OiNK! #12: MOViE MAGiC & MiRTH

4 October 2021 Phil Boyce 4 Comments

We’re already a dozen issues (and a preview) in to the real time read through of the funniest comic ever produced. Where has the time gone? I suppose it just goes to prove it does fly when you’re laughing at one ridiculous gag after another. This issue we’re off to the movies in proper OiNK fashion, which is quite apt seeing as how I had my first trip to the cinema in about two years this weekend thanks to the pandemic.

One of the biggest events in 80s cinema was Steven Spielberg‘s E.T. The Extra Terrestrial and I remember having to wait a while for the home video release to see it, which was delayed by five years! So this OiNK parody was created before we even got to see it at home. Featuring Nick Bell again as Swindler Sid, this would be his last appearance in the comic but he got quite the send off in the double-page spread spectacular that is E.T. (Extremely Thick).

I contacted co-editor Patrick Gallagher to ask about the making of this particular photo story and the people involved. From what Patrick can remember the costume was hired from a local fancy dress shop in Manchester called The Stage Door, run by 70s comedian Jackie Carlton. The “lucky youngster” who found themselves inside it was James O’Malley who starred in human form as Jelly-Belly Johnson in #10, Professor Potts was actually Patrick’s younger sister, Bernie Gallagher (below left), their family dog Dandy played Jimbo the Jabbering Jack Russell and friend Richard Cobey (below right) played the “ugly little squirt”, to quote E.T.!

Swindler Sid may be gone now but we’ve still got Marc Riley as Snatcher Sam who would continue to pop up in various photo strips and GBH Madvertisements during the fortnightly portion of OiNK’s run, so you won’t be short of mischievous, yet somehow loveable thievery as the read through continues.

Billy’s Boots may have been a strip in a sister title to OiNK but that didn’t mean it wasn’t ripe for sending up

Billy’s Boots was a classic adventure serial strip which appeared in Scorcher comic in 1970, moving to Tiger in 1974 when the comics merged, then Eagle in 1985 and in the year OiNK appeared he transferred to the pages of Roy of the Rovers. He definitely had staying power. It starred Billy Dane who inherited an old pair of football boots which once belonged to ‘Dead-Shot’ Kean and somehow enabled Billy to play in the style of the soccer superstar.

It may have been a strip in a sister title to OiNK, also published by IPC Magazines, but that didn’t mean it wasn’t ripe for sending up.

Apart from the character names, the captions in the first two panels are nearly word-for-word how the original strip was introduced in the pages of Roy’s weekly. This just makes what comes after even funnier of course. Just like in that strip, there’s no reason given as to how the boots have these powers. I doubt they laughed at Billy Dane’s expense either! A brilliant spoof that just gets more and more ludicrous as it goes along and it wouldn’t be the last time OiNK would take aim at its stablemates, it does so again in this very issue.

Bobby’s Boots was drawn by Chas Sinclair, a prolific OiNK cartoonist who’d contribute to 37 issues altogether. Before he was hired by Uncle Pigg his work included Basil Brush for TV Comic and Crazy Horse in Plug, the Bash Street Kids spin-off. I was delighted to find out he’s still drawing and regularly updates his Instagram account with doodles, illustrations and full strips. It was written by Lew Stringer and according to Lew it was one of the first scripts he’d written for someone else to draw, and he was thrilled Chas was selected because he’d read those Basil Brush strips himself as a child and been a fan. (Watch out for a sensational Lew script drawn by the equally sensational J.T. Dogg starting in #15.)

**Hadrian Vile** written by *Mark Rodgers*, drawn by *Ian Jackson*
**Grunts** compiled by *Patrick Gallagher*
**Hot News** drawn by *Steve Gibson*
**Tom Thug** by *Lew Stringer*

Some other highlights from this issue include The Sekret Diary ov Hadrian Vile – Aged 7 5/8 (yearƨ) in which we find out Hadrian had a sister, even though she’d only be born in the comic some time next year. Maybe this one had enough of her little brat of a brother and scarpered. On the Grunts letters page we did actually get a winner to the afterthought of a competition written below #7‘s postcards, my favourite movie featured in Hot News From Hollywood and in Tom Thug a little sign signals a tiny one-off strip from #6 is returning as a serial. Excited yet?

Back at the beginning of the comic, David Haldane‘s Billy’s Brain strip saw a kid inherit his genius Uncle Vincent’s brain which could think for itself and move of its own accord. Every issue a pair on inept thieves would try to steal the brain from Billy but in the last handful of issues this concept has been changed somewhat. Dropping the thieves completely the strip now focused almost entirely on Vincent’s brain going off on solo adventures, and it’s a lot more enjoyable as a result.

