Tag Archives: Bryan Hitch

DEATH’S HEAD 2: KiLLER COMEDY

Well this is a turn up for the books, isn’t it? Previously guest starring in Dragon’s Claws #5 and being reconstructed beneath The ‘Pool of Greater Britain in 8162, where he’d been exiled by The Doctor when he bumped into him in the corridors of time, after disappearing from The Planet of Junk in 2007 where he helped the Autobots defeat the Chaos Bringer god Unicron (do keep up), ol’ Death’s Head is now the one welcoming the special guest stars to his own comic

You see, he’s been rebuilt by a Game team looking for revenge on Scavenger of Dragon’s Claws and as always business comes first, so up he pops in as characteristic a manner as ever. First though, don’t forget to subscribe to 12 issues of the comic that would only last for ten. Obviously Marvel UK had much bigger plans for their smaller US-sized comics. A sad reminder of that to kick things off with.

Alongside writer Simon Furman, penciller Bryan Hitch, letterer Annie Halfacree, colourist Nick Abadzis and editor Richard Starkings comes inker Dave Hine (Spawn, The Joker’s Asylum, Will Eisner’s The Spirit), who brings a completely different feel to proceedings, especially to any human characters who seem to emote more and have a rougher, harder edge to them. I approve. I still much prefer the original design of Death’s Head from Transformers though.

So the Freelance Peace-Keeping Agent has been sent to round up Scavenger rather than kill him, and deliver him to the Game team. The first half-dozen pages consist of their back and forth battle involving anything that comes to hand for Scavenger, including Scratch the dog! As ever, Death’s Head keeps his cool and even has time for the occasional quip before he finally overcomes his target.

When the rest of the team show up Dragon spots an “old friend” and they recover Scratch who leads them out into the wastelands towards the Chaney Maximum Security Prison, where criminals the World Development Council wanted to forget were sent. So forgotten were they that when an earthquake destroyed the prison the authorities didn’t attempt any rescue and just assumed all of those within had perished. They were wrong.

At this point we get a little insight into the past of Dragon and Scavenger, specifically how they first met. This was exciting to begin with for me as Scavenger is a favourite character and one I’d like to know more about, but I didn’t think we’d get the chance given the comic’s short lifespan. In the end though it’s pretty inconsequential, Dragon having his life saved seven years previous at the last moment by a silent Game player who disappeared just as quickly afterwards, Dragon vowing inwardly he’d recruit the stranger to the Claws next time they met.

Still, it’s interesting to have a flashback for these characters in this comic instead of their own. Death’s Head finds himself conflicted at this point. The Chain Gang had become agoraphobic from living underground for so long and they’d used Scavenger, a relatively new prisoner at the time, as their gopher to go and fetch food and supplies, tying an explosive device to his leg so he’d have to return. Eventually earning their trust, as soon as they removed the device Scavenger had legged it, and now the team has reconstructed the galaxy’s greatest bounty hunter (their words!) to recapture he who had betrayed them.

Death’s Head knows he’d have done exactly the same thing in Scavenger’s case, but money is money and a contract is a contract. However, such distaste does he have for this situation he’s set a timer counting down to the very second said contract expires. It’s at this point, while he’s lamenting his situation, that he meets the technical whizz who recreated him from his scrap parts, and co-star of the strip advert for the comic, Spratt.

Of course we know from the marketing that Spratt will end up working with Death’s Head so it’s interesting to see how this relationship starts. Spratt is basically brushed aside, despite his obvious intelligence and technical abilities. The “eyes on the back of my head” line will come back to haunt our anti-hero before this issue is over, but at this point in the story there’s no indication of how they’ll end up together. I like the build up.

Scavenger’s teammates then turn up and basically all hell breaks loose. As you’d expect, really. But that doesn’t mean the humour has been forgotten about, not even for one page, as Steel finds out in a rather painful way. With the clock counting down on his wrist, Death’s Head even surprises himself with what he’s thinking while he fights.

He finds himself respecting Dragon, something that simply hasn’t happened with a human before. Not that he takes it easy on him of course. Nope, he’s still under contract for another nine seconds and will continue to fight just as hard until that time runs out. Meanwhile, the leader of The Chain Gang, Fox, chases Scavenger through the crumbling prison. However, his wish to kill clouds his judgement and he doesn’t realise that Scavenger isn’t really running away from him.

He’s being deliberately led somewhere but his prey is very convincingly playing the desperate victim, right up until he jumps on Fox, wrapping his whole body around his head and obscuring his vision. It’s all been a ruse and suddenly Fox finds himself in the most terrifying of places. It’s not the prison itself nor the earthquake damaged cells ready to collapse and kill everyone at any moment. No, now he finds himself outside.

Inside, our two title characters are still fighting and Dragon is taking quite a bit of punishment when, with his spiked metal ball raised to come down hard on Dragon’s head, Death’s Head checks his wrist and just stops. Walking away, he apologises for the fight lasting longer than it should’ve and blames his timer for running slow!

It really is the only way this fight could’ve ended; neither of these two could actually win anymore, they’re heroes of their own comics after all. In fact, as the authorities arrive to clean up and arrest The Chain Gang, Dragon looks up and sees Death’s Head looking down from a hill nearby… and waves. This sight of mutual respect has me wishing both these comics had lasted longer because I would’ve loved to have seen these two slowly become friends and even work together at some point.

