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Comic Reviews, Jurassic Park

JURASSiC PARK #11: ‘RAPTOR’ MEANS ‘BiRD OF PREY’

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It’s been a long wait for this issue of Jurassic Park so I’m chomping at the bit to get stuck in. I can remember as a teen being overjoyed to finally see the comic appear again, however my initial reactions once I opened it were mixed. First of all this is my very favourite cover of the whole series. No, a Velociraptor doesn’t really take control of the plane, it’s just a funny reference to the main story inside. To this day Michael Golden‘s cover still raises a giggle which I’m sure was the intention. I just wish it wasn’t covered with so much text.

But then came a little bit of disappointment because I discovered there were eight less pages, reduced from 36 to 28 and there was only the one back up strip, no Xenozoic Tales in sight. I’d been really enjoying those stories but at least Age of Reptiles was still here and it was as magnificent as always. Things would (begin to) return to normal next month but initially I didn’t know this so I wasn’t sure if Tenrec and Hannah would return. What is here is great fun though, so let’s get going.

In the world of Jurassic Park small, seemingly inconsequential actions can have catastrophic consequences

The final part of Steve Englehart’s Dark Cargo begins with the pilot doing what humans always do in the world of Jurassic Park; proving that small, seemingly inconsequential actions can have catastrophic consequences. Feeling the plane’s weight shift about he puts it on autopilot and goes to help George Lawala, finding he’s already killed one of the juvenile ‘raptors. But they don’t see another skulking in the shadows, hunting the two men. It attacks, killing the pilot and maiming Lawala, but not before he’s able to shoot it in the neck.

It’s here when Jurassic Park makes its real point of difference. Dr Ellie Satler (she and Dr Alan Grant were Lawala’s prisoners, check out the previous reviews) hears the gun shot and discovers the horrific scene, the dinosaur dying in front of her. Even knowing it would’ve killed her in a heartbeat and that its siblings must be nearby doesn’t stop her from trying to save its life. It was just doing what it does, hunting prey to eat. I love this page.

A quick note about the artwork. The final panel above is a strange one and at times penciller Armando Gil does seem to draw the ‘raptors in a way in which they’re not really identifiable (sometimes in this chapter it’s also confusing in regards to which one is which and we have to rely on the dialogue to decipher the images), but mainly he has done a great job of capturing the dinosaurs as real world animals (check out his magnificent Tyrannosaurus rex in #6). His action scenes can sometimes seem sparse, but inkers Dell Barras and Fred Carrillo imbue them with great texture and atmospheric shadowing. John Costanza is our letterer and Renée Witterstaetter brings bold colours alongside her role as Story Editor.

“The ‘raptors.. somehow, it’s got to be the ‘raptors..!!”

Dr. Ellie Satler

While Ellie ties a tourniquet around the animal’s neck another ‘raptor is looking on, which Alan spots and distracts, with both it and the final sibling giving chase. Panicking, he dives into an open crate but escapes through a side hatch as the dinosaurs jump in after him. Able to close the hatch and lid he traps them inside, attaches the pulley system and dangles them out the back of the bomber! Well, out there they can’t do any harm. Famous last words, Alan. This is Jurassic Park after all.

Suddenly the plane starts diving and they rush for the cockpit. Refreshingly, they don’t immediately take to the controls and somehow land the plane like in every movie and TV show ever. Instead, Alan admits the only thing he recognises is the wheel and he tries desperately to stop them crashing, not really sure what to do. The plane is being pulled about and the autopilot was knocked off, but why? Ellie is sure it has to be the Velociraptors, but how? Take a look at the page above.

I remember reading this at the time and being thrilled with the intelligence of the dinosaurs, especially this lot. You have to remember before the first movie came along the general public had a vision of dinosaurs as stupid big lumbering lizards. Jurassic Park changed all that and I can distinctly remember that same feeling of excitement from this comic. The swinging crate pulls the plane further down, Alan struggling to level it off in a desperate bid to stop it nosediving when we get to this month’s cliffhanger.

The voice from the other side of the binoculars is going to be key to how this story develops from here on. It’s a more exciting cliffhanger than the one which led to a two month wait, so thank goodness we’re back to a monthly schedule again. I can remember parts of the strips to come, in particular what Ellie saving one of the ‘raptors will mean later, and I can’t wait to revisit these stories and compare them to the movie series we’ve had since.

For now, take a good long look at this piece of gorgeousness.