I can remember Billy’s Brain from childhood so I was surprised to find out my first issue back then (#14) would be his last regular appearance. He’d pop up in a special, an annual and two issues further down the line though. I was sure he was a regular when I read the comic back in the 80s but with so many strips coming and going from OiNK, perhaps the fact I did see him a few times tricked my own brain when thinking back.

I do love an 80s movie, especially if it contains a good soundtrack, but I don’t think Mary Lighthouse (critic) was as appreciative at the time. Up next is her top ten movie list, although these are films she insists you do not see. Given her appearances so far you’d expect her to hate anything with a smidgen of violence, but wait until you read her reasons for wanting to ban E.T., Cinderella and even The Sound of Music.

Her comments about Cinderella in particular had me roaring! In a later interview with editors Patrick Gallagher, Tony Husband and Mark Rodgers in computer magazine Crash we’d find out the real Mary Whitehouse’s people were constantly checking the pages of OiNK for libel, though I know of no point when they actually complained about this character. The thing is, to check for libel they had to buy the comic!

Ed McHenry was the go-to guy for OiNK’s little puzzle sections and in this issue he brings us Barry Norham’s Movie Quiz. It contains the usual seemingly easy questions with silly, bizarre answers (upside-down at the bottom of the page). For example, “In which film does The Invisible Man appear?” Easy, right? The answer is, “He never appears, he’s invisible.” See what I mean?

With that in mind, do you think you can complete the answer to this brain teaser? Who is this?

The answer is at the bottom of the review.

Moving on now to our final highlight for this issue. OiNK was my first comic and before I started discovering adventure titles and the like I would sometimes pick up other humour comics to try them out. This would normally be when I had to go somewhere with my parents on the train and I can remember a few journeys with a copy of Whizzer and Chips. It felt a little different to the others, none of which really made me laugh, probably due to my being used to OiNK’s humour!

“Take that, you stereotype Whizzer-and-Chips bully!”

Tom in Tom’s Toe

While it was still more of a traditional comic, Whizzer and Chips felt like two in one (Whizzer for the outer 16 pages, Chips for the inner 16) and while it wasn’t laugh-out-loud funny it certainly raised a smile. OiNK was anything but traditional and would often poke fun at more established comics, labelling them as boring and predictable. I remember The Dandy and Beano being particular favourite targets, though in reality Mark Rodgers was a huge fan of both. You see, there’s a difference between parody, which is what these were, and satire. I’ll go into that in more depth in a later review.

Here, co-editor and writer of this strip Tony Husband teams up with legendary cartoonist John Geering to poke fun directly at the aforementioned comic. Even the strapline is hilariously generic!

John should surely need no introduction, having created Bananaman and worked on many traditional DC Thomson comics such as the two mentioned above, alongside some of IPC’s own titles like Cheeky Weekly and Knockout. I think it was a genius idea to have him come on with his signature artwork to do Tom’s Toe and send up the kind of strips he’d normally contribute to other comics! However, unlike his other work he was given full credit on the page for this one.

“John Geering was an acquaintance of Tony’s from pre-OiNK days whom I was introduced to later when OiNK first started,” Patrick told me. “John was working for Cosgrove Hall at the time on Danger Mouse and Count Duckula, alongside Andy Roper – they were both frequent visitors to the OiNK studio and John was delighted at the suggestion that he should parody his own style. And [Group Editor of Humour] Bob Paynter thought it was a great idea, too (albeit, to bite the hand that fed him!)” Brilliant stuff!

Unfortunately John is no longer with us, having passed away in 1999, working on Beano right up to the end. An obituary to this great talent can be found on The Independent website.

So the screen fades to black on another issue of OiNK, the lights have come back on and we’ve got sticky soda-encrusted popcorn stuck to our shoes. In two weeks the gang will all be back with the perfectly timed #13, the Hallowe’en Special, so come back on Monday 18th October 2021.

QUIZ ANSWER: “________ knees and booms-a-daisy.“

iSSUE 11 < > iSSUE 13

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OiNK Comic Promos

COMiNG UP: OiNK! #12

2 October 2021 Phil Boyce Leave a comment

In just two days the latest (in 1986) issue of OiNK arrives and you’ll be able to read the full review with selected highlights right here. So what’s the theme this time and what can you expect to see? Let artist Ian Jackson tell you with this subtle little promo from the pages of #11.

Don’t miss out on the fun, it’s sure to brighten up anyone’s Monday. Follow the blog by tapping the Follow button along the bottom of your screen and get a notification when new reviews are published for all the comics having their own real time read throughs, or do so through the magic of social media with the OiNK Blog on Instagram and Facebook.

So watch out for shoddy alien costumes, a certain critic’s film recommendations and even one of IPC Magazine‘s top artists taking the hand out of his own creations! All in OiNK #12, coming Monday 4th October 2021.

