This isn’t going to be the usual introductory post for a comic (it hardly needs it), nor is this read through going to be usual. But then again, any modern day readers of Beano (and whose children also read it) will know this should suit the anarchic comic that’s on sale today, nearly 90 years after it first appeared. It’s been a long journey from breaking new ground, to being seen as a traditional comic, to being the crazy weekly it’s become today. This read through will take us all on that transformative journey together.
In 2018 Beano’s publishers DC Thomson released a lovely box set to mark its 80th anniversary. Aimed very much at the comic’s young readers it was a way of letting them have a peek at the long history of their favourite comic and its style of humour over the years. The main highlight of this set had to be the eight editions of Beano included, one from each decade of its life and gorgeously reproduced as a collective set.
Also in the box was a fascinating 100-page bookazine designed specifically for the current target audience. As an adult it’s a quicker read than I anticipated but that doesn’t make it any less fun. In fact, that’s the point. Instead of a dry history lesson it’s a fun ride through 80 years of the comic and includes a fascinating look into its creation, for example showing letters between its first editor Robert D. Low and the cartoonist responsible for Big Eggo, Reg Carter.
A selection of contributors are profiled so children can see those who have been making readers laugh for decades and those who have shaped the comic into what they’re familiar with today. There’s also a look at the free gifts, celebrity readers, the comic’s current location and even how it survived World War II. The extras that come with it are brilliant too, beginning with a huge poster of past and present characters which flips over to reveal a key to every single one of them.
There are postcards of some annual covers (strangely missing their years) and a reproduction of a famous, rather noisy free gift. Best of all is the fan club wallet containing the welcome letter and that furry googly-eyed Gnasher badge, which at the time of this box set’s release wasn’t available to readers. A lot of my friends were members of the club in the 80s and now I can finally say I am too, albeit 30 years too late.
But the main reason we’re here are those comics. Each issue marks not only the decade it was published but also a special occasion in the life of Beano, such as the first issue, the first that sold a million, the introduction of Dennis and when it officially received the Guinness World Record for longest-running weekly comic. The plan for the blog is to cover each of these on the dates of their original release.
No, it’ll not be in real time (I don’t have another 80 years in me) but I will be reviewing each issue on the anniversary of its original publication day. Yes, this will be a rather slow read through somewhat, kind of like how I review series of annuals once a year every Christmas. For example, this year #1 will be reviewed on Friday 25th July and the second issue, #272 on Wednesday 26th November.
These won’t be quick recaps, these will be full comic reviews just like every other comic series receives on the OiNK Blog and I can’t wait to get stuck in. If the bookazine is anything to go by this should be a fascinating trip through time. Knowing just how great the comic is today and how popular it is with children when digital distractions are so prevalent, this set looks like it could be the perfect gift for your young Beano reader if you can get a hold of it.
If you can’t, then that’s what I’m here for. So prepare to travel back 87 years to the time of George VI, the first televised test cricket, the first paid holiday leave, the birth of Diana Rigg, Agatha Christie’s Appointment with Death, the Mallard’s record breaking speed run and something happening in Austria that would have no repercussions whatsoever. Join me on Friday 25th July 2025 for The Beano #1!
Another powerful image from Esteban Maroto welcomes us to the eighth edition of Dark Horse International’s Dracula monthly from 1993, the third issue since the comic lost its connection to the new film. It’s the strongest issue yet under its new guise, with no less than three enjoyable strips. The main 12-page Dark Legend A-Borning: Part One is again written by Roy Thomas, drawn by Esteban, coloured by Paul Mounts and lettered by John Costanza. Castle Dracula is complete. In a year? It does lead to showing a bit of Vlad’s dark wit, though. Many didn’t survive the build and those that did were impaled for their treachery. He explains, “Castle Dracula became, in essence, their… life’s work.”
The man thought he was hilarious. He also seems to live in his own little world. Above you can see examples of how he saw himself. Perhaps an insight into how evil men somehow still see themselves as the hero of their story. Throughout Transylvania others don’t share his opinion and are rising up to challenge him. So Vlad sends an emissary to convince the people to swear loyalty to him. When they continue to rise up he says giving them a chance was the Christian thing to do but now he’ll kill them all. During one such slaughter he comes across a woman whose husband has been slain and this leads to the most horrific moment in the series thus far.