As for the story itself, Scavenger insists Fox is treated with leniency as he was just looking out for the community he cared for but had just gone about it the wrong way. It all ends with Spratt being the first person to ever sneak up on Death’s Head, and probably the first to offer to be his partner. After all, the mechanoid is from a different time and doesn’t know this world, so Spratt offers to help him with that while handling the business side of things. He’s a free man now and knows a good thing when he sees it. Death’s Head refuses and walks off… then the chapter ends with Spratt following anyway and continuing to talk about his proposition. To which Death’s Head merely sighs. And the reader laughs.

A couple of Marvel UK adverts round off the issue. The first is for Dragon’s Claws and uses the excellent Dave Gibbons cover from the current issue, while the other advert is somewhat more cryptic. For a comic that wouldn’t even turn up until June of the following year, six months hence, Marvel UK were certainly playing the long game here.

I remember this particular promo appearing in The Real Ghostbusters and Transformers comics week after week, month after month. Even at that young age I began thinking, “Enough already, just tell us more!” The Sleeze Brothers, namely El Ape and Deadbeat would follow Death’s Head into the pages of Doctor Who Magazine first but that wouldn’t even be until March. I guess you’ll just have to wait until then to find out more… because yes, The Sleeze Brothers will be joining the OiNK Blog in 2024.

For just the second time we come to the end of an issue of Death’s Head and I really like the fact all of the pieces have taken a couple of issues to put in place. Actually, I’m looking forward to seeing how Death’s Head’s and Spratt’s partnership works out, so I suppose everything isn’t quite set yet. While this and Dragon’s Claws are very natural sister publications, this one is definitely a lot funnier and lighter, despite its title character’s name and job! Great fun so far. The next review will be after the festive season (right after it in fact) so come back to kick off the New Year in style on Sunday 7th January 2024.

iSSUE ONE < > iSSUE THREE

DEATH’S HEAD MENU

CHRiSTMAS 2023

DEATH’S HEAD #1: BACK TO THE FUTURE

This is an exciting one! I’ve only ever read this first issue of Death’s Head. As a kid I originally became acquainted with his time in Marvel UK’s Transformers a year later through reprints in the comic and my friend giving me his back issue collection. However, I’d seen some of the funny comic strip adverts in the likes of The Real Ghostbusters and my Transformers-loving friends raved about him, so I had to try it out. I loved him.

There was a problem though. I was only allowed a few comics on order at any one time and so there was no room for Death’s Head in my reservation list as far as my parents were concerned. I didn’t want to stop any of the others I had on order so instead I bought #1 with my own pocket money and thought I would do so every month. However, a month is a long time at that age, so when #2 came along I’d forgotten all about it and instead that week bought some other random comic with my pennies.

He did pop up in The Marvel Bumper Comic upon occasion but apart from that this was all I ever read beyond Transformers. I rediscovered this issue in my collection about a year later and was really disappointed to learn it was no longer being published and that I’d missed out. Thankfully I have a much better attention span these days so it’s time to correct my oversight. Even this opening spread of pages two and three brings back the memories of reading this on a day off sick from school and all the thrills and laughs it contained. Let’s see if they’re still there today.

One little niggle straight out the gate though. Those tours, often hyped up in the pages of Marvel’s comics, always irritated me as a kid because they never came to Northern Ireland. We were always ignored back then despite us buying their comics. But we’ll move on from that and this issue is made up of three flashbacks told from the perspective of the Freelance Peace-Keeping Agent, which split up scenes of his reconstruction after being almost destroyed by Dragon’s Claws in #5 of their comic (from last month, no longer on sale despite what Head Lines says).

Some interesting bits of information come from his inner thoughts throughout, such as him having an original programmer. This may be obvious to some, but seeing as how he originally came from the story universe of the Transformers I’d always assumed he didn’t have one and was instead a sentient being much along the same lines as the Cybertronians. Sentient he is, obviously, but did he have a human programmer? I think that might be what’s hinted at here, but he killed them anyway so that’s all we’re getting for now.

Why? Well it would appear he was created as a rich man’s plaything, but knew he was destined for more. However, beyond that things are kept a mystery which I enjoy. These flashbacks all see him in his original body and given the timeline of events he must still be in his original gigantic form. After battling Unicron on the Planet of Junk he was zapped through time where he literally bumped into The Doctor who shrank him to human size before being zapped through time again and meeting Dragon’s Claws. These stories are then set sometime before his final story with the Robots in Disguise.

So a Game team called The Chain Gang discovered his remains and resurrected him in order to carry out a contract on someone. The member of their team tasked with this is called Spratt, the same Spratt we’d see in adverts for the comic across other Marvel titles. His own background is also a mystery, all we know is he’s a scavenger and thief and was able to track down the parts needed to repair Death’s Head’s body, make improvements and kit him out with a new set of clothes. Thankfully, his humour was still in good knick.

