet.com

THE PEOPLE IN THE MOUNTAINS #1 Reviewed by Nick Margerrison

The People In The Mountains #1

(Ben Womak, Womacomics, unpriced, A5, 28 pages)

One of my favourite films in the world is Invasion of the Bodysnatchers. There’s a theory that suggests that film is a representation of the “enemy within” paranoia that flooded America during the Cold War as Communists seemed to pop up all over the place. You could be best friends with one, your wife might be one and your next door neighbour almost definitely was one. This idea that any citizen could be brainwashed by an alien philosophy and turned against humanity seized America in the late 50’s early 60’s. It’s no surprise it was reflected in their culture. In light of the recent rise of Islamophobia in the west I’ve long thought that the world was ripe for a good re-introduction of this theme. The People in The Mountains is without doubt of this genre but the disappointment I feel is that there’s very little else that’s been brought to the table. What you have here is a solid understanding of how those stories are told.

What’s good about this comic is that it’s well constructed. There’s a nice flow to the artwork and a strong sense of the world in which it takes place. Ben Womack has mastered the craft of putting together a very readable comic. His next step is to find his own voice and work out what he wants to say with it. What worries me about this advice is that when the comic book strays from the traditional structure of the story it is clearly at its weakest as a read. Veering occasionally into slightly childish scenes such as the moment where the chief “baddy” cuts off another “baddy’s” head because he’s annoyed at him. There’s a plot twist that hams the episode up a bit but to be fair it’s unconvincing.

On the technical side, the accomplishments of the sequential story telling are oddly let down by the quality of the lettering. I’m trying hard to put my finger on exactly what’s wrong with it and I’m thinking perhaps it’s the formal feel it has. It reminded me of the old style join the dots handwriting you were taught as a kid. Perhaps it’d benefit from being all in capital letters instead? It’s an odd point to make but if you buy this comic I’m sure you’ll see what I mean.



Mainly the strengths of this comic are in its execution rather than inspiration. Ben Womack is not here a great artist in the traditional sense but he’s good stuff in the position of storyteller. Good writers would do well to look at this work and try to convince him to co-operate on their next piece. In that respect this book works as a good showcase for the artist’s talents. I also think Womack could have spent more time on some of the work. I’m guessing he’s quite young, late teens, but I’ve no way of knowing as he doesn’t yet appear to have a web presence.
Overall I’m disappointed to say I was underwhelmed by this comic. I’d like to see more done with the idea, perhaps by the same writer. Re-tell the story and give it some more purpose? A more obvious subtext would benefit the whole piece. I feel really bad slagging a small press piece so harshly but I do so in the hope it inspires the author to prove me wrong with his next work. There’s a clear level of craft here that would be a shame to waste. We the enthusiast will be the loser if that challenge isn’t met. (NM)

DOGBREATH PRESENTS: WHISTLER, Reviewed by Ben Dickson

DOG BREATH PRESENTS: WHISTLER

(Bolt-01, A5, 36 pages, £2.00)



I should preface this by saying that although I have read Strontium Dog in the distant past I don’t remember it too well, and have not read any issue of Dog Breath. The reason I say this is because I found many aspects of Whistler confusing, and this may simply be because I’m not that au-fait with either the original strips or the fanzine.

Whistler collects six chapters of a story initially published online at 2000adonline.com. Whistler himself is a Strontium Dog bounty-hunter, whose mutation has left his head looking suspiciously like that of a parrot. After an excellent and highly enjoyable introductory first chapter, the story settles into one of conspiracy and corruption amongst the Strontium Dogs themselves, as Whistler tries to get to the bottom of just what’s going on.

The illustration of the book is superb and well-suited to Strontium Dog fan fiction. The art is clearly very heavily influenced by Carlos Esquerra, and is very effective in its execution, with well-drawn figures and backgrounds, and containing a similar vibrancy to Esquerra’s 80s black and white work.

I must confess, despite having read it three times, I still don’t entirely understand what happened in the story. Most of the strip is well-written, with strong dialogue and good characterisation, and plenty of interesting and entertaining things happen, but the plot itself seems to make giant leaps of faith in terms of the reader actually understanding what’s going on. Whistler has conversations with characters where the conversation itself is actually missed out, leaving a sense of confusion and frustration. Other plot points in the book are also assumed as read, and if you read Dog Breath it’s possible they are as read. Yet for me, this book either doesn’t stand up on its own or simply assumes too much foreknowledge or assumption of its own plot.