The comic glosses over some of the history, such as his hatred towards the Germanic communities: “The reasons are historically complicated and, in the end, unimportant”. Then again, the strip works best when it focusses on key moments rather than trying to squeeze everything in. A former Hungarian ally by the name of Benedict De Boither meets with Vlad in a particularly gruesome scene where he’s eating a feast in a field surrounded by his victims slowly dying on spikes. De Boither is terrified and grovels at his feet. In return for this undying loyalty (if he isn’t loyal, he’ll die) he’s made ambassador: “For you know how to speak to one ruler on behalf of another”.
The war continues and we see montages of monasteries being burned, monks fleeing, and Vlad in shock that they’d then tell stories that made him out to be a monster. Only Mehmed the Conqueror remains on his long list of enemies and when he sends envoys to see Vlad what do you think happens? No prizes for guessing. Then, above, Pope Pius II isn’t exactly Leo XIV when he calls for death to unbelievers and Vlad is quick to step up. As you can see there are a few digs at the church, such as others not wanting to partake in this so-called “crusade” because of a lack of guaranteed riches.
I’m feeling more enthused about the Vlad the Impaler story as it develops. It’s moved on from a crammed, drab history book with fantastic art to a gripping retelling of history with fantastic art. I think that first chapter had a lot of ground to cover to get us to his adult life and his positions of power, which of course would be the time of most interest to fans of the film. Splitting it in two was necessary here but that ended up giving a bad impression of the strip in #6. That chapter’s second part (the following month) and now this month’s are quite the thrill ride. I just hope we get to the end before cancellation!
Dave Hughes’Bloodlines news pages start off well with some James Bond song lyrics that are only there because they suit the subject at hand. Still, I’ve got the song in my head now. News is thin on the ground it seems and I take issue with the seeming indignation that the director of Pretty Woman can direct something completely different, or the shock that Gary Oldman is also directing.
Can you imagine what would be written here when (the excellent) Tom Cruise was announced as the lead for Interview with a Vampire? I’ve always been fascinated with how writers, actors and directors can turn their hands to different projects, but if Twitter over the years has shown us anything it’s that others are far too quick to judge. Even Anne Rice herself fell foul of this but would later recant when she saw Tom in the role during filming. Maybe we’ll get to the end of the comic’s run before the announcement?
José González takes over art duties on the 11-page classic Vampirella back up strip. Only credited online with this character he won awards for bringing her to the page over a long period of time. He’s credited with creating the style for her and her strip that’s been used ever since. There’s definitely a more mature, gothic horror vibe to it this month and for the first time it’s not a complete tale.
Part one of Death’s Dark Angel is written as always by Archie Goodwin. Beginning with the deaths of two grave robbers by a demon, we find out it’s a less powerful one than Vampirella has dealt with previously but it’s still bargaining with humans, including a vile rich man called Mr. Wade. Wade has less than a year to live yet still ignores his doctors, having lived far beyond his predicted lifespan thanks to a deal with this demon (another follower of Chaos) for his eternal soul after he passes.
As you can see Wade could just as easily be the villain in a modern strip, so this issue’s story feels more contemporary. Especially when a local cop corrupted by Wade’s wealth and power fabricates crimes in order to bring in the Helsings. The demon captures Vampirella but, sensing something different about her, spares her and chains her up instead. The Helsings have been captured in order to confirm whether she could grant Wade eternal life as one of the undead. Of course, once they’re in the same room as her Conrad reacts accordingly! Surely it’s time for Adam to step up and save her after everything that’s happened so far?
This brings back the mystery at the heart of their story arc. Vampirella was indeed on the same plane as the brother of Conrad Van Helsing when it was struck by lightning and crashed, and when Conrad dug up the grave he discovered bite marks on his neck and drove a stake through his heart. (Just to be sure.) He blames Vampirella but, while she did have to feed off humans before the serum she now uses, we don’t know if she fed on his brother or whether her feeding killed.