I particularly like the moment in one of his flashbacks where he disguises himself as a blonde-haired woman in a gangster’s local hairdressing salon and, among his recollections of all the chaos and violence, he laments the fact he had to give the wig back. Setting him up as a new lead comics character for both old and new readers alike, his sense of humour was always going to be key and thankfully this issue has it in spades.

His three stories all address different rules: always honour a contract but never trust a client, make no concessions for age, size or gender and never kill for free but it pays to advertise. All three of these are played out as mini-stories and work perfectly, especially the last one which sees him do something for free, but only because he’s about to go broke and the result of his advertising is a long list of clients eager to hire him after a display of prowess.

His office is the same we’ve seen before on the blog in the High Noon Tex strip advert and plays up to the old fashioned detective/ganster movies writer Simon Furman must’ve been such a fan of. He used these as an influence in part of the Matrix Quest epic in Transformers (on the planet Pz-zazz, although set way back in 1990) and the setting perfectly suits Death’s Head and his peace-keeping business, surrounded as he is by a world that is anything but peaceful but which he ignores unless paid.

I also love how the facade slips now and again, even within his own inner thoughts as he calls himself a bounty hunter before correcting his narration. For the uninitiated, he was very much a bounty hunter but hated the term and so called himself a ‘Freelance Peace-Keeping Agent’, and woe betide anyone who used the wrong description!

One thing that took me by surprise because I’d completely forgotten in the years since was the fact Geoff Senior, despite being co-creator of the character, wasn’t the regular artist on the series. Instead our penciller is Bryan Hitch (The Batman’s Grave, Hell’s Angel, The Transformers including Death’s Head final appearance) with inker Mark Farmer (Slaine, Excalibur, Doctor Who). Colouring the proceedings is Nick Abadzis (Rogue Trooper artist, Vector 13 writer, The Amazing Mr Pleebu creator), lettering is by Annie Halfacree (Knight Rider, 2000AD, Lion) and Richard Starkings is editing as always (Elephantmen, The Real Ghostbusters, Dragon’s Claws).

I’ll admit it took a while for me to get used to the new art style, so sure was I that Geoff would be the artist; the lack of jaggy edges and exaggerated facial expressions is disappointing initially, even though Bryan’s earlier work I’d seen in Transformers was more like that. Only initially though. The first chance the comic has of giving Death’s Head a different facial expression than the one people may assume is his only one (on the cover) I was sold! This happens on only the third page of the strip when he shushes someone he’s knocked unconscious, so I was sold pretty quickly.

His trademark speech patterns return too of course, yes? His ability to talk reasonably and calmly no matter what’s going on around him, almost like he’s enjoying the fact he can remain detached, remains too. I genuinely inwardly giggled when, in the last of these mini-stories, he takes out a robot much larger than him and for a moment his confidence waivers. Just for a moment.

The issue ends back in the world of Dragon’s Claws and Greater Britain as he finally begins to move his apparently non-functioning frame and punches out the member of The Chain Gang who had berated him. Shocked, Spratt asks him why he didn’t move before if he was able to, instead of leading them to believe something had gone wrong with his reconstruction. Death’s Head simply tells him he needed to order his thoughts, which is why we’ve been treated to these flashbacks.

Reliving these key moments from his (distant) past and running over his rules in his head were the perfect way to introduce him. Including the interludes we’ve been treated to four completely different scenarios, meaning the comic can formally begin his adventures quickly with a fully-fledged character in #2 rather than slowly introducing elements as the early issues proceed. It’s a good balance for a first issue, one which would appeal to new readers and those who already knew him. Of course, there’s more to him and the ongoing series, but this is a strong start.

Apart from catching glimpses of his new body (and clothing) in the interludes, the remainder of the issue sees him as we all knew him before now. As such, when the big reveal is made on the last page of the strip my initial reaction is that I much prefer the original look. I’ve a feeling it’ll grow on me though, because this is all about the character himself and he’s very much the same mechanoid he always was, I’m very happy to report.

I mentioned above the disappointment I felt when I found this issue amongst my pile of random comics in 1989, after its unfortunate cancellation with #10. I can remember that feeling like it was yesterday, so knowing I can finally read what I’ve been wanting to read for 35 years is bloody exciting! There’s no Next Issue promo but I’ve seen the cover (and nothing else) of the next edition on my shelf and I can’t wait for Sunday 3rd December 2023 when Death’s Head #2 sees him crossing back over into the world of Dragon’s Claws! Join me then, eh?

DRAGON’S CLAWS FiVE < > iSSUE TWO

DEATH’S HEAD MENU

DRAGON’S CLAWS #4: FRENCH FRiED

Another month, another foray into the far future with Marvel UK’s classic Dragon’s Claws. It may look like there’s an ancient oriental theme to the story this time around if the cover is anything to go by, but actually Steel here is facing off against one of two French armies. This month’s exciting comic is just that: exciting! It pushes the background intrigue and shocking story arcs from last time aside and concentrates instead on a self-contained tale that’s no less thrilling.

A quick mention of the editorial page first and that opening paragraph doesn’t change from issue-to-issue, remaining as a quick introduction for any new readers. It reminds me of how American TV shows of the 80s and 90s would’ve had a spoken narration at the beginning of their opening credits, so it feels perfectly of its time. Think Knight Rider, Jag and Babylon 5. These were (and still are) all favourites of mine so this gets me hyped every month.