Well worth picking up if you’re a reader of Dog Breath, but readers should be wary if they are not too familiar with Strontium Dog. (BD)

Contact: whistlerstrip@aol.com

THE O MEN #25, 26, 27 Reviewed by Ben Dickson

THE O MEN #25, 26, 27

(Martin Eden, A5, 28 pages, £1.50 (issues 25 & 26) 44 pages, £2.00 (issue 27))







These three issues draw the first volume of the O-Men to a close, as Miss Scarlet’s true loyalties are revealed, all-out war breaks out between the superhumans, and an awful lot of characters are killed off.

Having not read the previous issues of the O-Men, it’s a little difficult to review these issues in a way that does the comics justice, as the book is not episodic in the sense that you can understand what’s going on if you missed the previous issue. Quite the opposite in fact – if you haven’t read the previous issues, then it’s extremely confusing.

This isn’t a bad thing of course – the great thing about this kind of story is that the story itself is paramount rather than the characters, and no cow is sacred. This is rare enough in comics, and rarer still in small press, and for that alone Eden should be congratulated. However I couldn’t tell you which characters’ deaths I should be screaming “NOOOOO!!!” at, which bits of the book should have my jaw on the ground, and so on. Suffice It to say that it looks pretty exciting. The book has gathered a small army of fans in its brief history, including Comics International reviewers and professional publishers, and has been highly regarded in small press for some time.



However the O-Men is not without its flaws. The illustration style is adequate to tell the story, and although Eden is frequently inventive with the panel layouts, the illustration is at the same time stiff and not particularly well suited to action scenes. The writing, whilst being complex in plot and structure, is less accomplished in expressing characters emotions and personalities, and the swearing feels somehow out of place in the feel of the book. However these elements should not put you off giving the O-Men a try if you haven’t already. There’s enough in the book to look beyond these shortcomings, and if you’re a fan of superhero comics, what you’ll find is a plot far more complex and developed than most other superhero books out there. And if you’re already a regular reader of The O-Men, you’ll most likely be delighted by the news that The O-Men volume two will be along in January ’06… (BD)

Contact:

SPRINGHEELED JACK #3 Reviewed by Ben Dickson

SPRINGHEELED JACK #3

(David Hitchcock, Black Boar Press, US format, 32 pages, £2.50)



David Hitchcock is without doubt one of the best small-press publishers out there, to the point that describing his work as small-press really doesn’t do him justice. If you’ve been following his superb Springheeled Jack saga, you’ll know that it contains some of the finest artwork to be found in any independent British comic, as well as some of the finest storytelling. So is this issue any different? Not really - it fits well with the previous two issues, although it should be noted that this issue has a higher page-count, even though the price-tag remains the same. The artwork is moody and expertly drawn. Hitchcock’s style of mixing pen and pencil achieves a level of subtlety in the artwork that is rarely seen in comics, and fits the story like a glove. Combined with high quality printing and a beautiful full-colour card cover, one can’t help but admire the sheer amount of work that has gone into this project. It’s clearly a labour of love, but it’s also a highly polished and professional-looking labour of love. The only thing that can be at all faulted is the lettering, which could be improved upon – there are places where the punctuation could be better and so on, and the odd spelling mistake – but they hardly distract from what is overall a superb package.

(This final issue also sports a quote from Dave Gibbons on the front stating that the book is “expertly told and truly creepy, this is Victorian melodrama at its most delirious”, something this reviewer can only agree with.)

The story continues the saga of Dr Henry Jekyll and the aristocratic Jack Rackham, and their pursuit of a mysterious creature preying on the citizens of Victorian London. More is learned about the nature of the creature and why it is preying on people, but still retains enough of its mystique to remain genuinely scary. Meanwhile, Rackham embarks on a deadly game of cat-and-mouse with the creature, as he chases it across the rooftops of London, pursued by the police, whilst the creature’s kin start to manifest themselves in Bethlehem Mental Asylum. It’s an excellent climax to a groundbreaking and highly original series, and despite having no solid conclusion, the ending will leave the reader satisfied. (Or if you’re not, Hitchcock has apparently produced a limited edition fourth and final chapter to the saga, which will wrap it up for good.)



One would hope for a collected edition of Springheeled Jack at some point in the future, but what with real-life being what it is for small-press publishers (meaning it keeps getting in the way), it would perhaps be unwise to expect one. If you haven’t read issues one or two, my advice would be to hunt down the now-sold-out issue one, and pick up issue two from Hitchcock himself at the next convention. You won’t be disappointed. (BD)

Contact: Hitchcock_99@yahoo.com Website: www.blackboar.co.uk

FUTUREQUAKE #4 Reviewed by Ben Dickson

FUTURE QUAKE #4

(Anthology, A4, 48 pages, £4.50)



Most small press sci-fi anthologies of late have been of fairly good quality, but few have reached the level of this issue of Future Quake.