The only downside to this chapter is Vampirella herself doesn’t have much to do other than be kidnapped. Saying that, her presence is always felt because she’s still what drives the story for all of the other characters. For the first time I’m actually feeling empathy for the lead and I’m hoping for some revelations and development next time. From not-so-great beginnings she’s now the best part of the comic.
In #5 we had the pleasure of a short extra back up strip and I’m pleased to say another from the 60s US comic Creepy (where Vampirella’s strips are lifted from) is included here. Taken from the first issue it’s written by Archie and drawn by Reed Crandal (Tales From the Crypt, The Vault of Horror, Flash Gordon) and the inhabitants of a spooky town are being terrorised by a string of murders apparently committed by a vampire.
We meet a newly married couple, in which the wife is constantly trying to convince her husband they should go out more, that being in bed all day and awake all night isn’t natural. He argues that’s when he must work and when they can also enjoy the nightlife. To begin with it reads awfully old fashioned. Why didn’t she know about his way of life before getting married? The set up seems ridiculous but something struck me about that breakfast juice being all she needed on the page above.
Throughout its six pages are we really supposed to think she’s so stupid as to not realise he’s a vampire? The hints are so obvious we question why she can’t see what’s right in front of her. That is, until the final page. She finally susses it out and opens the curtain to let the sunlight in but she’s the one who dies! It’s a great little tale and just the sort of thing this comic should have more of. Both of these little one-off strips so far have had excellent twists that I didn’t fully see coming. In both I was convinced I knew what it was going to be and both times I’ve been happily proven wrong.
The feature about the role-playing game mentioned on the cover takes two pages to tell us absolutely nothing about it, then on the Fang Mail letters page the results of a competition produced a surprisingly funny moment. It’s also announced that Vampirella will be the cover star next month, showing how important she’s become to the comic. Alternatively, maybe editor Dick Hansom knew the end was near and didn’t want to commission a new cover and it’ll just be a classic Creepy one. We’ll find out in five weeks.
This has been a fantastic issue. While the features may be lacking compared to those in previous issues the three strips are some of the best of the whole run. The comic is really finding its feet after the transition from ‘Bram Stoker’s Dracula‘ to simply ‘Dracula‘. Unfortunately many jumped ship when the transition happened and missed out on this. We’ll find out if they missed more goodness when #9 comes to the blog on Sunday 17th August 2025.
Well that was a bumper competition last month, wasn’t it? I’m overjoyed to announce Lee Yeates from Kingston upon Thames, Surrey as the recipient of the first 14 issues of Fleetway’s Big Comic Fortnightly from 1988. That was quite the parcel to post and I’m glad it’s been met with such enthusiasm at the other end. Lee has even said he’s going to frame the comics once he’s read them! Unfortunately, Lee hasn’t taken a photo yet but if they do I’ll update the post. I don’t have quite as many comics to give away this month but they do include their free gifts!
Marvel UK‘s Havoc was a revelation to me when I discovered it in 1991 and for that entire summer I ran to the newsagent every week for my next fix of Deathlok, RoboCop, Ghost Rider, Conan and the Star Slammers, as well as the contemporary 90s entertainment news of course. It was a brilliant comic and deserved so much more success than it received. To me, it was so much better than other weekly anthologies such as 2000AD. No, really.
The first few issues came with free gifts and in order to complete my nine-issue collection I’ve ended up with doubles of #1 and #2 with their introductory booklet and poster. Just to be transparent here, the booklet is no longer attached by its staples to the cover and the poster of Deathlok has a couple of little holes where the staples used to be, and it appears the staples must’ve got wet at some stage in the house of the person I bought them from, as they’ve left little stains. But the comics are complete and it’s rare to find them with their gifts at all.
Just like every month, if you want to be in with a chance to grab these for yourself you just have to answer a simple question:
Q – What TV duo did I liken the pairing of human Michael Collins and the Deathlok computer to?
