Kicking things off for Marvel UK’s two best-selling comics are covers from Brian Williamson and Bambos Georgiou for The Real Ghostbusters and Andrew Wildman for Transformers and Action Force, the latter of which reminds me of a school trip to London in P7.
While there we had to visit Hamley’s toy store, naturally. I bought Ecto-2 while my friend Roger bought Decepticon Pretender Beast, Carnivac. For the remainder of the trip Roger kept it sealed in its box, fearful of losing anything if he opened it before we got home. I didn’t have the patience for that so I took my Ecto-2 helicopter out of its box for a closer inspection… and promptly lost the missile launcher!
Anyway, Carnivac would become a favourite character of mine later in the comic’s run when he’d team up with the Autobot survivors of the recent Time Wars and Underbase Saga storylines. Back to this week and the Ghostbusters comic has a strip inside it that fans would find somewhat confusing. On the checklist it simply states they’re at a haunted film set but that’s only half the story.
They’re actually filming the live-action movie, with them in the starring roles. That’s weird enough, but in the cartoon they’d already visited the set of the film in which the original actors were playing the roles. It was a fan favourite episode (it even contained movie footage) so, combine this with Week 32’sSpengler’s Spirit Guide and it’s clear the comic’s team weren’t researching the show their work was based on.
Despite being an excellent issue and a sequel of sorts to a strip in Doctor Who Magazine, the first appearance of Death’s Head’s fifth issue wasn’t important enough to knock the first monthly Thundercats issue off the top spot. Thundercats seems to be getting the ‘Don’t Miss’ spot more than any other comic. They were really trying to push it, weren’t they? What else were they pushing at us this week, adverts-wise? Two Spring Specials, that’s what.
First up is Droids. This wasn’t an extra edition of a regular comic, rather a one-off special importing an American strip to the UK for the first time. Droids was a cartoon Star Wars spin-off released in the States as a companion series to Ewoks, the latter of which I remember my friends watching. Toys, comics and various other merchandise were all created for what would surely be a sure-fire hit, but in the end Droids only lasted one season of 13 episodes and a special, the comic also cancelled after eight bi-monthly issues so it never got beyond this edition and some Marvel Bumper Comic appearances this side of the Atlantic.
At least Droids brought us a strip we hadn’t seen yet, our next Spring Special was another matter entirely. I remember stumbling upon this edition of the Visionaries comic by accident, buying it immediately and loving it. I’d missed out on the monthly but had devoured the annual the previous Christmas. Little did I know this Spring Special was pretty much just the fifth and final issue of the comic repackaged with minimal changes.
Even the advert was recycled from the one used to promote the first issue the previous year. Released at the same time Visionaries returned to Transformers as the back up strip (a third printing of the origin story within 12 months), this was probably why the special was released. A quick copy and paste of a whole issue and any new readers would hopefully start picking up Transformers as a result. You can check out just how similar it was to the last issue in its review, link below.
After what seemed like a bumper year for Marvel UK in 1988, a year in which we got constant news of new comics and which saw me spending a lot of my parents’ money on them, not many survived and 1989 was turning out to be a year of reprints and big changes to some of their biggest titles. More on that soon!
This Duncan Fegredo (Crisis, Hellboy, Lucifer) cover takes me back to travelling through Scotland on a train during an Easter holiday as a teenager. I’d flicked through a close friend’s issues before but this was the first Aliens I owned. I’d never read anything like it and I loved every page, even if I was a bit lost in the continuing stories at times. It’d be the only one I’d read until 2024 because it was also the last before its publisher, Dark Horse International went bust.
While Jurassic Park would get a reprieve and return after a few months under the Manga imprint (at least for a little while), DHI’s flagship title wasn’t so lucky and #23 would never appear. As you can see from the editorial it must’ve happened quickly because it’s business as usual. With hindsight, there’s even a somewhat unfortunate opening sentence from Dick Hansom, standing in for regular editor Cefn Ridout for the month.
Despite previous promises, Crusade hasn’t returned so we remain two parts away from the end, Colonial Marines has been with us since #9 and we’re still several months of issues away from wrapping that up, and there’s a new eight-part UK strip from Ian Edginton (Batman: No Man’sLand, The War of the Worlds, The Terminator) and wonderful Transformers artist (also Judge Dredd, Hellblazer) Will Simpson. Nice to see Northern Ireland get a wee mention, too. Although I was mistaken back in #9‘s review when my ageing memory told me this last issue also had a prose story!