GO TO iSSUE 12

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Comic Reviews, Visionaries

TRANSFORMERS & ViSiONARiES: PART ONE: WEEKLY MAGiC

1 October 2021 Phil Boyce 2 Comments

#184 cover by *Jerry Paris*
Other covers by *Andrew Wildman*

Four covers? What happened to covering these in real time? Well, I still am. Let me explain. As mentioned in the review of the final issue of Visionaries monthly, the Knights of the Magical Light’s final two strips appeared as back ups in the pages of Marvel UK‘s The Transformers in September and October of 1988. With only five or six pages available to them in each issue they’d be split over four issues apiece.

With #183 of The Transformers a new look came to the comic and new stars temporarily replaced Action Force (G.I. Joe). That’s a bit of a strange colour to their logo on the first issue but it matches the image I suppose. Inside, the Visionaries are mentioned in the editorial and there’s a chance for readers to catch up on the story so far, or at least a very simplified version of it.

I’ve been pleasantly surprised with the depth of character and the evolving story on the planet Prysmos and the questions it was raising. I especially enjoyed how Leoric and Darkstorm both wanted the best for their planet but just had very different views on how to achieve that. Leoric’s was by collaboration and helping each other, Darkstorm’s was to enforce law and order to rebuild his planet’s strength, as #4 showed perfectly.

But none of this is included in this catch up, with unfamiliar readers left thinking the Darkling Lords are evil just for the sake of being evil, kind of like the Decepticons were at the beginning. This isn’t the first time our heroes and villains have appeared in the pages of this comic though, and you can read all about the hype and the free mini-comic in a previous post.

Will we get any answers in these final chapters?

On to our story and I thought I’d wait until the date the final part was printed and do one review for it like I had with the monthly, rather than four tinier ones. Right up to the last issue of their own comic it was suggested there was more to Merklynn than anyone knew, and more to their magical totems (the animals they could transform into) than he had let on. Will we get any answers in these final chapters?

Beginning in Leoric‘s castle with an atmospheric opening around a roaring fire, Merklynn appears in cold flames to summon the knights to Iron Mountain. In response to Leoric’s anger at being treated like his chess pieces, only there to do his bidding, Merklynn responds by telling him, ‘In this life, only gods and fools are truly free to choose”. What an evocative start. Oh, how I’ve missed the writing in these stories!

So begins The Quest for the Four Talismans. Gerry Conway is on top form throughout with the dialogue here, Mark Bagley returns to pencil the action-packed mix of the medieval and sci-fi alongside regulars Janice Chiang on letters and Julianna Ferriter on colours. They’re joined by a new inker, Dave Simons who is best known for Ghost Rider and has also worked on everything from Thor to Savage Sword of Conan, all of which perfectly suit this comic and its heady mix of genres.

Basically, four jewels representing the four elements are lost and must be recovered. In these first pages all we know is they contain incredible magical energy and it seems foolhardy to tell this to Darkstorm, who suddenly feels like all his Christmases have come at once. The different questions posed by the two leaders perfectly sum up their characters and why they’d consider risking their lives for this quest, reminding me of the “Who are you?” and “What do you want?” questions posed by the Vorlons and Shadows in Babylon 5.

A little hint is given when Feryl wonders if the usual booming voice from the rock face sounds a little weaker than normal. Before setting off there’s something to take care of first, namely giving the final two characters without staffs or vehicles their magical powers. Galadria and Virulina weren’t in the toy range but were very much canon, also appearing in the cartoon. Given shields instead of staffs I personally feel like the only two female characters got the better deal because the shields look really cool. Such a shame Hasbro never got a chance to make them into action figures. With a typical portent of doom from Merklynn this is where things were left for a week.

The second part moves up a gear. Merklynn is desperately clinging to life, his powers fading rapidly. This raises so many questions. Why is this happening to him? How are the talismans involved? Why were they scattered and lost? Most importantly, why didn’t he simply tell his warriors? Surely they would’ve helped after all he’s done for them? For now the story will keep the readers guessing, which I really like.

“Stop, you idiot! We had them beatennnn!”
Cravex to Reekon

The first teams we’re following are Cryotek and Galadria for the Spectral Knights and Reekon and Cravex for the Darkling Lords. Throughout there’s the beginning of a mutual fondness between the former pair developing. It’s not forced and it was clearly written to be played out over several months. It’s handled maturely and adds a nice dimension to the usually brutish Cryotek. On the other side the camaraderie between Reekon and Cravex can be hilarious. They know they work incredibly well together, but this fact really annoys them and they bicker constantly as a result.

So we have an innocent burgeoning of romantic feelings on the one side, and in contrast a kind of clichéd comedic old married couple between the males of the other team. This contrast works brilliantly. Of course, each side is oblivious to these comparisons and that’s very funny. The perfect example is below, where we see the teams starting their search, following their respective magical guides and a topical (for today) pronoun conversation is mirrored between them.

