Hi everyone. I’m writing this post to let you in on a couple of new series coming to the blog this year that should please Beano and Marvel UK fans, as well as officially announcing the first writing project of mine that I hope to launch on Kickstarter this year, a project that’s tied in closely with the site. However, this means there are some changes to the planned contents of the OiNK Blog this year.
First up, those new series. Back in 2018 D.C. Thomson’s Beano celebrated its 80th birthday in style with a fantastic box set containing a fascinating bookazine, lots of little extras and, best of all, one issue of the comic from each decade. The comics were selected for specific reasons and included a reproduction of the very first Beano! I’d originally begun writing about it on the old blog that very year but never followed through on my promise of covering them all.
It’s time to set that right. So, in a new occasional series I’ll be reviewing each of those celebratory issues on the dates of their original release, in keeping with the theme of the blog. There’ll be two issues this year, one during the summer and the next at Christmas, with a special introductory post taking a closer look at the contents of the box too. Watch out for that in the Retrospectives section of the blog (in the pull down menu) in July.
At the end of the same month begins a new 74-part weekly series of The Mighty Marvel Checklists. Anyone who bought Marvel UK comics between the summer of 1988 and the end of 1989 will remember these updates that told us what was on sale every week for us to rush out and buy. Using my Transformers and The Real Ghostbusters collections I’ll also be showing you all of the contemporary adverts for the company’s comics released during that time.
Loads to look forward to, as well as two more parts of the OiNK’s Real Ads series and at Hallowe’en there’ll be some extra love for fans of Super Naturals and Aliens/Predator. Then of course there’ll be the usual huge selection of yearly real time read throughs and extras throughout the festive season. However, between now and then I’d planned about a dozen or so extra posts for various comics (OiNK and others) on the blog, but I’m now postponing those until next year.
The reason is my first self-publishing project, a bookazine I’ve decided to name Comics 80:99. The majority of the comics covered on the blog haven’t received much press since their time of publication and Comics 80:99 is going to follow this template, as well as delving into lesser discussed aspects of some popular titles. It’ll contain articles exclusively about UK comics from the 80s and 90s and will be a Kickstarter project that I hope to launch on the crowdfunding website sometime this year or early 2026.
It’s still early days so that’s all I’m going to say about it for now, but make sure you bookmark the OiNK Blog because I’ll be documenting Comics 80:99’s creation right here, step-by-step. I’ve put a lot of hard work into this blog over the past four years (according to WordPress’ word count I’ve written nearly 600,000 words, the equivalent of over eight novels!) and I’m looking forward to getting stuck into this too and sharing it with you all.
Officially announcing it is a major step for a project that’s only been in my head until now, so I hope you’ll enjoy reading all about it on the blog, alongside the continuing real time read throughs of Aliens, Transformers: Generation 2 and Dracula, the new series discussed above and the extras to come throughout the year. A lot to look forward to… in fact, there’s a lot to do, so I’d better get started! Thanks for all your support as always, folks.
Five months ago I spoke about the surprise of finding the OiNK Winter Special waiting for me in the newsagent when I went to pick up my comics back in 1989. With no mention of it in the previous edition it felt extra special to get one final issue of my favourite (and first) comic, but I believed that was the end. So I was extremely happy when, in April 1990, a whole year-and-a-half after OiNK‘s cancellation I was proven wrong.
It’s a weighty volume at 64 pages so it’s a lot thicker than the previous holiday specials, but my teenage enthusiasm was tempered somewhat when I read the strapline along the bottom of the cover. The “Summer Collection” title referred to the fact this was a collection of reprint strips I’d read before, with only one new four-page strip in the middle of the comic featuring cameos from favourite characters rather than new individual stories.
As such, I knew this must definitely be the last OiNK there was ever going to be. Since I hadn’t read any of my issues in a long time, 13-year-old me did sit down and read the whole thing, and I really enjoyed revisiting a lot of the strips that had made me laugh so much previously. So how does it hold up today? The new strip is by co-editor Patrick Gallagher and in a neat, funny twist he takes the name of the special and turns it into the plot of his final tale.