Rogue gets 13-pages to spread its wings yet very little of consequence happens, but that’s only a complaint in the context of this being the final issue. Normally, I’d be praising it for the characters it establishes really well here, particularly the two female pilots. But knowing this is all we’ll get does affect things, which is unfair on the strip I know, but it can’t be helped.
One thing I really don’t like isn’t unique to Rogue, it’s across the whole Alien comics franchise (and the fourth film, Resurrection) and it’s how the aliens are now seen as a commodity. Yes, I know the company is always after them for their biological weapons potential but in a lot of the strips that’s already been successfully accomplished. They’re even milked (for want of a better term) for a recreational drug, reducing these supposedly terrifying monsters to cattle.
The best stories have been those that remember how the aliens are meant to be seen, in my eyes anyway. The human politicking, the nature of human greed and the associated social commentary are some of my favourite aspects of the Alien series, I just think it can be done without desensitising us to the xenomorphs. In fact, Rogue begins with a narration that explains humanity have forgotten we were once the prey instead of the predator, but it only acts to remind me of my above points.
One such boss, Ernst Kleist has sent Marines to recover an alien and berates them when one is killed, despite the fact it had ripped one of them apart! Will’s art, coloured by Robbie Busch (Babylon 5, Black Panther, Huntress) is great and pilots Zajer and Deegan are enjoyable. I assume they’ll end up fighting for their lives at some point as the main characters. For now, their banter is enjoyable while they bring a man called Mr. Kray to meet Kleist, although there’s no indication yet as to why. However, he does describe his trip with them as “enlightening” to Kleist, who just looks down his nose at the pair.
There’s definitely potential here. If you’ve read the full story (or indeed, any of the unfinished tales here) please don’t tell me what happens, I intend to finish them someday. After this there’s a competition to be a Colonial Marine at Alien War, despite the criticisms the comic had levelled at it. Then it’s on to our final slice of contemporary sci-fi news. I’ve enjoyed Dave Hughes’Motion Trackers and my trips back to the mid-90s, the latest releases and the predictions for the then-future. Here, the Aliens toys do look fun but the column even states these are for kids so you have to wonder why they existed when the films were all ’18’-certificates.
That ‘Pixelvision’ short isn’t some cool retro-styled computer graphic film, despite its name and the fact it prominently features a computer game. It was a children’s film camera manufactured by Fisher Price, believe it or not. Director Michael Almereyda’s short documentary-of-sorts is on his website, although don’t expect to be too thrilled by it and prepare to struggle to hear what the two boys are saying. Frustratingly, you’ll want the camera to sit still while showing clips from the Alien³ game instead of all the stylistic shaking.
Colonial Marines starts a new chapter and it’s all change for the creative team. For the UK comic this is part 14 of what was meant to be a 24-part series and isn’t it typical that one of the best episodes of the whole thing so far arrives in the final issue. Writing, layouts and inks are by Paul Guinan, pencils by Tony Akins, colouring by Pamela Rambo (Preacher, Star Wars, Y: The Last Man) and lettering by Clem Robins.
There are some great new characters here. I’m simply loving all of the robots who bring much needed levity to the comic. The art is a huge step up too and the human characters are once again easily identifiable so things are easier to follow. But why did they have to do the dirty to Billy? He could’ve been a star! These new robots and the synth are part of Beliveau’s secret group hiding out on a dirt ball orbiting the planet, where he’s stashed a secret supply of his company’s weapons for the inevitable fight ahead.
So, I thought he was the obvious mysterious bad guy to begin with but I couldn’t be happier to have been proven wrong. I love well-written misdirection. Marine Chen’s addiction to the alien jelly almost causes more disaster but I was less interested in that than the introduction of this hideout and its wonderful array of new additions. Like Rogue before it, this is about establishing characters and a scenario more than moving the plot forward.
But it still had me gripped thanks to this mechanical ragtag team and I’m gutted I won’t see them develop further. The overall Colonial Marines story had gone a bit stale in my opinion, possibly from the lack of an overall guiding hand (as I detailed last time) but this has reignited my interest again, just in time for us to say goodbye. I won’t forgive them for Billy, though.
The last Technical Readout is for those big-ass guns used in the movie that had to be attached to their users by a hip mechanism, then it’s time to move on to our final strip of the read through, the still-confusingly titled Aliens: Alien. Just eight pages but there are some great moments here. The hunting party keep failing to track the alien properly but for the readers its presence is always felt in neat little panels like this one below. You can also see what I meant last time about how Vickie Williams’ lettering hints at an alien tongue.