As usual the in-universe Fastfax gives us a little bit of background to the story before it starts on the opposite page. It’s interesting to get some insight into how the wider world outside Greater Britain is faring and it appears France isn’t doing so well, with the rich carving up the country for their own benefit, the rest of the populace suffering as a result. The rebel group La Folie appear to be getting painted as a terrorist group here, so I’m pretty sure that won’t be the case as the story unfolds.

Of course, we know already who’s going to be selected to do the prisoner exchange between the World Development Council and the rebels, don’t we? I’m also intrigued by this mention of a Canadian vigilante, seemingly innocently slotted in there at the end. Perhaps a character we’ll get to in a future story. These Fastfax updates throw out hints and character references every month, painting a lovely three-dimensional world crafted by writer Simon Furman which I hope we get time to explore in the ten issues.


“When Dragon pulled us Dragon’s Claws back together as government agents, his intent was to restore order to this mad world!”

Steel

The first half of Simon’s story (drawn by Geoff Senior, lettered by Annie Halfacree, coloured by Steve White, edited by Richard Starkings) is heavy on the action while not wasting any time in developing the story. It may be a little predicable in the end but that could be down to the fact it’s 35 years old. At the time I’m sure it kept readers guessing until the end. So the barons mentioned in the Fastfax are battling all over the country, tearing it apart and killing hundreds of thousands of innocent bystanders in order to advance their power. La Folie are being painted as terrorists instead of freedom fighters because this suits the governments of the world.

Dragon’s Claws have been assigned to return La Folie’s two members in exchange for the government’s man and Dragon himself is on route to rendezvous with his team with the prisoners when he comes under attack by La Folie’s second-in-command Colonel Gescaux. He wants to kill prisoners Legris and Ostleur as they seem to know something that their leader can’t find out. Straight away Dragon seems to know all is not as black and white as the governments are painting it, even throwing himself into harm’s way to save the so-called terrorists from a grenade.

Meanwhile, the rest of his team find themselves between two warring factions. Mercy is all for abandoning the area, it’s not their fight after all, both sides are in the wrong as far as she’s concerned and can wipe each other out. But as Steel points out the local town is being devastated by their battle and given why Dragon reformed the team as government agents (the first time his reason is explained) it very much is their fight. Hence the cover.

Legris takes a moment to have it out with Dragon in a scene where they end up surrounded by Gescaux’s men. Before Dragon battles his way out, entrusting Legris and Ostleur to help out and not make a run for it, he realises he has respect for Legris, that he’s a man of integrity and belief in a cause. Gescaux just wants La Folie for himself, to turn it into the criminal organisation the world already thinks it is in order to further his own schemes. These two men know this and Gescaux knows if their leader found out he’d be a dead man.

Turn the people against each other to enrich the rich even further. Sound familiar?

The story revolves around the point that Greater Britain and the wider World Development Council will happily ally themselves with corrupt world leaders in order to advance their own personal interests, not those of the people they’re meant to serve. They don’t care who gets scapegoated, ostracised from civilisation or killed, as long as no one knows what’s really going on in the corridors of power. Turn the people against each other to enrich the rich even further. Sound familiar?

So while this chapter in the adventures of Dragon’s Claws may not advance any of those plots I found so intriguing over the first few issues, it’s beginning to paint a wider canvas for future stories to take part in and I do hope we get to see more of the world, or even revisit France at some point. (UPDATE: We don’t.) Speaking of which, let’s get back to that battle between the warring barons the rest of the Claws couldn’t walk away from and a surprising moment of comedy thanks to my favourite character, Scavenger.

I love this moment so much. The person he hit thanks to the lady’s headscarf was one of the leaders, the plan being to take down one of them so their followers would flee, creating an opening to do so with the other leader, thus saving the town. Steel stops Mercy from killing the other baron, instead putting weapons in front of them both and telling them to fight it out to the death instead of sending their troops into battle for them. Naturally, they show themselves up as the cowards they are and run away instead.

The main thrust of the story ends with Dragon taking on all of Gescaux’s minions, who then tries to escape instead of fighting on (again, typical) and he jumps onto their vehicle. However, Dragon notices the fuel tank is ruptured and about to blow. He still tries to save Gescaux but he’s too late and the terrorist gets blown to smithereens. After an arduous wait to see if the freed prisoners will keep to their word (Dragon let them go to the exchange alone), Ambassador Golding turns up. The other, so-called ‘terrorists’ kept to their word, this honourability proving most important to Steel.

With a little acknowledging nod to the previous story arcs we reach the end for now. After learning of Dragon’s reason for agreeing to become an agent of the World Development Council (and N.U.R.S.E.) earlier in the issue, his comment here about re-educating people isn’t just a throwaway line. Instead, it’s a true heroic statement and one that’ll hopefully lead to many exciting adventures to come, swiftly followed in the next moment with him cracking a joke. A great ending.