It’s a simple story and all of these fan favourite characters are reduced to one gag each as the aliens examine them, which was a shame when the arrival of a new issue of OiNK was such an event after it ended. However, I do like Dead Fred‘s ever-so-polite response and I genuinely laughed out loud at the plummeting spaceship making such an anti-climatic crash landing! Uncle Pigg is the real star here and is always entertaining, although as a kid I was gutted to see him back on the sand and raking in the cash like we’ve seen him before but with no mention of any future OiNKs.
Before you disregard this final ever edition as “just a bunch of reprints”, think of it in the context of today. For any pig pal who has been enjoying the blog and would love to read some of their favourites again but can’t decide which memorable issues to buy, and perhaps worry about spending a lot of money in the process, the Summer Collection could be the answer. Here’s just a small selection of the classic treats included.
I’ve featured all of these on the blog before and for good reason. In fact, that’s a good point to make about this collection, that it feels properly curated for the most part. It’s not a random selection of reprints to fill a quota of pages. The strips are pulled from throughout OiNK’s run and the selections for each character are some of their best. So yes, if you no longer own any OiNKs this is a great place to start.
Unfortunately, some of those who had left OiNK before the end aren’t present (perhaps something to do with reprint rights) so don’t expect anything from the likes of Jeremy Banx’s Burp or Mr. Big Nose, but there’s still plenty to go around and loads of Ian Jackson, someone we missed during those monthly issues. There’s also one new contributor. Despite this being a reprint collection and Patrick’s strip being the only one given publicity, there are two new ones hidden away inside.
I can’t seem to find any information online about Steven Smith, if that is indeed his actual name. As you can see, one of their strips is dated so these were clearly created long after OiNK had been cancelled. Unfortunately, Patrick can’t recall any details about them or how their strips came to be randomly included, and extensive searching online doesn’t produce any results either.
The style is reminiscent of some Viz artists and the bad taste comics that flooded the UK market around the time but speaking with Lew Stringer and Davey Jones (both Viz contributors over the years) Steven wasn’t in that comic either. In fact, it comes across like they’re trying too hard to copy styles from those comics. Personally speaking, the strips feel quite stiff too, despite what actually happens in both. They’re not bad, but after 79 other OiNK reviews they’re not setting the sty alight.
This final panel from a Sekret Diary ov Hadrian Vile – Aged 8 5/8 (yearƨ) written by co-editor Mark Rodgers and drawn as ever by Ian Jackson could’ve given a little bit of false hope at the time, mentioning a “neckst issyoo” as it does. But even as a kid I concluded this was just an unfortunate choice of reprint rather than anything else. And with that, we’ve reached the end of OiNK’s real time read through on the blog, a whole four years after it began!
It’s only after reading the whole run as an adult that, as I close over the last page of the OiNK Summer Collection, I see it couldn’t have ended on a better and more personal note. The back cover is the same back cover as #14, the very first issue of OiNK (and the very first comic) I ever bought. Written and drawn by the wonderful team of Mark and Ian, it’s one hell of a coincidence. OiNK ends by bringing me full circle back to that fateful day in November 1986 when I discovered it in the first place.
With 80 real time reviews now up on the blog and a wealth of extras there’s tons of content available for pig pals. I’m not ending things here, though. I’ve a wealth of special posts planned for the next few years at the very least and other exciting OiNK-related projects you’ll find out about soon. This is called the OiNK Blog after all, and just as the promo for the Holiday Special ’89 said, “It hasn’t got the chop, it hasn’t had its bacon”, the OiNK Blog continues.
What an interesting response there was to last month’s competition. I asked what licenced comic on the blog did The Sleeze Brothers’ creative team work on? Some mentioned Doctor Who after the Sleezes appeared in it, others thought their Some Like It Fresh special was the answer, or even their graphic novel. Of course, while I can understand those that said Doctor Who, of course I actually meant a comic separate from The Sleeze Brothers. The answer was… The Real Ghostbusters, as explained in the In Real Time introduction to the Sleeze duo.
Our winner was Chris Wing (that’s him behind his prize) from Witney, of Chris Recollects Comics on Instagram who bagged himself #3 and #4 of the hilarious Marvel UK comic. Winning another copy of #3 was our runner-up, Ann-Marie Maguire of always-sunny-but-somehow-never-warm Portrush. Thanks to you both for reading the blog and entering the competition. Now on to this month’s prize and it’s about time we featured an issue of the title comic, isn’t it?