The teenager sees the men gruesomely taken out one-by-one, and even when they do manage to spear the monster they’re unaware of what its body contains. He tries to save his mentor by dragging him across the desert, desperate for somewhere to hide in the barren landscape. While the xenomorph retreats to heal, they come across a strange, alien (to them) structure in which they take shelter. But this sanctuary has more to it. In the morning he steps outside and, while he doesn’t realise it, we can see it’s a crashed spaceship. We also see a broken sleep chamber and the source of the xenomorph, which he remains blissfully unaware of.
This moment is a classic bit of Alien atmosphere. Things end when he spots a human in their full space gear, face obscured, making their way back. With a “To be concluded next issue” adding to my frustration, this neat this tale leads us into a four-page interview with no less than Bishop himself, Lance Henriksen. When I bought these comics for the read through I thought the cover was familiar, but it was the inclusion of this interview that confirmed this was the issue I’d bought as a teenager.
It’s a fascinating read, although it does annoy me somewhat that Dave Hughes concludes Alien³ didn’t work when he’s been happy to promote it in the comic and even work on the spin-off mini-series. I’m saddened that Lance didn’t like the film and I wonder what he’d have thought of the special edition released later, which also confirmed the Bishop cameo mystery. I’ve a funny memory of this article. Back in 1994 I was disappointed his role in the Super Mario Bros movie wasn’t mentioned anywhere, but seeing as how his cameo in that amounted to one line and about ten seconds of screen time I can understand why.
While I remember my surprise at seeing Bishop pop up briefly in Close Encounters of the Third Kind, I’d forgotten all about him being in The Terminator until I saw it for the first time in years a few weeks ago on TV. There are a multitude of roles that sound interesting here, as well as some truly awful schlock horror. I’m intrigued with the idea of what The Terminator could’ve been like with him in the title role, although of course I think Arnie’s depiction is perfect.
Lance states the audience’s familiarity with him playing villains kept them on their toes with Aliens, but I think he’s selling himself short. That was the first film I saw him in and how he played the role did that anyway. I agree completely with him about that scene with Hudson, too. With the gift of hindsight of what he later directed (including the restoration of his original Alien³ vision), leaving David Fincher out of the great directors list doesn’t seem fair. It’s an interesting interview nevertheless, before we round things off with Bug Hunt and the Checklist.
As with Star Wars and Dracula before it, Total Carnage bit the dust after ten issues, and after we had to miss out on the AvP strip so it could print it instead! Gotta say Alex Impey’s complaint about “scrubby little sound effects or speech” ruining the strips is… a unique opinion. The Checklist shows us what might’ve been with #23. Crusade, Rogue developments and the conclusion of the teen alien’s story. Even a Chris Halls cover! Damn. Then, just to confuse things further the next page rounds the final issue off with subscription offers for all of DHI’s freshly canned range.
I have mixed emotions about the end of Aliens. It’s always disappointing when a comic just ends with no proper conclusion, even more so when it’s an anthology. All-in-all it’s been a fun ride. Nothing truly scary but plenty of atmospheric moments. The stories didn’t always hit the spot, but when they did they really did and the good definitely outweighed the bad. It ended because the publisher itself imploded, so its premature end shouldn’t reflect on its quality.
As it stands, Dark Horse International’s UK Aliens comic wasn’t just a flagship title for the publisher, for me it stands as a flagship for the UK comics scene of the 90s. Big, bold, brash, adult, gripping and, despite its limited subject matter, hugely varied. I’m so happy I finally got to read it all. I just wish teenage me hadn’t missed out. He’d have been thrilled with it!
A funny cover by Brian Williamson and Bambos Georgiou to mark the Easter school holidays for readers of The Real Ghostbusters, while those buying Transformers and Action Force were probably gasping in horror rather than giggling, thanks to Andrew Wildman’s shocking image.
The free gift was a Slimer-shaped jelly, a special sweet treat for that particular Saturday morning. I loved those things! I’d keep the plastic moulds to fill with my favourite drinks and stick in the freezer on warm summer days. Just me? Inside, a story about haunted shopping trollies explains a lot about those at my local supermarket, and Bad News was a very funny tale of a TV-addict ghost watching his own bust live on the gogglebox.
Cover artist Andrew is also a news story on the editorial page inside Transformers with the news of the birth of his third child, which was a lovely little moment in the comic. In the main strip, Starscream looks much more like last issue’s cover and it’s a cracking read, one of the very best of the American stories. It also sees the beginning of the fascinating dynamic between Optimus Prime and Scorponok that’d continue to play out until for next two years until they become firm friends(!) and it came to a tragic end.
The checklist is a good one this week.
