June | 2024 | OiNK Blog

On my 15th birthday (21st December 1992) my mum and I sat down to watch the evening movie on UTV. I knew of the Alien films (there were only two at the time) but knew nothing about them, however Sigourney Weaver from Ghostbusters was in it so I was sold. It was on for an hour before breaking for 30 minutes to make way for the Ten O’Clock News, the cut off point being perfectly timed as they drove inside Hadley’s Hope.

It had built up for an hour and we were primed when the film returned to the air for what felt like an hour-long climax. I’d never seen anything like it and even my mum loved it, going along for the ride with Ripley, Newt and the rest. In school I raved about it and discovered some of my friends were huge fans, who then arranged a night for us to watch the Special Edition together with all of its cut scenes restored. Over the years I’d go on to watch the original and the sequels, but this one always remained my favourite and one of my favourite films of all time. (Ever since I’ve always checked the TV listings for a good movie on my birthday night. Nothing’s ever come close.)

I knew there was a UK comic at the time thanks to one of those friends. I flicked through some of their issues (which did look amazing) and saw adverts in my Jurassic Park comic but I never collected it myself, only buying one issue for a long train ride on a holiday in 1994. I remember being engrossed by it but then never seeing it anywhere after that. At that age my attention span soon drifted and that one issue was the only one I ever read. Until now.

While reading Jurassic Park for the blog I couldn’t help but notice the promotions for Dark Horse International’s Aliens and it got me thinking about covering it. However, upon researching to see how much there was to collect I noticed Dark Horse only produced volume two, the first was published by Trident who I’d never heard of before. I picked up an issue of Trident’s but it was a very different beast and not what I remembered at all.

I may eventually go back and collect those issues but for now I’m concentrating solely on Dark Horse’s volume, which began in the summer of 1992. There are more issues than volume one, on the surface it seems to be a lot more professionally put together and it contains features beyond the comic strips. But most of all it includes the issue I bought as a teen and so it’s this version I want to relive and rediscover as an adult. That’s the whole point of the blog after all.

Apart from flicking through each issue just to check page numbers and ensure everything is there (I haven’t read anything) I did notice the cover art is simply wonderful on each and every one of them. I mean properly stunning. If this is an indicator of what I can expect from this comic then I can’t wait to get stuck in. Speaking of the covers, I had a vague recollection of the one I’d bought many years ago, and when I was eventually able to collect them all I instantly recognised it. As it turns out it had been the last issue before Dark Horse International went out of business. No wonder I never saw any more on the shelves.

Firstly though, Dark Horse produced one final issue to volume one, which included a specially commissioned cover from sculptor Chris Halls, who had worked on the then-yet-to-be-released Alien³, and inside are a selection of short stories to round everything off for a new start the following month. I haven’t included it in this read through so it’ll be a fun way of ending volume one if I get around to it. It explained to readers what was happening with the change of publisher and included an atmospheric back page with the new tagline for Volume Two: “This Time It’s War!”

As for what you’ll see in this real time read through, there are 22 monthly issues plus a special three-part Alien³ series, published every three weeks. These will make for a meaty read through of 25 issues for you and I both to enjoy. Some of them have their free gifts intact and there are even two Christmas issues! Well, there are two Christmas covers anyway, I doubt there are festive tales inside but I’m still thrilled with the fact an Aliens comic marks the festive season at all. (If you’re new to the blog, I’m a bit of a Christmas nut.)

What else do I know before I go in blind to this series? Well, the accompanying mini-series is a bit of a giveaway but there’ll be plenty of coverage of the third film as I see it mentioned on a lot of the covers. It wasn’t brilliantly received at the time by fans but I always enjoyed it. However, in recent years a Special Edition has been released and it’s a completely different film. It’s superb! In fact, this version is very much the one that should’ve been released at the time but for studio interference. I’d place it right up next to Aliens, that’s how good I think it is nowadays. So it’ll be interesting to see how the comic and its readers (there’s a letters page) spoke of it at the time, unaware of all of this.

The Predator seems to feature quite heavily too. The two franchises hadn’t met at this stage but they were always destined to and the editorial in Volume 1 #17 hyped up the return of the alien hunters in issues to come. I’ve only ever seen the second movie in that particular franchise so I wonder if the comic strips will make me want to go back and get caught up with those too.