Firstly, the production values on this book are striking. The use of laminated paper on the interior pages has had a strong effect on the presentation of the artwork, making it look and feel more professional than most small press books. Much of the artwork inside is of a professional standard, with the rest quickly catching up behind. (as Alan Grant states in his introduction, “I have no doubt that those now appearing in Future Quake! will feature among the top artists of tomorrow.” ) Styles vary considerably too, from computer-drawn work to AP-Comics-esque to 2000AD-esque, and also includes a short-but-sweet appearance from illustrator Arthur Ranson.


Although the title suggests a 2000AD homage, Future Quake is much more than that if only because its sense of humour is far too bawdy and cheeky for 2000AD stories to realistically get away with, particularly in Paul Williams’ and Edward Berridge’s one-page gem Monster Squad. The stories are also highly inventive, many with ideas and twists highly reminiscent of Alan Grant’s sense of humour, such as an indestructible superhero making a living from deliberately getting in accidents and claiming damages. Also of particular not is the mind-boggling story Meanwhile, Back At The Lab displaying the kind of story that makes full use of the strengths of the comics medium by attempting to describe a non-linear reality, and is somewhat reminiscent of Alan Moore’s Time Twisters. There is not a single dud story in Future Quake – all of them have something to offer, and each one in a different flavour than the last.

Social-political comment, high concept, excellent plots, tight scripts and bucketloads of black humour are all present and correct in this excellent anthology. Some might find the pricetag of £4.50 a little steep, but be assured you are buying quality. (BD)

Contact: futurequake@aol.comWebsite: http://www.futurequake.co.uk/

PEST CONTROL #7 Reviewed by Adam York

Pest Control #7

(Grant Springford; Ominous Comics, £1.00, 22 pages, B&W, colour cover A5)



The latest issue in this magnificent series continues to be as imaginative and quirky as previous issues whilst still maintaining some quality artwork and a fascinating narrative. Focusing on the members of the pest control team, a group of oddball superheroes responsible for manning the front line between reality and ‘the madness of the universe’, this issue finds the team coming to terms with hidden agendas, an attack on Downing Street and some very peculiar goings on. Owing much to the work of Grant Morrison and Moore’s Watchmen, this superb title refuses to stick to the formulaic structure of your standard superhero comic. Gone are the straight faced, spandex clad, two dimensional heroes and in their place we are presented with such treats as the ever evolving Nick Black to the bizarre character of 10, ‘eastend chancer Jasper Kirby… transformed into a purely conceptual form’. There is real depth of character, backed up by some sharp dialogue and a gripping story line.

A great deal of this issue involves building characterisation, illustrated by the interaction between 10 and another scintillating character, Penny Dreadful. The dialogue between them is wonderfully natural and transforms two characters that might normally be dominated by their quirky attributes into a pair of rounded and believable entities.

Then there is Grant Sprinford’s artwork, which is every bit as captivating as the story, conveying rather complex concepts with imaginative flair. Expressive and sometimes abstract, it really casts superheroes in a new light and I doubt that you’ll be able to find such a mix of inventiveness and competence anywhere else.



With the series consistently getting better, you can only wonder at what Springford is capable of, and he really is responsible for raising the bar as far as the world of superheroes is concerned. This issue, for example, introduces you to a gang of supervillians, every bit as fascinating as their counterparts and similarly superbly illustrated. It just shows how you could easily make an entire series out of just any one of these characters, but the fact that they all appear together without having to fight for space is yet another testament to Springford’s superb work.

The problem with setting such high standards is that you tend to be judged by them, and although it is only a slight negative, the cover really doesn’t do this comic justice. By anyone else’s standards it would be great, but compared with the genius inside it feels a little flat. That said, a slight niggle about the cover should be no reason to ignore such a genuinely great piece of work and if you need an example of a great comic, you should get this. (AY)

Contact: grantspringford@yahoo.co.uk

HAVOC 21 - Issues 1-3 Reviewed by Adam York

Havoc 21 #1

(Eugene J. Byrne, Peter Beckett, Sinead Lynch, Joe Melia, Henry Silke, Stephen P. Coffey; Wolfman Productions, £3.00, 40 pages, B&W, colour cover A4)



Announcing itself as ‘the definitive Irish anthology’, the first issue of Havoc 21 has set its sights very high indeed. The folk at Wolfman Productions are taking this claim very seriously and there is virtually a mission statement on the inside cover pledging their commitment to bringing us quality stories, complete and unserialised.