This part ends with our heroes under attack from the fearsome Dagger Assault vehicle after Reekon spied on their location in his lizard form. But before we’re left hanging for seven days an anonymous yell from off camera and a stone to the head of Cravex signals the locals aren’t too happy and could be coming to the rescue.

Under attack from local villagers and unable to use their vehicle at close range, Cravex recites his fear spell but Reekon is unprepared and becomes affected too, driving them both away in fright in a humorous start to part three. Trakk, the leader of a nearby village introduces his people to Cryotek and Galadria before showing them the ‘God-Tree’. He claims it spoke to him in a dream and asked him to care for it. In return his people would be looked after for all time. Ever since, their crops have been in abundance and they’ve wanted for nothing.

But there’s a problem.

Clearly it’s no god, it’s the Earth Talisman feeding the ground with its magical energies, producing everything needed to feed the previously starving (after the cataclysm) villagers. But they aren’t for sharing. Galadria tries to explain but they won’t listen, not even when she says they have the ability to feed other villages and still have enough to spare. Sneaking about in plain site is Reekon in lizard form again, listening to the paranoia of the villagers who believe they’ve been chosen by god.

He uses this while the Spectral Knights rest to manipulate the villagers. It soon becomes apparent they won’t trust either side now so Cravex uses his fear spell once more. If they can’t get them on their side then the Darkling Lords’ backup plan is simply to create enough of a distraction to steal it. By waiting until Galadria and Cryotek are in the middle of the highly paranoid crowd the fear spell is devastating! The villagers begin attacking and Cryotek (in abject fear from the spell) feels his bear persona rise up from within and he transforms, flinging innocent people left and right, causing a fire in the process.

Being special is a curse if it sets you apart from others and puts them at a disadvantage due to your own privilege

Galadria, noticing her fear is starting to subside, knows this must mean the spell isn’t being cast because their enemies are making a break for it for the jewel. Knocked out by Cravex, this issue’s makeshift cliffhanger is brilliant with Galadria unconscious, surrounded by fire and Cryotek out of control.

This is how The Transformers presented each subsequent part of the story and you can see Cryotek finally regain control as we race towards the climax. Only able to return to human form thanks to the intervention of the magical guide, how far would he have gone otherwise? This question, first properly posed in Gerry’s premiere story in #4 is getting more prominence and I get the feeling it’s something that would’ve made the basis for a large story after this multi-parter.

One negative I have here is how Cryotek puts out the fires. He recites his spell poem which as fans will remember ends with, “Fill the archer’s bow with might”. But unlike the cartoon no archer appears from his staff and instead he just kind of glows and is able to summon increased strength. Unbelievably he claps really hard and the power blows out all the flames. It’s right there in the poem, there’s meant to be an archer. It just doesn’t make sense in the comic but that’s the only criticism I have.

In the end the fear spell has seen the Darkling Lords scurry off with the jewel and win the day, leaving the village in ruins and the people battered and bruised. Still weak, Galadria decides to use her new shield and its spell poem to restore everyone and everything around her. Cryotek is concerned. The spells use energy from those who cast them, she might not be strong enough but she knows they brought this destruction here, it’s their fault so she must try to make amends.

Her spell and its effects take up two full pages and I just love them. They’re beautifully drawn and give a real importance to her character and abilities, which I’m glad of after female characters were completely ignored by Hasbro (something a lot of our toy ranges were guilty of, unfortunately).

She ends up collapsing but it was just enough. Any more and it could’ve possibly killed her, but it’s clear that wouldn’t have stopped her from trying. Now forced to work with other villages, Trakk mourns how they’re no longer chosen by god, they’re “no longer special”. The last word on this fittingly goes to Galadria who explains being special is a curse if it sets you apart from others and puts them at a disadvantage due to your own privilege. I liked this. A lot.

Before I finish here’s a little bonus for you:
Combat Colin (co-starring Semi-Automatic Steve)

Action, humour and heart. A superb story. It may have been more basic than the previous two (due in part to its having to introduce the quest in the first place which took up a quarter of the page count) but next time we’ll be able to focus on the quest and a few characters from beginning to end. I can’t wait. The Quest for the Four Talismans was meant to be the first multi-part epic for the American comic but was tragically cut short two parts in. I’ll discuss that more next time.

Before I finish here’s a little bonus for you. Every issue of The Transformers and Visionaries had a humour strip by OiNK star Lew Stringer. Combat Colin (co-starring Semi-Automatic Steve) had come over from the pages of Action Force months previous and was the perfect way to sign off these issues. Below is the strip from #184 of the newly merged comic. Enjoy!

