Off we go with the latest real time read through and this one is rather different than anything that’s been covered on the blog so far, being the first aimed at a mature audience. After licensing their Aliens comics to Trident in the UK, Dark Horse US decided to set up shop in London and print their strips in their own titles. Thus Dark Horse International was created. This was their first, and flagship, title.
I’ve already covered one of their comics. Jurassic Park not only adapted the movie into comic form it also contained the first ever official sequel to the film and book. Similarly, Dark Horse US’ Aliens continued the story of James Cameron’s amazing hit movie and lasted for decades, only coming to an end in recent years when Marvel rebooted it now that Disney owns both the comic publisher and 20th Century, the company behind the films.
As much as I do love the new Marvel series (it really is superb) I’ve been really excited to sink my teeth (just the one set) into these original stories. As explained in the introductory post I’m concentrating on the comics after Dark Horse International took over with Volume Two. At least for now. This is because these were the comics my friends collected at the time and the one I owned was part of this series too. So let’s get down to reliving it.
After John Bolton’s (Hellraiser, Man-Bat, The Evil Dead, and one of the first British artists to work on American comics) incredible, exclusive new front cover the editorial welcomes us to Dark Horse’s vision of what an Aliens comic should be, with Jurassic Park editor Dick Hansom given the title of ‘New Bug’. To place the comic in its time you can see Alien³’s release was imminent and in fact Dark Horse would publish a three-weekly, three-part (bit of a theme there) special series to commemorate. More on that movie as we go along.
So the first strip in the read through is Hive, part one of which takes up 20 pages. Altogether there are 52 pages with a good quality gloss cover and a matt stock inside, all in colour apart from the occasional advert. There’s also a 16-page Predator back up and a good selection of features, the overall format making it a very UK comic indeed. Let’s get started with Hive first of all. In the States each story was released as a mini-series whereas here they’d be printed in an ongoing comic, much like Jurassic Park. It opens with this scene-setting spread below.
This is the perfect opening for the first issue, feeling very much like the movie, complete with the heroine having a somewhat Sigourney Weaver-esque look. The Alien is brilliantly realised by Kelley Jones (The Sandman, Batman: Endgame, Micronauts), with Les Dorscheid’s (Dungeons & Dragons, Deadman, Nazz) muted colours adding to the atmosphere and Clem Robins‘(Amazing Spider-Man, Ghost Rider, Guardians of the Galaxy) letters. Of course in the film the Aliens are black, but conveying that in comic form can be difficult. Les’ use of colours here is inspired, fooling us into accepting this creature as black even though it has to be coloured differently for its details to stand out on the page.
Jerry Prosser’s (The Crow, Predator, editor on Sin City: A Dame to Kill For) story begins with Julian Lish trying to escape from an Alien in a scene that could’ve been lifted straight from the movie with its tight, dark corridors, motion tracking sensors and in the end the alien’s second jaw sliding out for the kill. That is, until an “Override Code” is announced over a loudspeaker and it just… stops.
This is Dr. Stan Mayakovsky and any initial confusion you might feel from this turn of events was echoed by me. That’s the whole point. He enters with his dog in tow who seems completely nonplussed with the H.R. Giger creation standing over them. What happens next continued the confusion as the dog drops their ball from their slobbery mouth and it rolls underneath the alien’s legs.
Didn’t expect that, did you? What with this bit of alien playfulness and our two human characters just standing next to it, even after it looked like Julian was about to be its victim, something is obviously amiss. (It hadn’t been released yet, but the dog in the original cut of Alien³ certainly didn’t get this treatment!) On the next page the alien sizes up to the professor, baring its teeth and hissing, my mind instantly remembering the accompanying scary sound from the films. Then it takes off down the corridor and… well…
I admit I laughed at this! And laughter is not something I thought this comic would produce a lot of. Yes, the film had its moments but those definitely didn’t come from the alien side of things. It does explain things though with its clearly robotic speech bubble. As ridiculous as it sounds to have a robotic alien in the story we must remember this is set in a future where completely convincing human androids also exist, so why not?
We get an insight into his addiction to a particular drug, a raw form of the slime produced by the aliens
The question is, why exactly has this thing been created? Not only that, but it’s being trained to hunt humans, or at the very least act convincingly like a killer. Called XL1, an out-of-breath Julian tells Stan it keeps getting better, that she’s struggling to stay ahead of it anymore, which pleases Stan immensely. However, Julian wonders what 10,000 of them would be like! It’s a terrifying thought and we know that the plans of greedy humans always lead to disaster in the film series. So what’s the reasoning?
It’s not clear yet if the professor works for the Weyland-Yutani Corporation from the films but we do get an insight into his addiction to a particular drug, a raw form of the slime (or “jelly” as it’s called here) produced by the aliens. It relieves his cancer symptoms and puts him into a sort of trance state where time slows down, his world goes blue and he revisits his memories of how he got to this point. It’s essentially a bit of exposition for the readers.
Having to buy the substance from drug dealers, he eventually met Julian and devised a plan to build an alien android to infiltrate a hive (that explains the reference to thousand of aliens and the title) and bring back the jelly. Stan is in it for himself, Julian appears to be in it for the money, and their mutual desire for the same outcome results in a passionate, mutually selfish love affair. Using the example of ants above and the aforementioned ability to make convincing androids, it’s an interesting set up for the first story in the comic series. There’s also a funny moment when Julian even suggests naming their alien ‘Norbert’!
In their ship The Dolomite they take a crew to a far-flung planet called A6 454 upon which humans have never set foot, and Stan and Julian stand up in front of their crew and ask for volunteers before showing them what they’re there for. As a bit of foreshadowing, revealing their android goes horribly wrong. Not that either seems to care.