When (you think) you’ve got the answer you can either email it to me at oink.blog@icloud.com(all emails will be deleted after the winner has been selected, I’m not fancy enough to have a newsletter or stuff like that), or use the contact form on the right-hand side of your desktop screen or under this post on mobile. Your entry must be with me by midnight on Monday 14th July 2025.
After this date I’ll contact the winner to ask for their postal address. Unfortunately, due to rising postage costs the competitions are only open to UK and Ireland readers. If you win I’ll ask if you could take a photo of you with your prize for inclusion in the next month’s competition post. You don’t have to, but you do get to show off if you do.
I especially loved the characters in the Deathlok, RoboCop and Ghost Rider strips and was so excited to get another chunk of their adventures every single week. Havoc was an absolute bargain at the time and here you are getting two of them for free! Remember to come back on Friday 1st August 2025 for a competition you’ll really want to get your Claws into.
It’s another issue without any of Derek Yaniger’s artwork inside but don’t lament, #10 of Marvel US’ Transformers: Generation 2 more than makes up for it. Not only with this fantastic image by Derek but also by welcoming back Geoff Senior for the back up strip. We’ll get to that in a bit. First, the escalation of events is clear from the cover and inside the comic the main 16-page strip Total War! doesn’t hold back.
Thanks to Starscream, the combined Autobot and Decepticon forces have been found and their defences bypassed. An epic battle breaks out at Autobase on Earth, which should be an exciting prospect, right? The thing is, despite writer Simon Furman’s electrifying script this may as well be taking place on any of the barren space rocks calling themselves planets we’ve visited throughout the series.
That’s a shame because in every other aspect penciller Manny Galan, inker Jim Amash, colourist Sarra Mossoff and letterer Richard Starkings are on sizzling form (with only the occasional silly elongated neck). Things kick off with what almost amounts to an all-out slaughter of their forces by Jhiaxus and his highly evolved troops. The dialogue between Optimus Prime and Megatron is natural, exciting and at times even funny. In fact, Megatron gets a lot of the best lines in the comic!
Elsewhere, on board the Decepticon’s now-shared Warworld spaceship things are going equally badly as Starscream forces his way on board. Even the silly human-shaped teeth glinting in his silhouette can’t ruin the moment for once. Yes, yes, I know I’ve whined on about them in recent months. I’ll forgive them this one time though, especially since by the end of the issue Starscream may have finally upgraded them to something more palatable. More on that below.
I know the characters are based on toys but for the most part depictions of our toys in our comics haven’t felt that way. Look at the brilliant (but criminally short-lived) Ring Raiders to see how tiny Matchbox planes were depicted, for example. But I must say, Manny’s very toy-like. Transformers when they’re in their aeroplane alt modes really pleases me. It takes me right back to the battles I’d wage in my childhood bedroom with my old Hasbro toys.
There are some nice interactions here which really play up to the characters’ strengths, such as Tracks and Manta Ray above, then the Predacons and Dinobots too! Not that Jhiaxus appreciates their strength in diversity, but then again given what his ultimate goal is of course he wouldn’t. His gall at the “adversity, guile and sheer bloody-mindedness” of his foes is fun to read before he dials things up and calls in his second wave. Yup, everything that went before was just the appetiser.
On the Warworld the troops sent up with Starscream discover the bridge has been abandoned and escape pods are leaving for the surface. They race off in pursuit, assuming Starscream is behind them. But this is Starscream, he has bigger and much more selfish plans afoot and heads off to find the Autobot Matrix of Leadership wired into the centre of the craft.
Back on Earth we get possibly one of my favourite moments in the entire G2 series. Even though Megatron is in his new form, the panel below still harkens back to the earliest days of Marvel UK’s G1 comic. The layout, angle and most of all the depiction of Prime. We also get another funny moment from Megatron, even if it’s also a bit frustrating because he’s never actually given us the reason behind his choice of second-in-command (beyond the comic following the new toy line).
Surely a fan favourite panel, right there!
Megatron does have a plan, though. In fact it’s revealed he had several back up escape routes when he walked into Autobase to form an alliance with Optimus. One such plan was a cruiser with an invisibility cloak parked right next door. Smart. However, while Prime is grateful he’s also very aware they’re still fighting for two very different sides. Retreating to the Warworld he wants to use it as a powerful communications tool to try to reason with Jhiaxus against the new threat, while Megatron sees it as the ultimate weapon. Time for a quick break between strips.