The tone is set with the opener, Always Forever, a macabre tale of lost love and death, served with a liberal helping of gore. The story is deftly paced and features a couple of twists before reaching its grim end and is reminiscent of Tales From The Crypt or the more horror orientated episodes of ‘The Outer Limits’.

The visuals are suitably dark and atmospheric and the art style supposedly references Miller’s Sin City, though I’m not entirely convinced by this claim but I can see a similarity in the heavy handed shading. There are some printing or production errors too, with some pages appearing very blurred, however, these are rare and forgivable (just about) in a first issue as a team learns the ropes.

The second full-length feature follows a similar, if somewhat more intellectual narrative depicting the plight of a man convinced that he will bring about the end of the world. The writing conveys a genuine sense of panic in the mans voice as he tries to convince an officer (the doppelganger of Arnold Schwarzenegger no less) that he will be responsible for the death of billions. There’s a compulsory twist too, but its subtlety is uncommon in this type of horror and all the more enjoyable for it.

Joe Melia’s art continues the dark theme set by Always Forever, but Confessions of Professor Walding displays a reserved sense of maturity that creates a claustrophobic and uniquely intimate setting for the story.

The final complete story takes us onto the set of a talk show where a cheesy host interviews a not-so-superhero. Unincredible Man sits in front of a studio audience, answering questions about his last fourteen years on the dole and his subsequent career change from superhero to cleaner. It’s very Watchmen-esque, but the dialogue is witty enough to give it a charm of its own.

Although I would question if three stories constitutes an anthology, concentrating on just a few complete tales creates a consistency in style that helps to form a solid collection with strong themes running throughout.

Havoc 21 #1 is a good solid attempt at a serious showcase for Irish talent and although I expect that this first issue was produced by a small group of friends I believe that it lays down a solid foundation and I would recommend this as much as I am looking forward to seeing how the anthology develops. (AY)

Contact: http://www.wolfman-productions.com/

Havoc 21 #2

(Eugene J. Byrne, Peter M. Beckett, Sinead Lynch, Gavin Marks; Wolfman Productions, £3.00, 28 pages, B&W, colour cover, A4)



I really was pleasantly surprised by Havoc 21 #1, it felt like the humble beginnings of something that would soon become an established player on the anthology scene. When I saw the words sci-fi, fantasy, horror, thriller and even drama plastered onto the splendid cover I started to hope that Wolfman Productions had managed to broaden their horizons regarding the content of the Havoc 21 series.

Indeed, the anthology kicks off with a story about pacts and regrets set against the backdrop of the holocaust. It’s a brave move to start a comic with the words ‘Heil Hitler’, and I’m not entirely sure that The Grave has the maturity or skill to pull it off, rather it seems to revel in the horrors of torture in order to provide a basis for the story’s final twist. The artwork is unconvincing too and appears to consist of delicately hand-drawn pictures that have, at some point, been mangled by a computer leading to some clumsy shading and an unnecessary pixelation and an overall cut-out feel. The pixelation in particular is a shame and there really is no excuse for it, there are hundreds of tutorials on the internet about scanning techniques and image preparation for the small press scene and allowing your art to be presented to the public in such a state shows not only a lack of quality control but a contempt for your audience, in my opinion.

Unfortunately Animus, the second and final full-length story doesn’t fare much better. Inspired by Warhammer 40k, the narrative consists mostly of robots engaging in various forms of combat before turning on their ultimately more fragile human masters. The story lacks the drama I was promised on the cover, and as this is the final story in this anthology it seems we’re all out of thriller too.

There is some very slapdash lettering throughout with words bursting out of speech bubbles all over the place, once again, unforgivable when you are lettering by computer – surely you can see that it doesn’t look right before you send it to print?

With only two stories, I get the overall impression that there was a lack of material for this anthology, causing Wolfman Productions to make the tough decision of either delaying the release of the crucial second issue or letting it go out in a much inferior state when compared to its debut.

I realise that any anthology is only as good as the stories submitted to it, but the quality of this issue is significantly lower than the first and I doubt that the subject matter will appeal to a general audience. Publishing only complete stories is an admirable mission to set yourself, but the lack of variety could really damage an anthology of this nature, especially when the only two stories you have are not very good. I know all of this sounds harsh, but we have already seen that they can do so much better than this. (AY)

Contact: http://www.wolfman-productions.com/

Havoc 21 #3

(Eugene J. Byrne, Peter M. Beckett, Sinead Lynch, G-Rey; Wolfman Productions £3.00, 28 pages, B&W, colour cover A4)



The first issue was promising, the second was somewhat disappointing, so it is up to Havoc 21 #3 to redress the balance. I am more than happy to report that Wolfman Productions have managed to regain previous form and that this latest collection of short stories is by far their best yet. We start on familiar ground with Darkness Wild, a gruesome Horror story that revels in visceral violence and gore as a hitchhiker is picked up by three young ladies, and in typical Havoc 21 style there’s a great twist or two.