Well, there’s actually one more page to go. Last issue’s story also finished but then had a final page hinting at things to come, it’s something of a trademark for Simon’s comics if this and Death’s Head are anything to go by. So as we turn to the final page we get another surprise cliffhanger. In a moment that’s reminiscent of The Terminator films a bright ball of electricity signals the arrival of a futuristic robotic character, appearing in The ‘Pool (Liverpool) next to The Evil Dead’s Death Nell, one of only two apparent survivors of that Game team from #2. This is a particularly exciting entrance!

Anybody who’s been following the Death’s Head real time read through will know all about the character created in the pages of Transformers by Simon Furman and Geoff Senior. After a few appearances in that hit comic and discovering the origins of the Cybertronians he disappeared through time (after a battle with Unicron) only to appear in Doctor Who Magazine.

There he was brought down to human size by the Seventh Doctor (Sylvester McCoy’s) in a funny strip in #135 of his publication and then tricked into jumping to Earth in the year 8162, a very familiar time for readers of Dragon’s Claws. Now, with Death’s Head’s own comic due for release before the end of the year it’s time for him to make his reappearance in Marvel UK’s lineup at last and I for one can not wait! Check out the very back page of the comic below, drawn by Bryan Hitch rather than Geoff, so I wonder who is drawing the next chapter. Interesting, and a superb choice of artist.

I really am sick and tired of that “’Nuff Said” phrase though. Between Dragon’s Claws, Havoc and Transformers it was so overused by Marvel UK and every single time they did it just felt like a cop out, like the editor couldn’t be arsed saying anything else. At least Action Force were getting much more exiting covers for their monthly than they were a few issues back, with more superb Geoff Senior artwork to gawk at.

With page 28 sufficiently gawked, it’s time to wrap things up for Dragon et all for another month. This continues to be an extraordinarily fun comic, full of action, character and world building that’s second-to-none. With a crossover event next month and the background arcs set to return, I don’t know how they’ve managed it but I’m getting ever more hyped every month for the next issue. Come back on Sunday 8th October 2023 for Dragon’s Claws #5 to see if that trend is set to continue.

iSSUE THREE < > iSSUE FiVE

DRAGON’S CLAWS MENU

DOCTOR WHO MAGAZiNE #135: READYiNG DEATH’S HEAD

When this edition of Doctor Who Magazine hit newsstands I hadn’t even watched a single episode yet! It wouldn’t be long before I was a fan though and today I most certainly am, but I’ll get to that at the end of this post when I point something out in the news column of the issue. That’s not why we’re here though. We’re here for the comic strip starring a certain Freelance Peace-Keeping Agent, yes?

The last anyone saw of Death’s Head was when he disappeared through an exploding time portal in the pages of Transformers #151. While we saw the others he shoved through the portal survive the implication was clear he was missing rather than dead and readers eagerly awaited a surprise return at some point. That inevitable return was only two months later, but what was even more surprising was where it happened: in a different publication.

Written by Simon Furman and drawn by Geoff Senior with letters by Zed and edited by Richard Starkings (actually Zed is Richard), The Crossroads of Time was a one-off eight-page strip in #135 of DWM (which is at #588 at the time of writing). The magazine was a very different publication back then, with 36 pages and only the covers and middle four in colour (as opposed to the 84 full-colour pages it has today, complete with regular Lew Stringer Daft Dimension strip), but just like the best of the black and white stories in later issues of Transformers I think this really highlights Geoff’s inks and gorgeous details, some of which are very funny.

The opening page sets things up straight after The Legacy of Unicron with Death’s Head still travelling through space and time and crashing into the TARDIS. Soon both he and the Doctor (their seventh television incarnation, portrayed by Sylvester McCoy) find themselves on a random, barren planet along with a Time Warden, an impartial arbitrator. The warden weighs up the situation by taking one look at Death’s Head and decides they’ll have to come to an agreement without him.

Ever the opportunist, Death’s Head gives the Doctor a choice between bargaining or dying, and asks if he has anything to trade. Realising jelly babies aren’t going to cut it the Doctor realises he has one of the Master’s Tissue Compression Eliminators. This is a device his evil counterpart would use to shrink people down into tiny little toy solder-esque versions of themselves, effectively killing them.

It was actually seen in one of the more recent series when my own personal favourite Doc, Jodie Whittaker’s take on the character, went up against Sacha Dhawan’s highly memorable Master. In it he used the compressor to kill quite a few people in a particularly nasty fashion. Indeed, back in our strip the Doctor acknowledges it’s a horrible device but that “desperate situations call for desperate measures”. But the fact Death’s Head is already so huge has an unexpected result.

Despite wracking his body with pain, instead of shrinking him to minuscule size its power only brings him down to the same size as the Doctor. While it’s not a large image of Death’s Head’s face, you can clearly see his shock even from the side angle. After being a Transformer-sized mechanoid who could strike fear into his targets just by being there I find his face here so funny! The Doctor’s reaction is also meant to be funny, but I find it rather out of character.

Yes, he was obviously in danger but he hadn’t even really tried to talk himself out of the situation at hand before turning to a device he hoped would “eliminate” Death’s Head? That sounds more like something a Dalek would do. Even when I started watching Doctor Who with season 25 it was clear he didn’t go around simply killing the villains when he first bumped into them. This story was set during McCoy’s first year as the Doctor when he was still very much a slapstick, comedy version of the character with some elements of Colin Baker’s previous, darker incarnation thrown in, so I think this is just a joke comment rather than anything else.