I’m always excited to get stuck into a new real time read through and I feel extra excited this time. That one issue decades ago left such an impression on me, and it’s just so different to anything else covered thus far. I’m also collecting the new Marvel Aliens comics and they’re fantastic so that’s adding to my hype. Jurassic Park finally has some company in the Dark Horse International menu too.

The first issue of Aliens will face hug the blog on Tuesday 18th June 2024.

GO TO iSSUE ONE

ALiENS MENU

As I collected Death’s Head’s comic for the blog I couldn’t help but notice the covers for the final three issues all prominently displayed characters from other publications. Crossovers were usually an event and used sparingly in my comics as a kid so my initial reaction to seeing these was that they were really, really trying to get a bigger audience for the comic, which made me think sales weren’t great. A bit of a leap perhaps, but three crossovers in a row?

This issue we see the Seventh Doctor (as played by Sylvester McCoy on TV) guest star after our Freelance Peace-Keeping Agent first appeared in Doctor Who Magazine and ended up reduced to human size by the time-traveling alien. It’s clear from the cover and the editorial inside that the opportunity for revenge has presented itself and Death’s Head intends to follow it through. But first, a surprise in the credits!

Unlike all previous issues, which were written by the character’s co-creator Simon Furman, this chapter is written by Steve Parkhouse (Nick Fury Agent of S.H.I.E.L.D., The Bojeffries Saga, Doctor Who – unsurprisingly) who also inks Art Wetherell’s (Transformers, The Incredible Hulk Presents, Sheena Queen of the Jungle) pencils. Annie Halfacree letters and Louise Cassell colours a strip that feels very different than usual. Plus, Steve White (editor of Visionaries, colourist on Jurassic Park) takes over as editor after Richard Starkings had resigned.

The plot involves Josiah W. Dogbolter, a character of Steve Parkhouse’s and Steve Dillon‘s from DWM in the Fifth Doctor days, whose company wants to make money out of time travel by privatising it. How could time travel be privatised? In the 80s we thought the same thing about water and the railways. This is clearly taking a dig at Margaret Thatcher’s government of the time, something Simon’s Dragon’s Claws was very good at. It’s nice to see this kind of satire make its way into the more comedy-focussed title.

Dogbolter finishes his speech to his shareholders and the press with the phrase, “Time IS money!!” and I have to hand it to him for that one. It doesn’t take a genius to work out that the businessman has had previous run-ins with The Doctor and that’s why he’s wanting to control the very essence of time travel. The first panel above sums up the entirety of the plot for this issue, found on the second page.

This comic could never be accused of having intricate plot lines, usually they’re just a means to an end. But when those ends are so full of character, action and laughs, when they’re so enjoyable, they do the job. This issue is no exception. Hob is Dogbolter’s robotic assistant and is sent out (in delivery boy uniform no less) to hire Death’s Head for an assassination attempt on The Doctor. Needless to say, he accepts the job.

“Poot? This is some Time Machine, yes?”

Death’s Head

What he doesn’t know is that Dogbolter was looking for “a skilled assassin who’s not only spectacularly stupid, but psychotically aggressive, amoral, and lacking any kind of imagination whatsoever” and Hob’s conclusion was to approach our lead character. It becomes apparent later in the strip why his boss was looking for someone with these particular traits. But first, on a dark and stormy post-apocalyptic night in a future Los Angeles, the powerful time travelling device gets strapped to Death’s Head and he dramatically sets off. Well, sort of.

It’s not exactly the TARDIS. A fun segment takes Death’s Head through various points in time before he’s able to find The Doctor. First of all he lands in an English parish in 1646. Leaving just moments later it was enough for the poor woman whose garden he appeared in to be sentenced to death for summoning a demon. Two huge shoed footprints are uncovered by archaeologists digging for Triassic period fossils and then he appears in front of a German tank during World War II!

Lots of laughs later we see The Doctor is also attempting to make an audience smile as he plays a court jester in a panto taking place in front of tourists on an English seaside pier. I have no idea why this is, perhaps it ties into a story in Doctor Who Magazine at the time. A loud noise from behind him sends the audience into the usual pantomime chant of “He’s behind you”, to which The Doctor naturally replies, “Oh not he isn’t”, leading to this next page.