How strange that the previous issue of Thundercats’ was the one to bring a brand new look to the comic instead of waiting until the first monthly issue to do so. It now contained two strips, the first was all about one of the most annoying cartoon characters ever while the other was a reprint. I don’t think it lasted too long after this if my memory of these checklists serves me right. Dragon’s Claws #10 missed out on top billing again but the ‘Don’t Miss’ title this week is rather special for us because it’s actually been covered on the blog before.
Doctor Who Magazine #147 not only contained that very funny comic strip of the Seventh Doctor’s run-in with The Sleeze Brothers, it also contained a full guide to season 25 of the classic show which began with a certain story called Remembrance of the Daleks. This just so happened to be the very first Doctor Who story I ever watched, so it was a nice surprise to read about it when I’d bought the issue solely for the brothers’ section of the blog.
So, I said previously we’d make up for the lack of comics adverts these past few weeks…
We’ve no less than three this week, beginning with the big news that The Marvel Bumper Comic was going weekly with #14, the same issue number as The Real Ghostbusters’ first weekly the year before. This wasn’t the only thing the two comics had in common either if you look at the free gifts coming up. A new weekly schedule usually meant a degree of success so it’s a surprise to know the comic would end up cancelled before the end of the year.
That’s a hell of a packed line-up too, so we know each strip had to be very short but it still intrigues me. Another star of the Bumper Comic at a later stage would be William Tell, who we saw previously when his non-existent fortnightly comic was advertised across Marvel UK’s range. Here, those first strips were collected together into a graphic novel so at least they could get them out there. Not that anyone in the UK was aware of the show yet.
Finally for this week, a brand new humour comic was revealed!
Oh dear. Not only has the printing gone horribly wrong for the advert’s debut but there’s no indication of what It’s Wicked! would actually be. The inclusion of Slimer (whose popularity Marvel UK was rinsing as much as they could) told us it would be a funny comic, but the line of text at the bottom read like it was telling us something completely different. It’d essentially be a ghosts-and-monsters-themed take on Beano and The Dandy but it didn’t last long, just 17 issues in the end. With this advert as the pre-release hype I can see why kids didn’t exactly rush out to buy it.
If you thought that was a bad advert, wait until you see one (of two) to come next week. It changes one line of text from a year-old advert to publicise a supposedly new Spring Special, but it’s really just a carbon copy of a previous comic with a different issue number. Not the company’s finest hour. I’ll catch you back here in seven.
Three months and six years after our last entry comes our third edition of Beano (or, THE Beano as it was called) from DC Thomson’s 80th Anniversary Box Set. It’s another lovely reproduction, the paper feels authentic and the printing once again could easily fool us into thinking we’re reading an original. There was also a big improvement on the title banner by this stage in the comic’s life; there was no need to be disgusted by Big Eggo as the new mascot. He wasn’t inside though. So who was?
It’s another 12-page issue (the World War II paper shortages still in effect) and as a result the overall make up of the issue feels vey different, even compared to the classic issues we’ve seen so far. There are less than five pages of comic strip here, the rest are made up of picture-panel and prose stories. This meant the kids still had plenty to read inside such a small comic and it was back to a weekly schedule after alternating with The Dandy during the war.
Dudley D. Watkins’Biffo the Bear kicks things off and I’ll admit I can take him or leave him. Reading friends’ Beano books or issues as a kid I was never that enamoured with him, so I don’t have any particular memories of his strips. They must’ve been a bit forgettable for young me despite being one of the comic’s mainstays. He was the cover star from his introduction in #327 in 1948 all the way until #1677 in 1974 when he was dethroned by a certain character who makes his debut in this very issue.
Yep, this was the week readers were introduced to Dennis the Menace, drawn by David Law and developed by him and the comic’s chief sub-editor Ian Chisholm, in this fun little strip I originally read in the 50th anniversary book. While I do prefer the modern Dennis and the more sophisticated humour (obviously such things change over time) I did laugh at the quick transition between the 4th and 5th panels above! Of course, we now know this Dennis is our modern day Dennis’ dad in the current Beano, which is a nice touch. A quaint start for a true comics megastar.
The Granny Green story (now drawn by Gordon Ramsbottom) yet again reintroduces the whole premise as if this was Jimmy’s first time dressing up as his fictional relative, while confusingly also acknowledging he’d done so loads. It’s probably meant to play out as a repetitive gag the children reading are in on, knowing full well what’s going to eventually happen. I can imagine the kids of the day cheering him on to dress up, but today it reads like the exact same story from #1 dragged out over a page-and-a-half.