This month the last review in the OiNK real time read through will be published, four years after it began and a whopping 39 years after OiNK first appeared in its preview issue at the end of April 1986! I’ve only one double of our piggy pink publication (#57) after I had to buy it twice. I did so because I discovered the eBay seller had failed to mention one of the issues in the bundle they’d sold me had some pen marks on the cover. I’ve held on to this extra issue and now it could be yours.
Because of that pen mark I’m also throwing in a double I have of a Buster comic from the same year which includes a special Pete and his Pimple strip inside to promote the newly-weekly OiNK! This was also my introduction to the superb Ricky Rainbow, so there’s plenty to enjoy. Anyway, on to the question. As usual you’ll have 14 days to scour the blog for the answer to the following question:
Q – What is the FULL name of Jeremy Banx’s spoof character inspired by the Dracula novel who appeared in OiNK Weekly?
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 April 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 yourself 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.
These are just some of the highlights awaiting you inside these comics! Good luck to all who enter and remember you can check out the previous competitions to find out about winners and the kinds of prizes I’m giving away. Next month’s prize is Wild, so remember to come back on Thursday 1st May 2025 to find out what it is.
Once more Derek Yaniger‘s art is a storming start to the latest issue of Marvel US‘ Transformers: Generation 2 comic from 1994 and inside it’s all-action. Written by Simon Furman, New Dawn begins with Megatron‘s Decepticons purging a planet of its robotic life in order to steal its natural resources, giving penciller Manny Galan, inker Jim Amash and colourist Sarra Mossoff a chance to introduce some of the new G2 toys as dramatically as possible!
There are a handful of brand new robots I’d never heard of before but it was the reintroduction of an old character that really caught my eye. With the Matrix captured (far too easily) last time, Megatron has been busy creating (and recreating) an army and to see an old favourite return in this way was a thrill. It’s just a shame Simon got their name wrong. But when I read this initially (before researching for the review) I wasn’t aware and just enjoyed the shock and awe.
In G1 Darkwing and the UK letter answerer Dreadwind combined into the giant jet toy called Dreadwing. It’s this name Hasbro went with for this stealth bomber Decepticon in the G2 range but Simon has named it Darkwing. Just to add more confusion, back in #5 Darkwing was named as a downed Decepticon jet (hence he needed rebuilt by the power of the Matrix) but his colour scheme was that of Dreadwind. So that’s that cleared up!
The attack goes flawlessly for the Decepticons but in the background one of their ilk isn’t happy with how he’s being used; he’s been resurrected for a single-minded purpose just to be disposed of when the job is done. No prizes for guessing it’s Starscream, once more raising the questions of why Megatron chose him in the first place and why has he a head full of human teeth.
He seems to have picked up on some classic Earth sayings in his time on our planet during G1, which I admit I did chuckle at. With his army back at full strength Megatron addresses his troops, rallying them for the fight ahead against Jhiaxus‘ new generation of Cybertronians. It gives the comic a reason to include one of those great crowd scenes it was always so good at, and Manny et all don’t disappoint.
That’s a bit harsh of Megatron shouting “Death to the Pretenders!” so close to Fangry and Stranglehold, though. Not really, it’s a funny little in-joke and at least Octopunch in the bottom-right corner stops himself from inadvertently referring to his former boss! This sort of build up is something we saw a few times over the course of the epic first generation comic, which makes what happens next all the more shocking.
First we get a moment of reflection with Jhiaxus bemoaning the fact that “tact and diplomacy” haven’t worked. If what he’s done was tactful and diplomatic then the comic successfully predicted some of our idiotic world leaders today. While the Deceptions are the ones to initiate the fighting, it’s actually their ship that’s boarded by Jhiaxus’ troops. What follows is nothing short of a massacre!
This has echoes of the Autobot Ark being boarded by Megatron and his army right back at the very beginning of the G1 comic, which adds to the dramatic outcome and the shock felt with the deaths of so many long-standing characters. Manny’s art is superb, even if an acid “drop” in zero gravity makes no sense. In the end, Megatron takes the fight to Jhiaxus… and subsequently gets seven shades of grey and green smacked out of him, as per the cover.