This month’s Bullpen Bulletin contains a few interesting snippets. In the border we find out The Iron Man of 2020 was to get his own mini-series. I really enjoyed this character when he appeared twice in the back up strip in Marvel UK’s Transformers. Former Transformers writer Bob Budiansky was now Special Projects Executive Editor and The Incredible Hulk comic really did sound like it was unmissable. Also, if you read the ‘Question of the Month’ column, the writer of the Alice Cooper comic (there was an Alice Cooper comic?) has a response which in light of this last year or so seems rather telling!
Then it’s straight on to the six-page Tales of Earth back up strip and that exciting moment of welcoming Geoff Senior back to Transformers. Again, this is a straight continuation of the main strip instead of a separate story but I’m not complaining. The whole issue has been action with great characterisation sprinkled throughout and that continues with these last half dozen pages. Jhiaxus’ troops are fired upon and quickly destroyed by incredibly powerful weaponry from the Warworld. But it was reported the ship was secured and in their control. Prime and Megatron witness this as they approach and Megatron continues with his quips.
The battle continues on the surface too and the Dinobots and Predacons are fighting side-by-side in what must’ve been a fan dream come true (even though the Predacons weren’t G2 toys). I particularly like the very Geoff-esque additions such as seeing Razorclaw’s leap, transformation and attack in one panel and Grimlock’s bandana and the ‘Big Grim’ on his arm! Brilliant stuff. Even just seeing the close up of Prime’s eyes drawn by Geoff brings back all the feels.
This is fantastic stuff. The interactions between the characters, the humour, the explosive action and of course elsewhere there are still knife-edge tensions between the usually opposing sides. For example, Razorclaw thinks Megatron’s new troops are enjoying fighting alongside the Autobots a little too much. It all builds up to what is ultimately a letdown of a final page.
Starscream has absorbed the power of the Matrix and melded with the ship. However, a fantastically rendered page by the legendary artist is let down by suddenly atrocious dialogue and an over familiarity with G1’s Underbase Saga, when Starscream absorbed the all-powerful database of information and became a similarly all-powerful entity. It’s the only disappointment in an incredible issue though.
It should come as no surprise to find the Transmissions letters page is chock full of complaints, anger and disbelief at the upcoming cancellation of the comic (announced in #8). While Simon’s response that it was always intended for the first 12 issues to form one story is completely understandable, I do believe the last couple of issues have seen a ramping up of events, perhaps moreso than he originally intended in order to complete as many stories and character arcs as possible.
That’s a rather silly (not to mention expensive) idea from reader Adam Edward Patyk! Not only would it be expensive for all the readers he’s asking to partake in his idea but he seems to have already spent a lot of money and all for nowt. The reply is interesting however, with retailers refusing to acknowledge the title was selling well and instead cutting orders. The curse of being a toy licence comic in the 90s. I’d also forgotten about the mysterious mention of the Leige Maximo way back in #4, so let’s hope that’s resolved over the next two months.
The only reason that final strip page was so disappointing is because every page before it was so perfect. The story, the characterisations, the dialogue, the action, the art… this would’ve been the best issue by far if it weren’t for that cliffhanger. But I’m still positive that the final two issues are going to be incredible and I can’t wait for Sunday 27th July 2025 for the penultimate chapter.
Back in the early 90s Dark Horse US published a monthly Aliens comic depicting the Earth War starring the Hicks and Newt characters from the second movie. Of course, after Alien³ this was no longer canon but the company’s UK branch was about to start publishing sequel stories anyway. I don’t know if volume one of the comic under previous publisher Trident covered the war but no spoilers please, I’ll read them eventually for the blog.
The UK exclusive strip Crusade picks up after the war but very little background is given to us. Editor Cefn Ridout seems to assume everyone knows about it already. A recap would’ve made all the difference, especially as sales were climbing with new readers coming on board. “As if the opening of London’s own Alien War in August weren’t enough” for Aliens fans? Ah the 90s, when our comics seemed to forget there were readers outside England. The editorial above shows you all the credits for the issue and then we’re launched into 12 pages of Crusade.