I’ve really enjoyed reading a little bit of Visionaries on a weekly basis and if you’re interested you can join my journey through all seven-plus years of Transformers on the blog’s Instagram. I’m reading an issue every Thursday and posting a handful of photos of the physical comic along with a few paragraphs of information and opinion. It’ll be a venture that’ll come to the blog eventually but for now you can follow along there. (UPDATE: This has now concluded, click here for more information.)

The next (and final) new strip adventure for the Visionaries will be reviewed on the blog on 29th October 2021. It won’t quite be the end though, as you’ll find out next time.

iSSUE FiVE < > TRANSFORMERS Pt.2

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Comic Reviews, Ring Raiders

RiNG RAiDERS #2: iN THE BATTLE ZONE

30 September 2021 Phil Boyce Leave a comment

I’ve a distinct memory of reading this issue of Ring Raiders on the school bus and hearing one of the older kids behind us proudly proclaiming, “I’m Joe Thundercloud!” at the top of his voice. Ian Kennedy contributes that sole figure with the free poster taking centre stage. (You’ll see #3’s poster next time.) They were proper gift posters, separate from the comic and I had mine up instantly. My collection of planes was growing, I knew certain large boxes in my parents’ bedroom were bases for Christmas and this was my first reserved issue of the comic. These things had me hooked.

Inside, things kick off with a new multipart tale written by editor Barrie Tomlinson and drawn by Carlos Pino, Battle Zone ’99. The Skull Squadron pilot causing havoc here is Skull Commander Chiller and with this story he immediately became my favourite baddie. I’m sure I wasn’t alone. What kid wouldn’t love a jet with a sci-fi freeze ray? Chiller would love experimenting with various killing methods involving cold and ice and it would appear he fired up the imagination for the writers too, as he would star in more stories than anyone else.

Launching an attack on a futuristic gravity-powered submarine by freezing it, making it brittle, then destroying it with a well-placed missile, he kills the entire crew. This toy comic wasn’t afraid to show its baddies actually being bad and killing innocents to meet their foul goals. In the year 2057 aboard the Air Carrier Justice the Ring Raiders get a warning that a moment in history is being changed by the Skulls and they set off to rescue the second submarine.

There was going to be a Northern European Republic and Scotland was very much a part of it. It feels somewhat prescient

Interestingly, it appears they can’t just set their time travelling planes to appear at any moment they want for fear of altering history further. Instead, once the alert is received via their rings that particular moment in time continues to play out as our heroes scramble. Fans of Doctor Who will know all about how she can’t simply rewind moments in time once they’re in motion and it’s interesting to see this was also part of the rules here.

In this version of our world there was going to be a Northern European Republic and Scotland was very much a part of it in 1999. The Victor Vector strip later in this issue is set just one year prior and there’s an appearance by the British RAF. So I can only assume Scotland had become independent and joined the European Republic, with England (at least) outside of this union. It feels somewhat prescient, doesn’t it?

“Some people believe that Sea Hunter is capable of operating underwater… and I’m one of them!”
Ring Commander Victor Vector

Moving on to the second strip and it’s the ace Trackdown written by Angus Allan and drawn by John Cooper. Professor Deke Martin‘s Doomsday Device is thankfully mobile and the unnamed toy pilot Freddie Riley is taking it and the professor deep into the woods to buy time while his wing, led by Thundercloud, tries to dispatch Havoc Wing. By the end of the story two planes have been destroyed and another original comic character is out to track down the device. It was always a thrill when the comic created these characters for our other toys.

What stands out the most is the amount of ground action that occurs and the level of characterisation being slipped in, in just four pages. The military characters interact realistically, grounding the fantastical set up and giving the aerial action a real feeling of danger. Especially when we’ve seen so many shot down already. We also see Wing Commander Thundercloud break off and order his men to return to base and all we’re told is that his instincts have come into play. So for now his apparent abandonment of Freddie is a mystery. Colour me intrigued by this layered storytelling.

Back then, leader characters in our toy ranges and cartoons were somewhat clichéd, a caricature of what either side stood for. Compare the 80s cartoon Optimus Prime to the nuanced, troubled version from the movies and you’ll see the difference. Ring Raiders is off to a good start in this regard. Moving in to this issue’s complete story which focusses on a moment from Ring Commander Victor Vector‘s past, showcasing his strategising and leadership qualities in a unique way. He’s on holiday from the British Royal Air Force (in the comic he’s British it would seem) before his Raiders days, and Skull Squadron attack the French side of the recently completed Channel Tunnel in the year 1998.

In the real world the tunnel was completed in 1994 so it wasn’t a bad prediction and I remember the regular British tabloid attacks on its construction being headline news around the time of this comic. With no plane at hand Vector befriends a local deckchair salesman who leads him to one. Sort of. I laughed at this I’ll admit.. The comic isn’t short of well written humour.