I remember seeing scenes like this when I flicked through my friend’s Aliens comics as a teenager and being amazed it could show such images. I’d never seen anything like this in comics before. Anyway, Stan finally uses his override command to stop his android from continuing its killing spree and the final image of the strip has it holding another man’s head and looking directly at Stan. Whether this is where the original first part ended in the US comic or this is where the UK’s comic has cut it off is difficult to say, although the sudden end makes it feel more like the latter.
The first part of Hive is intriguing, full of atmosphere, has plenty of horrific moments and really sucked me into its world. It’s a fantastic start to the comic and this already has the potential to be an excellent read through. As a teen it was no wonder I loved the one issue I picked up if this is anything to go by. It would’ve shocked and scared me, and I would’ve been loving every page of it. Before moving on to the back up strip there’s a bit of news in The Motion Tracker segment and a middle-page spread about the making of Alien³.
I wonder if anyone actually went and rented The Commitments back then just to get a glimpse of the film? It’s interesting that there was a different direction for the film originally planned, so much so that a teaser was made. The Unnatural Selection spread isn’t the easiest to read but it does explain a lot of the infamous difficulties in making Alien³. I’m particularly interested in the various writers and script drafts and the evolution (hence the subtitle) of the story over the years before filming began. If this is an indication of the extras the comic will contain I can’t wait for future issues.
In case you’re wondering, the “Free Comic” on the cover is a sequel to Frank Miller and Dave Gibbons’ Give Me Liberty (which I’d never heard of until now despite it being a best seller) and nothing to do with the Aliens franchise. While the Predator movies would eventually cross over into the Aliens universe, at the time they had nothing to do with the franchise either. However, in comics they were always closely related and thus a perfect choice of back up strip.
Predator: Cold War is written by Mark Verheiden (Phantom, co-executive producer on Battlestar Galactica and Falling Skies), with pencils by Ron Randall (The Dreaming, Action Comics, Supergirl), inks by Steve Mitchell (Aquaman, Batman, G.I. Joe), colours by Chris Chalenor (Barb Wire, The Mask, Hieroglyph) and Rachelle Menashe (The Terminator, Icon, Virus), and letters are by Clem Robins again. Lieutenant Ligachev has been promoted by a General of her army just so he could send her to take charge of an oil field pumping station in the middle of the Siberian nowhere. When their equipment discovers large seismic activity accompanied by high levels of radiation they go to investigate, discovering the decapitated body of a local deer herder, strung up on a pole as if he’s on display, like an animal at the end of a successful hunt.
Soon they’re under attack by a Predator and, upon being hit and half buried in the snow, Ligachev can only watch as her young team are cut down one-by-one by this strange creature. Setting the beginning of the story in desolate ice fields adds a level of desperation to her plight but we soon find out she’s recounting it to a military tribunal who wants to send her back!
If this is anything like Aliens then she’s probably being sent back out to face certain death in order for the government (rather than a private company) to get access to powerful weapons. As someone who has only ever seen the second movie a long, long time ago this plays out like a typical 80s monster movie, which is no bad thing of course. More interesting is how the rest of this 16-page chunk of the story tries hard to tie it in closer to the film series.
The American military have picked up on the weapons fire and automatically assumed the Soviets were test-firing nuclear weapons, so they reach out to General Philips. He was played by R.G. Armstrong in the first film although here he’s described as having something to do with the “business in New York last summer” and I’m not sure what that’s in reference to. After all, the first film was set in Central America and the second in Los Angeles.
A second character, a New York sheriff, is seen having flashbacks to being attacked by a Predator (while at the dentist no less, so double the horror!) so maybe it’s in reference to an earlier Predator comic, perhaps one printed in Trident’s first volume. Meanwhile, the general goes to meet a Detective Schaefer who turns out to be the brother of Arnold Schwarzenegger’s character Dutch, still M.I.A. from the first film. As you can see he’s drawn as another version of Arnie and basically feels like a way of getting the big name star into the strip without actually doing so.
So far, as someone who knows next to nothing about Predator the opening scenes were exciting but the introduction of Schaefer feels a bit like the Jurassic Park comic’s own desperate attempt to get another character from the film into its sequel strip, when it reintroduced Robert Muldoon who had clearly been killed by the Velociraptors in the movie. I’ll not dwell. Going into the Predator strips essentially blind means I can just enjoy them for what they are.
Towards the rear of the comic are three pages detailing some of the weaponry used by the Colonial Marines in the Aliens movie. For fictional weapons the Technical Readout really does go into a lot of detail. If this is the beginning of the comic adding some background depth to not only itself but also the universe of the films then it’s another great start. These pages bring back exciting memories of their onscreen use, especially the M56 Smart Gun as used by Jenette Goldstein’s Vasquez character, decades before “smart” devices became the things to own.
Finally, just as in Jurassic Park (and many Marvel UK comics) we get a comics checklist, although at this stage Aliens was Dark Horse International’s only UK title so it focusses solely on the imported comics available in specialist comics shops. These weren’t as easily found at the time (Northern Ireland only had two such shops back then) so for most of us these were beyond our reach. It’ll be interesting to see this develop as the company settled (at least temporarily) into this part of the world.
With that we come to the end of the first issue and it’s off to a cracking start. The Aliens strip itself is fantastic and it hasn’t really got going yet, but the set up has plenty of potential for things to go horribly wrong for the cocky humans. Predator is also enjoyable and might be more so once I actually watch the films (which I now want to do, so that’s another good point) and the extras are interesting. Lots of potential here. This is a lengthy read through that’ll take us all the way to March 2026, so settle in and come back on Tuesday 23rd July 2024 for the next instalment.
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