That’s an entrance. Using some panto clichés, namely pulling a lever to open a trap door under Death’s Head and then escaping as one half of a pantomime horse (no, really), The Doctor makes his way back to the TARDIS and scarpers to another time and place. This really is all rather ridiculous, even for the far-fetched nature of this comic but then again we have to remember this was published during 80s Doctor Who.

I have a real fondness for Sylvester’s Doctor. He was my first but I didn’t start watching until the beginning of his second season (with the phenomenal Remembrance of the Daleks) when he became a darker and more mysterious character, often instigating the plot rather than reacting to an injustice. But when this comic was written only his first season had been broadcast in which he was much more of a clown, fumbling his way through time while playing the spoons!

This explains a lot about his actions in Time Bomb, and especially the ludicrous escape he’s just made.

So he may not feel like my Doctor but it’s still an entertaining strip. Death’s Head is able to somehow materialise inside the TARDIS (this is never explained) direct from the sea he’d plunged into under the pier. An alarm sounds and soon he finds out he’s been double-crossed. Dogbolter not only ensured The Doctor would be killed but that there wouldn’t be any witnesses to tie things back to him.

Over the next couple of pages we see Death’s Head and The Doctor work together as much as they ever will, not exactly with each other but they have a mutual wish to survive and that’s enough for now. They lock on to the source of the signal and materialise on top of Intra-Venus Inc.’s (brilliant name) roof, much to Dogbolter’s chagrin. As he heads to the sub-basement shelter, inside the TARDIS Death’s Head tries to convince The Doctor to blast the straps of the machine off his back.

The patter between these two is very good. Death’s Head explains he never learned how to worry but that The Doctor is about to be blown up and end up in hell, so he tells him he’d better get to work. Using something called a Piklok (a new invention, but why not the Sonic Screwdriver?) he manages to unstrap the time machine while elsewhere Dogbolter has lost his ID card and can’t get off the elevator in time to escape before this next page.

I have an issue with this. A big one. It’s been established the time machine is nuclear-powered, so why did The Doctor not dispose of it in deep, dark space? Why bring it back to Earth? The size of the explosion is meant to indicate the end of Dogbolter and his company, but that would also include everyone else in that building and at the very least the surrounding buildings too! The Doctor would never put innocent human lives at risk, never mind actually blowing them to bits!

Back in Doctor Who Magazine #135 he also put Earth at risk by dropping Death’s Head off here, even though he acknowledged how dangerous that would be for his favourite planet. It’s not like the Seventh Doctor had it in for us humans, he held the same morals as all the rest, including the modern day incarnations (if you’re unfamiliar with the classic series). It’s a huge sticking point for me and kind of ruins the end of a fun story.

With this in mind it’s quite galling of The Doctor to then try to lecture our mechanoid anti-hero on his behaviour. Death’s Head’s response is funny though, I’ll give the strip that. The Doctor tells him that humans can evolve and change their evil ways, which Death’s Head simply describes as falling apart. After all, he’s programmed, and metal; if he changes from that then he’s literally falling apart. It’s black and white to him.

“A thousand years from now I’ll be rich… but you’ll be dead.”
Death’s Head

As The Doctor leaves he tells Death’s Head that he’s doomed, that in a thousand years people will be different be he’ll still be the same. “A thousand years from now I’ll be rich… but you’ll be dead”, he retorts. There’s no use in trying to push it, so as the TARDIS doors close he’s told he’s just a machine, a tool, one that nobody truly needs. Death’s Head muses that The Doctor is probably right, but then realises he doesn’t care; he’s home and ready to earn money again.

The final few panels pull back to reveal a not-so-subtle hint of who will be guest starring in #9. Anyone unsure (as I would’ve been at the time if I’d been reading this as a kid, I wasn’t a superhero comic reader), the answer to the final letter on the Head To Head page gives the game away not only for the next issue but the final one beyond that.

Then again, what’s the point in crossovers if you can’t market the hell out of them in advance to try to increase sales, yes?

I really enjoyed this story but that explosive ending bugs me. I don’t mean to dwell but as a fan of Doctor Who it’s just so out of character, so out of sync with what the series stands for, that I can’t let it go. I know nothing about The Fantastic Four so if they suffer the same fate I’ll be none the wiser. We’ll see how Death’s Head fares with four super-powered humans in #9, so watch out for the review on Monday 1st July 2024.

iSSUE SEVEN < > iSSUE NiNE

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