This is great fun and involves Mako‘s Mig-29 ‘Flying Shark’ which (as I touched upon previously) was one of my top toys in the range because of its shark motif and the apparent ‘rumour’ it could be flown underwater. As you can see here it’s no rumour as he begins to drill down to flood the tunnel. Vector also believes it’s true after apparently shooting Mako down with a handheld rocket launcher, however it’s a fact the readers would be in on but the Raiders could never verify.

It’s written by Scott Goodall and expertly drawn by John Gillatt. It has a Flight of the Pheonix feel to it, with added sci-fi elements thrown in, that ghostly underwater sequence, great action, a topical subject for the time and a little bit of comic relief. I also love the ending when we find out the entire flying aircraft carrier makes a trip far into the future just to drop Vector off for his hols! It’s a shame we don’t get the chance for more development for him (or indeed, more development for everyone) due to the short lifespan of the comic and the ensemble nature of the cast, but I have enjoyed this softening of his character.

Obviously there’s still no content for the letters page because of deadlines in getting this issue to print, so instead stars of two of the issue’s strips introduce one page apiece. They outline the history of both sides of the conflict and request input from readers in all its various forms, for editor Barrie and editorial assistant Terry Magee to sort through.

It appears the Ring Raiders were plucked right out of raging battles (which fits in perfectly with ‘Cub’ Jones’ affection for the bomber crews in the next story) and there’s a little hint for readers of some of the additional abilities of their rings, something toy collectors were already aware of but it’s nice to see a certain one mentioned given how this issue ends. The little throwaway line of how Skull Squadron recruits had been “twisted by war’s cruelties” hints at possible future character plots too.

Cub is back in the war he was plucked from in Bomber Blues which makes a surprise return as an ongoing story after last issue’s apparent one-off. Following what was now clearly a prelude, Skull Leader Hubbub‘s Rebel Wing return to take their revenge on the crew who rescued Hero Wing, unaware they were grounded after their fantastical tales to their superiors. Nor is he aware they’re also in possession of a signal ring to summon Cub and his team.

I’m so happy to see this story continue. The premise is just too good to leave at one issue. Writer James Tomlinson‘s fondness for the subject matter and Don Wazejewski‘s art style are just perfect and there’s a true vintage war comic vibe going on here, even with the mixture of aircraft and electronic weaponry.

In the toy packs there could be a mix of prop planes and jets and I often thought how on earth did they fly in formation together? Well they don’t, instead each is used for a particular purpose. For example the prop craft often being brought in for low-flying raids on slow moving targets or navigating close to difficult terrain. This is what happens when someone who knows their stuff writes for kids. I mean, just look at this glorious action panel!

The comic certainly wasn’t shy in destroying the planes we were playing with either. Throughout this issue about half a dozen altogether are outright destroyed, giving an air of jeopardy to the stories. Instead of vast battles where no one actually gets shot down or injured as we’d see in our cartoons, here anything seemed to go.

Before the final strip we’ve an advert for the toys and a pin-up of Vector. The advert is very basic and appears to have been put together by the comic itself rather than Matchbox, but they’d get more creative in future issues, even incorporating new artwork by Sandy James. Speaking of Sandy that’s his work on the pin-up before the full-colour second chapter of his story, Freedom Fight.

As part two commences the fort’s soldiers are frozen in fear at the futuristic aircraft and the rebels, though just as confused, see their chance and charge the fort. What’s compelling here is finding out another rule to the overall story, and that’s how the Ring Raiders must never fire upon or harm anyone caught up in Skull Squadron’s plots, even if those people are firing upon them.

This leaves Commander Kirkov in a predicament. How can he push back the rebels without opening fire on them? He can’t take sides, he’s just trying to preserve history as it was originally written. Writer Tom Tully uses the unique features of the plane mentioned on the toy packet to great affect here and has Kirkov blast the ground with his laser cannon, setting it on fire and stopping the advance. It reminds me of some classic set pieces from Airwolf, which is perfectly fine by me. Sandy’s bold colouring is spot on here.

Once again the comic ends on a riveting few pages, finishing with Kirkov’s ‘Comet’ F-4 Phantom on fire and plummeting towards the very fort he’s trying to save. The final caption simply reads, ‘In A Fortnight’s Time: Flying on ring-power!’ Look back at that letters page preview and you should know why I was so excited to get my hands on the next issue back in October 1989. In fact, I can’t wait for it now!

I think I can say with confidence Ring Raiders had a very firm foundation to its universe, characters and stories even at this very early stage. Building on the basics from the premiere issue, Barrie and his team were wasting no time in exploring different characters, scenarios and the various kinds of aerial action they could depict. It honestly feels like its writers and artists were having a whale of a time with the subject matter. I know I am.