Ben Hennessey illustrates the action superbly, creating chaotic pages of action interspersed with cinematically framed cells for the slightly slower moments. EJB’s inking adds delightful contrast and a tense atmosphere to the proceedings and finishes the job perfectly. It’s not deep, but it is thoroughly entertaining.

The second feature, From the Darkness, is an interesting take on the horror genre. The slightly surreal plot follows the plight of a homeless man and the effect that being evicted from his shelter under a bridge has on him. It’s not a subtle comment on how society treats the homeless; rather it’s a vector for a violent story with yet another climatic twist – quickly becoming a trademark of the Havoc 21 series.

Once again the artwork, this time supplied by Gavin Marks, is of a very high standard. The style fits the subject matter, giving a gritty, depressing tone and utilising locations such as tight alleyways and cramped shelters adds much to the claustrophobic atmosphere of the piece. The lettering is vastly improved from previous editions and the production quality on the whole is as professional as every comic should be. It’s also apparent that the artwork for both stories has been untainted by the technical problems and sloppy computer shading that blighted the previous issue.



I’m still concerned that two stories an issue really doesn’t constitute an anthology, however, I’m in no doubt that this will expand given time and an increasing popularity. Havoc 21 seems to have dropped its pretensions to drama and thrillers (no mention of those genres on the front cover this time) and concentrated on a typically popular genre of modern horror, a smart move which will probably help the team at Wolfman Productions to build their fan base. I have thought that Havoc 21 had the potential to become a great institution from the first issue – there is an obvious drive behind the production team and this issue re-establishes my belief that they really are aiming high – but two more issues in and you can finally see this effort paying off in a big way. (AY)

Contact: http://www.wolfman-productions.com/

INTRODUCTIONS

Hello there.

Thanks for checking out this blog, the space to be used for reviews linked to REDEYE MAGAZINE. You'll no doubt have a load of questions so I'll keep this brief. Because we had such a huge amount of reviews for REDEYE #5 (cover above), a lot more than we were expecting, we really couldn't fit them all into the one magazine.

As it was, we recruited nine other reviewers. As it was, some came in late, or too short, and we couldn't copy edit them all in time for publication, a normal (but time consuming) editing process. We could have held them over till the next issue, but I thought the four or five month gap between issues would be unfair on the creators. Some got printed, some didn't. I decided to set up this blog to give each and every title room to breath, with cover art and interior art added, as well as give ample room for any extended reviews or essays on a creators run, that would otherwise be too large or out of place for the magazine.

This week REDEYE #5 should be back from the printers, and as such this blog will have text and images uploaded at the same time. And now, some FAQ:

1. How was it decided what titles would be reviewed in the mag and online?

We chose a wide selection of titles for the mag to give the best cross section of the UK scene. Each and every title is a worthy as the others.

2. Will this blog replace the printed reviews in future REDEYE's?

No, they'll both compliment each other.

3. Can i still send you my comic/book/website to review?

By all means. Contact me on editor (at) enginecomics.co.uk for details.

4. What makes Owl in Daylight any different than any other review site?

Well, each title reviewed will have sample artwork and cover art next to it. In many cases you'll get multiple reviewers on one title. And they are substantial reviews, not a 50 word soundbite. You'll also be able to leave comments on each review.

5. Are you looking for reviewers?

Absolutely. All contributors to REDEYE do so for the love of the medium and we welcome others with that passion. If you want to review for us, contact me with a sample.

6. I've a 5000 word essay on a creators run. Are you interested?

Again yes. We actually have assignments for writers to do overviews of certain creators and books. In some cases we can arrange direct contact with these creators. Again contact me above.

7. Where does OWL IN DAYLIGHT come from?

Well, glad you asked. The first person to guess correctly in the comments gets a free issue of REDEYE 5.

8. How do I get my comic/book/website reviewed by you?

Contact me above with details of your comic and I'll give you the info.

Anyway, check back in 7 days to see the first wave of reviews added. In the meantime, check out the previews of other ENGINE COMICS stuff online at www.enginecomics.co.uk.

Cheers

BARRY RENSHAW
EDITOR
www.enginecomics.co.uk