It’s fair to say first impressions aren’t great. Coming as it does after Paul Johnson’s artwork last issue and Chris Halls’ cover may be unfair to artist Christian Gorny (Heavy Metal, Haarmaan, Narcangel) whose work in other titles is acclaimed. Mike Cook’s (2000AD, The Real Robin Hood, Dead Meat) story doesn’t get off to a great start either. It’s confusing (not helped by the comic’s lack of background to the war) with dialogue that ’s trying too hard to make it seem conversational between friends, which has the opposite effect and comes across stilted and broken, although Woodrow Pheonix’s (Sonic the Comic, Manga Mania, Dracula) lettering does give it a nice journal feel at times.
From what I can gather London was spared from the alien infestation and the reason remains a mystery. The city is desolate, cut off from the rest of the world and inhabited by Mad Max-like tribes. Elsewhere, Colonial Marines are sent down from orbit to alien hotspots for quick hit-and-run raids. One of their recon teams has gone missing over London, which resides in a country they describe as an “A-grade shithole” that was mainly used for toxic waste before the war.
I say “from what I can gather” because it’s difficult to follow. I couldn’t tell you the name of one individual, there are no main characters standing out and their interactions all feel forced. No one feels remotely real. Instead, they’re just plot points to move things along. It doesn’t help that a lot of the time characters are seen from behind or from strange angles so you’ve no idea who’s talking anyway.
At times the art looks unfinished, such as the second two examples above. At times an interesting scenario tries to squeeze itself in, such as the fact the recon team were shot down by powerful weaponry, something the tribes simply don’t have and the aliens obviously have no need for. So there’s a mystery in there to be solved but I just don’t know if I care enough. Then it just stops. No cliffhanger, it just stops. This strip was made for this comic, it’s not like it was an American strip unceremoniously snipped in half, so there’s no excuse.
There’s still potential in this post-Earth War storyline but so far Crusade isn’t living up to it. This is harsh, I know. I pride myself on positivity on this blog and I’ve loved Aliens so far. Even the worst strips (I’m looking at you, Hive) had moments of redemption but there are none to be found here. Well, except for a moment when a sound effect seemed to indicate the TARDIS was arriving!
On to the Motion Tracker and on the first page of this month’s news we can see the early days of UK Aliens and sci-fi cons, complete with promises of star guests that they simply couldn’t fulfil, expensive tickets and low turnout. I remember those days here in Belfast after Doctor Who returned over a decade later. There’s also a column about toys which always confused me when it came to ’18’-cert films. Collectibles I can understand, but Aliens, RoboCop and Terminator all had children’s toys produced (this was before the days of the RoboCop TV series or cartoon).
What irks me is how there was less of a demand for the female characters among the mainly male buyers. Even for the Alien films?! Films rooted in their lead female characters and themes? I may be a man but geez, men can be such [censored]. On the other news page the comic has the audacity to run a competition with one question in this comic, a second question in Star Wars and the answer in Total Carnage! I wonder if anyone actually entered?
Our eight pages of Colonial Marines finally sees some alien action for our main characters as Lt. Henry and his marines enter the sun gun complex and are immediately at a disadvantage when acid dripping down from a dead alien body above melts through some of their protective suits, forcing them to strip and adding finding new ones to their plans. Henry is convinced this is a hive and thus they can’t waste time retreating to retrieve more from their ship.
This chapter is all about their slow infiltration, building tension as they inch their way inside, now knowing the xenomorphs are behind the loss of communication and instantly putting pressure on each individual member of the team. This is unfortunately undone somewhat when the motion sensor picks up movement and it ends up being a human survivor hiding in a vent. Sound familiar? There’s nothing original here but for the most part it’s executed brilliantly.