We see Megatron burning up upon entry to the planet below and have to take a breath to fully appreciate how everything has changed in the course of one issue. There’s a point where the story feels rushed, when Megatron sees Skullgrin‘s ship crash after an attack and suddenly he believes everything Prime told him last issue. Much in the same way as he claimed the Matrix, there are elements that feel they’ve been sped up from what Simon may have originally intended, in order to get the story to a finishing point for the final issue.
But it’s a testament to the quality of the comic that despite this it’s still so damned enjoyable. Soundwave takes some troops (including one of my favourite childhood Transformers toys, Dragstrip) down to the planet and discovers what they initially think are Megatron’s remains. However, as you can see it takes more than a savage beating in the depths of space, unprotected planetfall and a full speed descent over many miles into the solid ground to keep a good Decepticon down.
Tales of Earth continues as the backup strip and, while not an awful lot happens in part four, what it does contain are a few pages that are my absolute favourite of the whole issue, perhaps of the whole Generation 2 series so far. As Optimus Prime lies on an operating table getting slowly mended by medical drones, his thoughts wonder.
Having been close to death so many times must play on your mind, right? Reading that panel above, we know Prime is thinking back over the millennia and the endless war between the Autobots and Decepticons and the futility of it all. The back and forth between wins and loses, the only winner will surely be death, for them and their race. They’ve even saved one another upon occasion. Do they somehow know they actually need each other?
All of these thoughts are interesting enough but it’s how they’re presented that really grabbed me. I’m positive readers at the time loved these next few pages just as much and I know fans reading them here for the first time will feel exactly the same. Beginning with a double-page spread presented in landscape format, Prime’s thoughts trace back over specific key moments from the seven-plus years of the original comic.
His inner monologue is brought to the page wonderfully by Richard Starkings alongside new partner Bill O’Neil (Gen13, writer on Fathom and John Carpenter’s Snake Plissken Chronicles) and their unique lettering, punctuating a glorious spread by Derek, Jim and Sarra that includes the aforementioned Ark assault and even the moment between Ratchet and Megatron atop a clifftop on Earth from the early days. Speaking of Ratchet, look at that final memory carefully and you’ll see extra limbs and a familiar head shape in that Megatron-like silhouette.
Seeing this on the next page again was thrilling! What a surprise! It was a huge moment in the final year of the original comic and wonderful to see it play a key role in the Generation 2 story, as Prime remembers how he saved Megatron and Ratchet, despite the latter’s wish to be killed so that their enemy wouldn’t survive. What a moment. What an issue this has been. At the end the cliffhanger is a half-destroyed Megatron bursting in and standing over the helpless Optimus. You’ll see him in all his battered glory in next month’s review. Things just stepped up a gear. No pun intended.
In the middle of the comic is an eight-page pullout and a removable cardboard order form for the Marvel Mart, which according to its own cover is “Marvel’s First Catalogue Ever”. It says it’s full of rare merchandise yet the majority of it is comics and box sets, with merchandise relegated to the usual t-shirts, posters and the like on one page. I did spot the Transformers Generation 2 box set that I owned, which confusingly didn’t contain part one of the G.I. Joe crossover. (Possibly because only four issues would fit inside the boxes used.) It’s basically an eight-page advert.
At the beginning of the comic, right opposite the dramatic Darkwing/Dreadwing page is an advertisement for some chewy sweets with an incredibly unfortunate name. I mean, how on Earth did this get past the initial idea stage, never mind into the shops? It’s funny to look back on, but can you imagine if these were advertised today in a kid’s comic? You’d be able to hear the keyboards of Daily Mail readers across the land.
With that rather strange look at 90s American candy we come to the end of this month’s real time review. If this is the quality this comic achieved by only its seventh issue, I can’t help but wonder where it could’ve gone and the heights it could’ve reached over another seven year run! Now more than ever the month between this and the next issue is going to be a long one. Transformers: Generation 2 returns on Sunday 27th April 2025 with #8.
Last month I lamented about how my copy of this next issue of Dark Horse International’s Aliens didn’t have the free comic packaged in with it after last month’s ended on a cliffhanger. So when I picked up #10 I ignored the banner along the top. However the 12 middle pages here, while not separate from the main comic this time, are presented like an additional comic and contain the concluding chapter to Aliens: Countdown.