Death’s Head would pop up in one more Marvel UK comic before his starring role, namely Dragon’s Claws

The following season (my first) he was a mysterious, thoughtful Doctor, often initialising the stories rather than reacting to some evil doer. I absolutely loved that portrayal, so reading this from the year before feels strange to me. But hey, I should’ve started watching it earlier! There’s a fast-paced chase to add some action, culminating in the Doctor finally getting an idea as to how he can turn the situation around and he calls out to Death’s Head that he has a trade to make.

I love that moment. It perfectly demonstrates the character of Death’s Head, his disappointment that he can no longer kill the Doctor because business always comes first. I’m sure I can look forward to a lot more of this humour in his own comic.

But what does the Doctor have that could possibly be of any use in a trade? Obviously, the TARDIS. We know he’ll have no intention of honouring this trade and anyone who has seen the show in recent years can probably predict what happens next. First of all though, it’s a bit of a thrill for this fan of both these characters to have Death’s Head get that enjoyable moment usually reserved for new companions, when they get to see the interior of the phone box for the first time.

The Doctor successfully bluffs his foe into his own fate by quickly running through some technobabble by means of instructions on how to time travel (remember, Death’s Head wasn’t a time traveller, he used others’ tech to do so in Transfomers), before pretending to leave it in the hands of its new owner. Death’s Head stops him, convinced if he did as instructed it would turn out to be a trap and tells him they’ll travel together for the first trip. Of course, this is what the Doctor planned all along and he sets the controls for Earth in the year 8162, concentrating the time circuits on the mechanoid who dematerialises accompanied by the text of that famous sound effect.

Why did the Doctor choose Earth to send a dangerous bounty hunter to? (…Ouch!! Sorry! Freelance Peace-Keeping Agent!…) He’s spent most of his life trying to save us daft humans and the strip even ends with him telling us our home is his favourite planet. Oh well, it’s still been a fun strip even if it’s left me a bit confused with The Doctor’s actions at times. But most importantly it’s set things up perfectly for Death’s Head’s monthly and that was its purpose in the end. (UPDATE: Actually, three months after writing this post, having now reviewed the first issue of another comic that date suddenly seems awfully familiar.)

So he’s now ready to interact with all manner of human characters and by the looks of the advert in the introductory post he even gets a human sidekick. In fact, I think I can just about remember him. I’ll find out in November I guess. I do know from seeing images of the covers over the years that he meets a couple of Marvel’s superheroes along the way so it’ll be interesting to see those interactions, what with his single-mindedness and dark sense of humour. (Kind of makes me think of Deadpool actually.) The TARDIS is even on one cover so there must be a rematch to come!

Before I round things up I wanted to show you the news story that stood out to me.

The story Remembrance of the Daleks was my first encounter with the series. It was a brilliant introduction! Made to mark the 25th anniversary of the Daleks I’d never seen anything like it and I was a fan straight away. This issue breaks the news of the new season’s opening story and it really took me back to that evening sitting in front of the portable TV in my bedroom when I decided on a whim to tune in. There are other points of interest in the magazine too.

It’s edited by Shiela Cranna who was the launch editor of Transformers and friend of the blog John Freeman is the designer and gets plenty of praise on the letters page. On those pages there’s also evidence nothing changes though, with some readers complaining others who like the new Doctor and the current show runner “aren’t true fans”. (Sigh.) It’s like Twitter before Twitter. There’s also a mention of a new Holywood movie which as we know would eventually become the 1996 TV movie pilot. I always find it interesting to read old magazines like this when I know how things turned out.

But anyway, back to the main subject at (detachable) hand.

Things may be all set for a brand new monthly comic starring one of the greatest comics creations of all time (in my opinion) but we’ve a while to wait, what with the first issue’s release date being 5th November. That TARDIS would come in handy. But actually, we haven’t got quite that long to wait and this is where I break the news of the next real time read through to come to the OiNK Blog. Death’s Head would pop up in one more Marvel UK comic before his starring role, namely Dragon’s Claws also created by Simon and Geoff.

For now don’t forget there’s an introductory post showing highlights from Death’s Head’s stories in Transformers (and links to all of the Instagram posts from that multi-year read through too) along with more details about his creation and some insights from the comic’s editor Richard Starkings who very kindly contributed. The Dragon’s Claws will join the blog on Sunday 14th May 2023, #5 featuring Death’s Head will be reviewed on Sunday 17th September and then his own debut issue will be here on Sunday 5th November. I think it’s going to be a good year, yes?

GO TO DRAGON’S CLAWS 5

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DEATH’S HEAD: iN REAL TiME, YES?

In the latter months of 1988 I began reading Marvel UK’s Transformers weekly and my second issue contained a very funny comic strip advert for a new monthly about a certain Freelance Peace-Keeping Agent (not a bounty hunter, never a bounty hunter). It also popped up in The Real Ghostbusters and so I found myself dipping my toes into the first issue of Death’s Head, not fully knowing what to expect and with no knowledge of his already extensive adventures with the Transformers (and even Doctor Who, which I’d just started watching that year too).