Noel Fielding’s hilarious TV series The Completely Made Up Adventures of Dick Turpin may have spoiled me somewhat for comical tales about that particular historical figure, but in 1951 I’m sure Fred Sturrock’sThe Hungry Little Goodwins provided plenty of smiles. Strangely, the picture-panel stories of this series that ran throughout 1951 were adaptations of earlier prose stories from just a couple of years previous.
Always hungry, the kids’ appetites were insatiable and it was always up to Turpin to get them out of whatever situation their rumbly tummies got them into. It does go rather dark in this issue with its workhouse and all that but it’s still fun and as unique a serial as you’re ever likely to find. On the back cover is a character I remember from reading friends’ copies back at school, and from about three months ago in #272.
This was Pansy Potter’s second series in The Beano, running from 1949 to 1955, with “in Wonderland” replacing “the Strong-Man’s Daughter” as the sub-title. She was now taking up the whole rear cover on her own, such was her popularity. Somehow stepping into a wishing well into Wonderland, Pansy found herself surround by characters from nursery rhymes. Bit random.
Pansy Potter was the first series to be printed in full colour on the back page
Drawn by James Clark by this stage, it might sound like a rather random set up but it hit all the right notes for the readers. All the proof you need of how well received it was is the fact this was the series the comic decided would be the first strip to be printed in full colour on the back page, as mentioned when we last met Pansy.
Elsewhere, Lord Snooty and His Pals are still in the same format (and still on the same page) and Tommy’s Clockwork Town is the unbelievable prose serial of a boy with a full clockwork town and its residents flat-packed in a lorry ready to be deployed in minutes. Jimmy and his Magic Patch picture-panel stories came to an end and the details of that exciting news on the cover amounts to no more than two separate sentences accompanying two stories inside.
Pansy may have finished the issue but I want to finish the review by nipping back to page two and Bill Holroyd’sHave-A-Go Joe. Judging by this one strip alone, Joe seems like someone who was up for anything and the more ridiculous and dangerous the better. There’s got to be an easier why to make a living. That guy he’s working for could also do with some heath and safety in the workplace training if this is how he tests bullet-proof vests. Joe would last for just over 100 issues before disappearing, then appear briefly in The Beano Cinema before returning much later in 1997!
Next time, we’ll jump forward to the ‘Year of Africa’, 1960 and the time of the first laser, the 50th star on the American flag, Cassius Clay winning gold at the Olympics, the iconic photo of Che Guevara, the Civil Rights Act, the opening of the Bluebell Railway and the premiere of The Flintstones. The inclusion of the next issue in the box set celebrates free gifts and, finally, there’s an increase in page count. So, more to read, review and (hopefully) laugh at in The Beano #954 on Monday 26th October 2026.
The Real Ghostbusters’ cover by Brian Williamson and Bambos Georgiou doesn’t stand a chance this week when compared to the epic nature of that for Transformers and Action Force. They even had Geoff Senior render the scene for the front page! A shame then that it refers to next week’s issue instead.
Inside, Starscream does appear as a yellow ethereal being but for the most part he keeps to his normal proportions so he can get up close and personal with his victims. It’ll be next week before he’ll appear like the cover in some of the best artwork the US comic imports had before the UK team made the transfer. There are plenty of Starscream victims though with the death toll increasing exponentially, while Cobra Commander shows his softer side when he finds his long-lost son.
Across the way, some of toy company Kenner’s original ghost creations made their first appearances in this week’s issue, something they never did in the US comic or the cartoon series. Spengler’s Spirit Guide made me laugh with its details about Egyptian Pharaoh Halitoses Nuff, and a haunted cinema brings to life Mr Stay Puft (again), a vampire Charlie Chaplin and even Howard the Duck is spoofed, which he deserved after that movie!
The editorial in Transformers broke the sad news of the cancellation of Dragon’s Claws so it’s surprising to see it wasn’t given the ‘Don’t Miss’ slot on this week’s checklist. In fact, that honour isn’t given to any new comic, instead going to last week’s Thundercats again. You’ve got to start wondering what that slot is even for by this stage.
The description of the Transformers story, that Starscream is taking on not only the Autobots but all Transformers makes it sound unmissable too, so it could’ve got the top billing and I’d have been happy. Death’s Head #5 was also released this week but is for some reason completely absent here to make room for yet another repeated listing for Action Force Monthly.
Hopefully more thought is put into next week’s checklist. What I do know is that new comics adverts return in seven days. As promised previously, they’ll make up for being absent these past few weeks because there are no less than three to transport you back to 1989 in The Mighty Marvel Checklist: Week 34. See you then!
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