A closer look at the cover reveals no less than six stories inside and Countdown is included. Boasting about a free comic but also including the name of it in the list of the main comic’s strips is a bit cheeky, but you can’t deny it felt like value for money! There’s a catch with the so-called “free” bit of Countdown though, which we’ll get to in a bit.
We no longer have a lovely glossy cover. Instead, the outer 32 pages are of a thicker paper stock that’s somewhere between matte and gloss, akin to the 90s’ Thunderbirds The Comic or the last year or two of The Dandy, while the inner pages are the usual matte grade. The editorial (shown above with full credits for this issue) has a lot to promote Aliens-wise but instead dedicates most of itself to new comic Total Carnage and the change of editor, what with Dick Hansom off to launch Jurassic Park.
Cefn Ridout (Doctor Who Magazine, Black Widow, Speakeasy) will be in charge and is left a comic at the top of its game with so much content. It all kicks off with the 12-page second part of the exclusive UK strip, Sacrifice. It turns out our lone survivor of the spaceship crash, Ann McKay is a priest. This seems to shock the male members of the village, which is a bit weird considering how far in the future these stories are set.
Ann thinks giving a service will help ingratiate her with the strange and inward-looking villagers although, given the flashbacks to her mother in a scene which I’m going to assume involved one of our aliens, she’s clearly looking for forgiveness for herself. It doesn’t help. The villagers still disdain her and she barely escapes an accident with a combine harvester (no, really) that was clearly an attempt to kill her.
The one person who likes her is Masters, who propositioned her last month. Here, in a part of the story that I literally cringed at, Masters tells her he won’t respect her wishes, he won’t wait for her consent, he’ll keep pushing until she loses her faith and they can be together. Then she kisses him! Okay, so she then runs off because her vows tell her she shouldn’t have done that, but really? He said all that and she fell for him?! If this was written today it could be accurately described as “tone deaf”.
Anyway, the rest of the story sees Ann track the men carrying a small bundle to the altar and as predicted they’ve got a baby they’re sacrificing to the alien. Yes, it’s horrible and this is meant to be a horror story, but it’s a cheap trick to pull at the heart strings and it makes no sense. (Where are they getting so many babies from?) Unfortunately the promising start last month is becoming uninspired and in the case of the scene with Ann and Masters, just ridiculous.
It ends with Ann grabbing the baby and running from the alien, tripping and falling off a cliff and down to a river while the alien breaks into the village. The art is lovely and in particular the alien itself looks suitably scary. If partnered with a good story Paul Johnson’s work could elevate the comic even higher. Let’s hope for better things from the next British strip soon.
Due to the sheer amount of content, Motion Tracker’s news has been shortened to one page and it all feels rather rushed, like they had two pages of material ready to go and decided to include it all in half the space. But at least it’s answered a niggling question I had about 15 years ago, when I wondered where I’d seen the font used in the Knight Rider sequel series (2008/9). Having that particular word spelled out in the title of the movie above certainly helped.
Colonial Marines continues across ten pages in the middle of the comic (with Countdown sandwich in the middle of it) and we’re introduced to some of the crew Lt. Joseph Henry is taking to the Sun Gun. This was a chance to embellish the roster of characters with personalities so we’d care about them and it does this very well, but they just had to go and introduce a relation to a movie character, didn’t they? In this case it’s Vasquez’ sister!
Writer Chris Warner really didn’t need to do this. The other characters are realistic, three-dimensional people already, there was no need to basically bring back a fan-favourite movie character. Much like Predator: Cold War there’s no need, the original characters are well written enough. For example, Joseph himself is brilliant. After sympathising with him last month he’s now more in his element and comes across as relatable and quippy. The fact this façade is hiding personal pain just makes him all the more believable.
Sergeant Nyland is no-nonsense military and she feels Joseph’s reputation makes him unsuitable for restraining a bunch of marines, all of whom are on this mission to serve time, eg. for insubordination. Mr Beliveau is in charge of the Sun Gun’s crew and also all-business. The story is clearly setting everyone up as hard-edged, get-the-work-done types who are going to crumble when up against the aliens, while Joseph’s more human approach will save the day. I’m here for it, I like the guy so much already that I’m looking forward to seeing his influence on the crew and marines.
Then there’s a somewhat larger synthetic character than we’re used to.