Don’t be late for #3’s departure, right here on the OiNK Blog on Thursday 14th October 2021.

iSSUE ONE < > iSSUE THREE

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Comic Reviews, Jurassic Park

JURASSiC PARK #4: BACK UP SYSTEMS

28 September 2021 Phil Boyce Leave a comment

With issue four the UK version of Jurassic Park was evolving. As mentioned last time the US comic was no longer going to finish after the adaptation, with further mini-series now being produced. In the UK, Dark Horse International decided to turn their four-issue, three-weekly mini-series into an ongoing monthly, not that any fanfare is made of this because the reader wouldn’t have been any the wiser it had originally been due to end this issue (and a few weeks ago). Indeed, the comics checklist last issue erroneously said #4 was the end.

This change produced the delay in the release of this issue as plans were made for the new format of the comic and acquiring more content for each issue. This begins with the first back up strip here, bringing Jurassic Park more in line with the company’s other comics such as Aliens. The front page recolours a panel from the strip inside (and I love the font they’ve used) instead of having a proper cover image. This final chapter of the adaptation is being split in two, so the original cover was being kept in reserve for the following month.

The sequence in the tree with Tim trapped in the Explorer has been completely excised!

Check out this month’s comics checklist and you might get an idea of the make up of the company’s titles. The issue at hand begins with a competition for the excellent The Making of Jurassic Park. I actually bought this book at the time and it was a heavy tome, full of details on the making of the film and stands up today as one of the very best of its kind for any movie. You’ll also see an advert for Manga Mania, which fed off the new craze to hit these shores. Ultimately it’d also be a very important title for Jurassic Park fans. But that’s a story for another time.

Our freshly chopped final chapter is still a lengthy 16 pages so regular readers wouldn’t have felt short changed, at least with the page count. Unfortunately, the actual strip itself is another thing. Yes, this is the first time in the comic’s young life when I’ve been left disappointed.

Last month the Tyrannosaurus rex attack was brilliantly handled with plenty of building tension and atmosphere so I was looking forward to seeing how the final act would begin. The opening is great, with Mrs Rex towering above Dr. Alan Grant and Lex, both trying to keep completely still.

It’s all going so well until those final couple of panels. The sequence in the tree with Tim trapped in the Explorer has been completely excised! So it plummets to the ground instead and then he’s just unbelievably pulled out and off they go. Alan even has a map at hand to make their trip back to the Visitor’s Centre quicker, which is a rather cheeky shortcut. In previous issues scenes had been moved about, moments edited, others added to, all in order to properly adapt the film to the comic page and I’ve been really positive about it. But all throughout this issue huge swathes of story are just missing or reduced to a shadow of their former selves.

Case in point is the fatal encounter between Denis Nedry and the Dilophosaurus. The movie scene included plenty of misdirection and humour, putting the audience at ease before the shock, and that wouldn’t have been easy to translate here but they could have tried. Instead this very famous scene only gets two pages. It’s a very basic sequence now; the dinosaur may as well be a lion. Denis gets attacked as soon as he steps out of the vehicle, he jumps back in and we actually see the Dilophosaurus jump in after him (ruining the final moments of the original) and… well, that’s it.

This truncating happens to basically every major moment, whether it’s the nighttime meeting with the Brachiosaurs, rescuing Dr. Ian Malcolm after the T-rex attack, even the electric fence scene (as you’ll see below) and Robert Muldoon‘s stalking of a Velociraptor. Each are reduced to fit on a page or two and basically follow a set pattern of only showing the first and last moments of the scene and erasing everything else, including almost all the humour.

“Think they’ll have that on the tour?”
Dr. Ian Malcolm

Right back at the beginning of this adaptation I stated how I didn’t usually like comic versions of films and this was the reason why. But up to this point Jurassic Park had been the exception to the rule, with a proper restructuring of the film to suit the format and it was working a treat as a comic in its own right. Maybe if they’d had five chapters instead of four (in the original US comic) it would’ve worked out differently, but then again maybe the pacing could’ve been plotted out better by writer Walter Simonson and story editor Jim Salicrup. Yes, having all the dino action in the final chapter would, in theory, make for a big climax but there’s just too much of it to fit in.

The result is a clichéd comics adaptation where it feels more like a way for people to reminisce about the movie they saw in the cinema months previous, rather than working as a good comic book. If I sound overly critical it’s only because the team had been doing such an amazing job so far, even adding in extra dialogue from either the original novel or earlier drafts of the script. So it’s more disappointment than simple negativity.

Don’t get me wrong, there are still things to enjoy here. It’s all on a lovely high quality gloss paper stock this month, some of the best lines from the film are still intact and the art in the first eight or so pages is top notch. However, in the second half even legendary artists Gil Kane‘s pencils and George Perez‘s inks start to feel a little rushed and Tom Smith‘s colours feel unfinished and flat, leading me to believe they were working very close to the deadline of getting the original US series out in time for the movie.