Over the next couple of years reprints in Transformers and my friend giving me his back issues meant I was able to read those stories. But I never did buy more than Death’s Head first issue, despite having very fond memories of reading it wrapped up in bed while ill one day and really enjoying the action and comedy. But I was only allowed a certain amount of comics on order at any one time and, while I did buy more with pocket money most weeks, a month was a long time for my attention span back then. Now I can finally make up for this, so let’s take a look at how this very famous Marvel UK character was introduced to the public.

Writer Simon Furman originally created Death’s Head as a one-off character for a Transformers story (not knowing the name had also been that of a Nazi tank division). However, upon seeing legendary artist Geoff Senior’s interpretation Simon knew they had a recurring character on their hands, even rewriting his lines to better suit the image Geoff had created, inspiring the hilarious speech patterns and quirks we came to love, yes? He proved very popular with the readers and altogether appeared in 17 issues and three serials, including two highly regarded epics.


“I loved messing with legal”

Richard Starkings, Death’s Head editor

Despite online information to the contrary, Death’s Head did indeed first appear in Transformers #113 on 9th May 1987. There’s a one-page strip called High Noon Tex (further below) which Former Marvel UK editor Richard Starkings (The Real Ghostbusters, Doctor Who Magazine, Elephantmen) tells me was created to run in other titles first so the company could retain ownership of the character, otherwise Hasbro (owners of The Transformers) could claim the copyright. However it didn’t appear until a year after his first Transformers appearance.

“I dare say,” Richard told me, “that between commissioning the strip (it’s one page, so you know it was my idea) and legal establishing the trademark … his appearance in Transformers notwithstanding, we weren’t able to run High Noon Tex beforehand. There was also a Doctor Who crossover (I loved messing with legal) so the BBC couldn’t own him either!”

Wanted: Galvatron Dead or Alive was one of the early future-set (the then future of 2006) stories Marvel UK produced. With the release of Transformers: The Movie the UK team could focus on stories set after it, creating a new timeline of events and making it easier to write original stories not linked to the US strips. On the first page we see what would become a familiar detachable hand pointing at the wanted poster of the title. A bounty set by Autobot leader Rodimus Prime for Galvatron (the immensely powerful resurrected form of Megatron) after he disappeared at the end of the movie is too good for Death’s Head to pass up.

The story saw the beginning of the comic’s use of time travel and the building of a huge universe populated with both organic and mechanical races, for example the slight-looking barkeep in the tavern where our anti-hero finds himself between contracts. Intending to pay, Death’s Head soon changes his mind when the owner pulls a gun on him, wrongly suspecting his customer of leaving without clearing his tab. What happens next is the perfect introduction for this character.

Over the course of a year Death’s Head even made the cover of Transformers no less than six times. He’d become a big selling point for the comic, such was his popularity with the young readers and the fun Furman had in writing him. My favourite of these is the classic ‘The Good… the Mad… and the Ugly!’ cover by Geoff for #117. His return was always hyped in advance in Next Issue panels and editorial promotions. Really, it was inevitable he’d get his own comic eventually.

One of my favourite aspects of the character was his loyalty to the contract. Once he’d taken on a job he’d see it through to a successful conclusion no matter what he’d have to put himself through in the process. Yes it was all for money but it was clear he enjoyed what he did and he had a brilliantly dark sense of humour as a result. But even if someone else (usually his bounty) offered him twice the amount he was being paid he’d turn it down, his reputation was more important.

This was a compelling chapter in the character’s life, as he found himself going above and beyond to do the right thing as well as complete his contract

Death’s Head certainly left an impression, not only on the young readers but on the Transformers’ universe as a whole. Travelling back to 80s Earth he went head-to-head against Galvatron, aiding the Autobots and Decepticons in their battle to stop him from becoming an all-conquering god. In this story he also ends up killing beloved Autobot Bumblebee (in the US comic G.I.Joe mistakenly did this) who Hasbro was relaunching as Goldbug (thus this led to his resurrection).

When Death’s Head returned next time he took a contract from Decepticon leader Shockwave to track down and capture or kill Cyclonus and Scourge who had travelled back in time too, and who Shockwave had discovered would kill him in the year 2006. It was great stuff! This made what Death’s Head did in The Legacy of Unicron all the more interesting and dramatic for me. He was actually instrumental in stopping Unicron’s return, aiding Rodimus Prime by linking with the giant god’s mind on the psychic plane, distracting him so that the Autobots and Junkions could get on with their plan free of being psychically tracked.

This was a compelling chapter in the characters’ life, as he found himself going above and beyond to do the right thing as well as complete his contract with Shockwave. The Legacy of Unicron was an important story in the history of Transformers, spread over several issues including the landmark 150th in which the origins of their race was told for the first time ever. This was created by Furman for the UK comic, the cartoon series would go on to create its own far less interesting version.

The tale, one as old as time itself, of myths and gods, of the birth of the universe and the eternal fight battle light and dark, was told by Unicron, the transforming planet eater from the movie reinterpreted by Furman as an all-conquering god of chaos. It’s still incredible to read today, especially when you remember this was a toy licence comic! Transformers really did break the mould. Even better, we the readers found all of this out as Unicron relayed his tale to none other than Death’s Head while the two were locked in their mental battle.