Having the free Countdown comic stapled right into the middle of the Colonial Marines strip highlights something else about this story. Countdown tries so hard to translate the magic of the Aliens movie to the page that it’s ended up reading like a cut-and-paste job. Whereas, Vasquez’ sister aside, Colonial Marines takes the essence of the film and crafts something new yet familiar from it. It’s much more successful at paying homage to the film as a result.
Back at the Sun Gun the crew has been decimated by the aliens and just before the xenomorphs finish them off a new race of aliens arrive! I’m not sure how I feel with these pulp sc-fi people suddenly appearing from a 1970s episode of Doctor Who, but this is all we get of them so we’ll have to wait until next time to see how this developments. Are the xenomorphs going to be relegated to third place in the story, as some form of basic movie monster playing second fiddle to these new aliens? Let’s hope not.
Now, speaking of the strip I was comparing this to.
In the middle of the issue is the 12-page “free comic”, the concluding chapter of Countdown. To make it removable they’ve given it a cover, a page summarising the last issue and a couple of adverts. The thing is, when these 12 pages are removed the rest of the comic only has 44 pages remaining when it’s had 52 from the beginning. Looking back on #9 I see it was actually 48 pages. So pages were taken away in order for the publisher to make room for the supposedly free gift. You see what I mean when I said I questioned the word “free”?
It’ll be interesting to see if the main comic returns to 52 pages next month. One thing I know for sure is that the Countdown art by Denis Beauvais remains superb. Unfortunately there are some panels where the speech balloons point to the wrong person, making things confusing until you realise the error. This is compounded by the fact it was already difficult to keep up with who’s who because the characters are two-dimensional copies of the movie’s. In the end I just went along for the ride and enjoyed Denis’ work. Highly recommended for that alone.
No mention is made of the error with last month’s Aliens Vs Predator II reprint and it appears the mistake wasn’t noticed, because this issue’s instalment clearly follows on from incidents we should’ve seen last month but didn’t. After that, taking up only three pages but with a lot more content is part one of what is described as an “ongoing Aliens novel”, Tribes by Steve Bissette (artist on Swamp Thing, Sgt. Rock, Heavy Metal)
Tribes was actually a previously released (in the States) small novella with full-page images drawn by Dave Dorman (Star Wars, G.I. Joe comic and toy packaging artwork, Magic: The Gathering cards) that have been shrunk down so much it’s hard to make out the details, which is a crying shame. Although you can enjoy his full-page cover this month. The story involves a specialist infiltration unit and there are a lot of hints about their mission and people we’ve not met yet, meaning the cliffhanger about one of them doesn’t hit. Would it have been better to have a prose story written for the monthly comic format instead? Time will tell. There are great descriptions of a hive and of a character’s POV while being rescued from a face hugger but it sometimes tries too hard in its word use, like the author had a thesaurus on standby.
Finally, Predator: Rite of Passage is part one of a two-part story, so the species’ return to the comic is temporary but still very welcome. Just the eight pages this month but it’s a goodie! Written by Ian Edginton (Dark Horse’s The War of the Worlds, Star Trek: Early Voyages, Batman: No Man’s Land), pencilled by Rick Leonardi (Vigilante, Batman Beyond, The Amazing Spider-Man), inked by Dan Panosian (X-Men, Operation Nemesis, Alpha Flight) and coloured by Greg Wright (who we’ve seen in Aliens already with Newt’s Tale), there’s no letterer needed because there’s no speech.
What it does have is atmosphere and an interesting set up. An elder tribesman sees something fall to Earth and remembers seeing the same thing happen years ago. Staying in this earlier point in his life, he goes on a hunt and his fight against a lion mirrors that of a Predator hunt, with the human in the Predator role. He returns victorious only to see a familiar scene for fans of the franchise.
After breaking down upon seeing the horrors in front of him, he spots large footprints and begins tracking whoever is responsible. After a long time he walks past a cave, completely unaware that a Predator is inside and has been leading him there all along, tracking his every move. It’s a simple story but it’s presented so well that I’m all-in. It’s a shame it’s only two parts long but it just means I’m super excited to see the climax next month.
The comic is in fine form and a perfect example of Dark Horse understanding the difference with the UK market. I’m just hoping for a few more pages next month to help balance out the main stories and features more. It did feel a bit cramped this time around. Aliens #11 will be reviewed on Tuesday 22nd April 2025.
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