As you can see the chapter ends with Vasquez freezing on the spot after all of her previous bravado, showing she’s a different character than her sister in the film. Although, at one stage someone does ask if she’s looking forward to delivering payback for what the aliens did. But how does she know they killed her sister? Ripley, Hicks and Newt were the only survivors. Two of them died before waking up and the third not long after! And it’s not like the company would’ve let on. An oversight perhaps on the part of writer Chris Warner but nothing that spoils this enjoyable little tale.
On to more information about those aforementioned toys with a full-page advert (albeit black and white with poorly reproduced photographs) for Forbidden Planet. Again, these aren’t the kinds of collective figures you can buy today, they are actual toys. Some even sound like the kind featured in The Real Ghostbusters range also by Kenner, with Bishop having a rotating gatling gun, Hicks a mechanical arm for some reason and the A.T.A.X. is a marine in an alien bodysuit!
Moving on, back in the 90s my copy of Alien³ on VHS got a lot of screen time and so did the Alien War trailer before the film. I remember thinking it looked incredible, with James Horner’s searing soundtrack adding to the intense atmosphere. In 1993 it proven to be so successful in Glasgow it was being moved and expanded to a larger building in London. Dave Hughes chatted with its creators Gary Gillies and the appropriately-surnamed John Gorman about the experience.
Am I the only one who reads their reasoning behind halving the experience’s length and thinks it was really a way of getting more paying punters in? Unfortunately, it never became the envisioned franchise spoken about here and after it was closed following a flood in 1996 it never reopened, apart from a short stint in Glasgow again at the turn of the millennium. (Later in 2008 they opened a similar experience in Glasgow unaffiliated with the Alien films.)
Part two of Horror Show also takes up eight pages and surprisingly it concludes next issue. But… nothing’s happened! It also looks like it’ll end with no real aliens taking part, which is a waste of David Roach’s great art. Maybe the point was to introduce this virtual nightmare entertainment company for future stories? It begins with a young woman dressed in a sub-par alien costume sneaking into a nest to destroy the alien queen. Ridiculous? Well, if you’d been paying attention you’d know this is just the young woman’s nightmare.
The company managers are getting angry that all the nightmares they’re recording in their fake dream clinic always end up including the aliens, even if the original scenario had nothing to do with them. Set after the Earth War there seems to be a mass sense of guilt about those that died down on Earth while these people survived in lunar orbit.
This is interesting but unfortunately its reveal towards the end of the strip is spoiled by the recap of what happened last month telling us. Confusingly, one of the volunteers is also called Hicks (it’s not him) and two pages are printed in the wrong order. One of the doctors is sexually abusing the sleeping volunteers, while in their dreams it’s the aliens claws that are all over them. It’s a particularly creepy moment but not much else occurs.
In the next chapter of Steve Bissette’s prose story, Tribes, Rat is the most interesting character by far, albeit in a tragic way. Her job is to be captured by the aliens! She sets herself up in a small space just outside their hive and makes a noise, but she’s sealed herself off with wire-like meshes that slow the aliens down so they don’t rush to an instant kill. By the time they’ve got through to her and she hasn’t put up a fight they’ve calmed down and take her away for implantation instead.
As we know, their captives wake just before the egg placed in front of them opens, this small window of time allowing Rat to send a beacon to her teammates. All the way through this part of the story parentheses appear that act like mental flashbacks to her childhood, echoing the sexual assault she suffered at her father’s hands; a lifetime of abuse and suffering ultimately preparing her for a job no one else is capable of (or wants). It’s horrific and makes for compulsive reading.
This small but still interesting cutaway of the Colonial Marines transport ship Sulaco from Aliens is part of a two-page introductory Technical Readout, the first in a series of features from the always-fascinating Lee Brimmicombe-Wood about the spacecraft. These should make for an interesting series over the coming months. Also coming next month is the final chapter of Alien Vs Predator II, so as previously promised I’ll talk more about that next time.
It’s been a bit of a mixed bag this month. Two stories have been as entertaining as we’d expect, in fact one surpasses previous chapters. On the other hand the other two are completely missable. But this can happen in an anthology comic and with stories ending and others beginning all the time, the Marines and Tribes will see me through until the next shake up. We’ll take a step closer to new tales with the next issue on Tuesday 22nd July 2025.
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