The chapter is cut off with a superb cliffhanger though. The view of a Velociraptor‘s feet as it chases Dr. Ellie Sattler is just as unnerving as it was in the film. It’s a shame then the terrifying Velociraptors, when viewed in full, are reduced to looking like miniature T-rexes. Below is this final scene with its positives and negatives, alongside that fence scene with the dramatic resuscitation of Tim also taken out.

I also noticed Ray didn’t volunteer to go to the maintenance shed as he did in the original story, where he met his grisly end. Instead Muldoon and Ellie head off while Ray looks on silently. This means he’s still alive, a big departure from the film. It’ll be interesting to see how that effects the rest of the story next month.

For now, the sun sets on the adaptation as we move on to something else entirely

With 16 pages to the main strip I assume there’ll be roughly 12 or 13 next month unless the final chapter was given a few more pages in the original American Topps Comics publication. Either way there’s a lot of the film left to cover in half a chapter. The kids and Alan are still out in the park which means their return, the kitchen scenes, the chaos of the Velociraptors in the Visitor’s Centre and the climax are all to come.

I’ll still hold out hope things can be turned around because so far it feels like spending 90 minutes being completely engrossed in a film only for its ending to let you down. Which of course is not what happened with Jurassic Park! For now, the sun sets on the adaptation as we move on to something else entirely.

In the early days of Marvel UK‘s Transformers its back up strips were in some way related to the robotic theme, such as Machine Man or Iron Man. It wasn’t long before it instead became a way of bringing some of Marvel’s other US characters to these shores for the first time, but Jurassic Park kept its strips dinosaur-themed, much to the delight of teenage me. The second back up would appear in my first issue (#6) but here readers were introduced to Mark Shultz‘s Xenozoic Tales.

Later adapted into a cartoon TV series called ‘Cadillacs & Dinosaurs‘ it was an independent, alternative title Mark wrote and drew himself, running for 14 issues irregularly released between 1987 and 1996. Most of the strips were printed in black and white but Jurassic Park brought in artists to colour them exclusively for UK readers, this first one coloured by Ray Fehrenbach. This complete story was the first one written by Mark and what an introduction to something brand new this first page was.

Set in the 26th century, global warming has resulted in sea levels across the globe forcing humans to initially build underground. After 600 years they’ve reemerged to find their cities flooded, technology virtually non-existent and strangest of all the world is populated by dinosaurs once more. Anyone capable of mechanical work is seen as invaluable and this is where Jack Tenrec comes in, a car mechanic with a penchant for Cadillacs. Thanks to these skills he acts as an unofficial head of security and advisor to his tribe’s leaders and lives on an outcrop (formerly high hills) not far across the water from An Archipelago of Stone, the home of the tribe and in reality the remains of New York City.

I love that first page, cleverly written from the point of view of a Pterodactyl. In the story a neighbouring tribe’s ambassador, Hannah Dundee arrives at the City in the Sea and a team of poachers who had previously stolen from her Wassoon Tribe want her dead before they’re found out. It’s up to Jack and his men to stop them. All the way through this strip, knowing he’s about to get in way over his head, Tenrec keeps telling his men to send someone called Hermes to help. Then, just as it seems he’s doomed a surprise arrival bursts in. That’s Hermes!

Well I certainly didn’t expect that. Hermes the Allosaurus disposes of the villain, munching on his head and throwing him out the window, before Tenrec thanks him, revealing who this is. That doesn’t mean he’s a pet of course and the usually cool and collected Jack knows it.

It’s brilliant stuff. Original, fun and surprising, introducing the main protagonists, the unique setting and the cast of regular and semi-regular guest characters, all in 12 pages while maintaining an interesting story and racking up tension is rather a phenomenal feat. No wonder Xenozoic Tales is so highly regarded even to this day. It may at first seem like a strange choice for Jurassic Park’s back up but it works perfectly and as a teen I remember being engrossed with the slowly developing back story that would become more apparent in later issues. (Sadly, Hermes never reappeared.)

In between the two strips is this month’s look into the making of the movie, covering the famous disaster that hit Hawaii and the relief efforts the producers helped coordinate, plus the building of sets and the end of principal photography. At the very end of the feature is the teeny tiny box with the date of the next issue including a little tease that things were afoot for the future of the comic.

Thankfully they didn’t say “great news for all readers” or we’d have got the wrong idea. With these couple of pages, a long main strip and a back up it really does feel more like the kinds of UK comics we were accustomed to at the time. I may have enjoyed the extras more than the adaptation this month but I know from memory that what’s to come from Jurassic Park made this one of my very favourite comics growing up. So stay tuned for some terrific stuff from Isla Nublar, as well as from the far future and soon the distant past too!

The fifth issue and the conclusion of the movie storyline will be stomping its way on to the blog in one month on Tuesday 26th October 2021.

iSSUE THREE < > iSSUE FiVE

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