The Legacy of Unicron ends with Death’s Head shoving Cyclonus and Scourge through a time portal as the Junkion planet explodes beneath them. The Decepticons reappear on Earth in the present day but of him there was no trace. He wasn’t to be seen in the world of the Transformers again. Instead, as he flew through the corridors of time and space he bumped into a familiar blue police telephone box in another of Marvel UK’s titles. That’ll be the first chapter in Death’s Head’s real time read through in just a few days.

Apart from the last photo above, all of the preceding images were taken from the OiNK Blog’s Instagram feed from the last few years. Over there I’ve been reading Transformers in real time, week-in, week-out for about six years now, taking up to ten photographs of each issue and summing them up in mini reviews of sorts. You can check out all of the issues featuring Death’s Head via these links below.

WANTED GALVATRON: DEAD OR ALIVE

Transformers #113, #114, #115, #116, #117, #118, #119 and #120

HEADHUNT

Transformers #133 and #134

THE LEGACY OF UNICRON

Transformers #146, #147, #148, #149, #150 and #151

By 1988 plans were afoot. Commissioned by Richard (who also commissioned the one-page strips below, as well as Dragon’s Claws and The Sleeze Brothers comics) at last Death’s Head was going to get his own ongoing comic, but first of all a change had to happen to the character himself. As you’ll know from reading the comics or watching the movies, the Transformers are somewhat larger than us humans. Seeing as how Death’s Head would now be interacting with plenty of humans he had to be taken down a peg or two first.

This was achieved with a one-off strip in the pages of Doctor Who Magazine in which another alien time traveller, albeit of much smaller stature showed he was more than a match for the other. After this the stage was set for the new comic, the first issue of which was released in November of that year. To promote it he also popped up in an issue of Dragon’s Claws, another Furman/Senior original creation just before his own premiere issue.

During 1988 High Noon Tex finally appeared across Marvel UK’s range, promoted as a one-off strip for the character. For those who hadn’t been reading Transformers this must’ve felt like a very random addition to their comic, but a highly enjoyable surprise nonetheless, showcasing the action, his brutal personality and most of all his sense of humour. The example above is taken from the back page of an issue of Dragon’s Claws. It was written by Furman and drawn by Bryan Hitch (who would draw half of the monthly issues, co-creator Geoff Senior surprisingly only drawing one of the strips).

As the comic launched another one-page story appeared, this time as an actual advertisement for the monthly. I first saw it in Transformers #193. How could I not rush out to buy it after that? The scan above was taken from #29 of my Real Ghostbusters collection, which went on sale 17th December 1988 while #2 of Death’s Head was on sale. Richard was the launch editor of that comic and told me, “I’d edited The Real Ghostbusters for a year and I knew you could tell a story in one page.” (The Real Ghostbusters could have up to four stories in one issue, including the occasional 1-page strip.) You can read more about the creation of this series of adverts in the introductory post to Dragon’s Claws.

A much simpler yet no less eye-catching full-page advert was also found in the pages of my comics, using the cover image of the first issue. The issue of The Real Ghostbusters this first appeared in went on sale the same week as #1 of Death’s Head and he also popped up for the first time in the Mighty Marvel Checklist, which a lot of their comics ran at the time. As you can see it was the one not to miss that week and I obliged. At least for one month anyway.

Death’s Head’s comic lasted ten issues. It was printed on smaller than normal paper, the same size as US comics rather than the larger UK paper we were used to. Some fans say this contributed to less than stellar sales because it ended up hidden amongst all the larger comics. Richard tells me this just isn’t true; it was selling 60,000+ a month which would be a massive hit today. “The profit to the company versus cost of origination was too high for those days”, Richard says. “The Incomplete Death’s Head (collecting the whole series and his guest appearances in Doctor Who and others – Phil) #1 sold 400,000. So they got their money back.”

After his comic was cancelled he appeared in Strip in a multi-part adventure, collected in a graphic novel after Strip finished. He was relaunched as ‘Death’s Head II’ and ‘3.0’ later but I never bought into those versions. Furman wasn’t involved in the first and it lacked the humour, a key factor for me, and Simon has also said he doesn’t see either as Death’s Head so this put me off. They definitely have their fans though so I’m happy there’s a version for everyone. In the new century he’s popped up in cameos or guest roles in some more Marvel comics in his original form too, which I’ll detail at the end of the read through. You can’t keep a good Freelance Peace-Keeping Agent down.

So here’s my complete Death’s Head collection containing 30 comics altogether.

You can check out all of those Transformers issues at the links above and as you can see I’ve opted for the graphic novel version of the Strip story, The Body in Question. The premiere issue won’t be reviewed until 5th November later this year (this is in real time, remember) but in just three days on Friday 10th March 2023 you’ll be able to read the first Death’s Head review in a special post about his clash with the Seventh Doctor (Sylvester McCoy) in Doctor Who Magazine #135.

See you then, yes?

(Special thanks to Richard Starkings, Steve White, Lee Sullivan, Lew Stringer and John Freeman for all their help in putting this post together.)

GO TO DOCTOR WHO MAGAZiNE 135

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