As I said at the top of the review there are only two strips this month, with our main story and the one back up getting equal space of 12 pages apiece. So we’re straight into the Age of Reptiles. It opens with the panel at the top of this post, which certainly sets the scene! That is followed with the above spread and I find myself just completely immersed in this world again. Still up upon the cliffs, the Deinonychuses attack the T-rex pair. They put their all in, I’ll give them that, but they never stood a chance.

One is kicked over the side and lands in deep water below, quickly swallowed up by a giant ocean predator. The remaining two are swiped off the side by a glancing blow from a ‘rex  tail, one landing hard on the rocks at the bottom of the cliff, dying instantly but breaking the fall of the other. Throughout this, and the rest of the story, the individual characters really shine through, as you can see from this selection of highlights below.

From being taken by surprise from behind, to the horror of their friend dying, to the little baby T-rex being coached to hunt by their parent Long Jaw, every dinosaur here is an individual brought to life by the genius of creator/writer/artist Ricardo Delgado and colourist James Sinclair.

The youngster spots Dark Eye who is clearly deliberately wanting to be chased, as you can tell from that final panel above. That pose almost says, “Me?”. Haha, it’s brilliant. The young inexperienced hunter doesn’t realise it’s a trap and gives chase. When his prey disappears behind a rock he follows blindly, right into an ambush of half a dozen of Dark Eye’s pack. Long Jaw is the adult T-rex and suddenly he realises he’s alone! He runs through the forest in desperate panic, following the trail or possibly the scent and finally comes upon this scene on the final page of the chapter.

I vividly remember seeing this image for the first time back in 1994. The towering Long Jaw roaring into the sunset, the flying predators already circling and the heartbreaking image on the ground. It was truly shocking. I’m sure I wasn’t the only reader who’d loved the tiny little ‘rex, such was his depiction in this and previous issues. We’re racing towards the climax of Age of Reptiles and I know it was big, I know it was ultimately a very satisfying conclusion, but for the life of me I can’t remember how it ends. It was 28 years ago after all. I’ll impatiently wait and see.

Both of these strips ratcheted up the tension so I’m really looking forward to the next issue. This one may have been thinner than any other in the series and down one strip but what is here is superb from start to finish. Plus, I’ll just mention how much I love that cover image again. To finish with the final two pages contain more of those retro adverts, the first of which is for a video release of a show I remember being on TV at the time, and the back cover is for a comic magazine from Dark Horse International that would end up saving Jurassic Park from an even earlier cancellation. More on that later in the summer.

Just on a personal note, it’s so strange to look back and see a video for £10 that only contained one episode of a show. I do remember buying Babylon 5 on VHS, each volume costing £8.99 and containing only two episodes. It’s crazy to think back to that now when we’re so used to box sets. Two Christmases ago I was able to purchase the entire five seasons of B5, 111 episodes for £40 on my Apple TV! (All restored to their original aspect ratio and remastered by the way, just to let fellow fans know.) How times have changed.

Anyway, back to Jurassic Park and that’s where we leave things for now. The next issue’s review will be here from Thursday 7th July 2022 and by then I’m sure most fans will have seen the brand new film which is due for release tomorrow as of the time of writing. Suddenly, remembering buying these comics is making me feel very old!

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Comic Reviews, Jurassic Park

JURASSiC PARK #10: BETRAYALS, TAILS & GOLDBLUM

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Another exciting Gil Kane cover that bares absolutely no resemblance to anything that occurs inside, or any other issue or even the movie. It’s the second of two covers from the American preview comic, the previous one shown off last month. That Topps Comics preview contained two small strips set before the events of the movie and the first was underwhelming to say the least. The second, the headline story inside this issue, is far better and concentrates on the man we all loved to hate, the person behind all the chaos, Denis Nedry.

Portrayed by Wayne Knight in the film, Gil produces a great likeness here while not getting so hung up on it that he ends up expressionless. Betrayal is written by Walter Simonson and tells the tale of Nedry’s arrival on Isla Nublar to work on the computer systems that would be so instrumental in the creation and eventual downfall of the park; networking of computers, park systems, zoological simulations and crowd control measures all make up his complicated job. Dick Giordano (Detective Comics, The Sandman, Superman vs The Amazing Spider-Man) joins Jurassic Park to ink Gil’s pencils, John Workman returns as letterer, as does Renée Witterstaetter as colourist (and Story Editor for this and the sequel story later in the issue).

Some fans online have mistakenly said there’s an error in Nedry’s and Hammond’s relationship in the film. Hammond‘s favourite phrase was, “Spared no expense” and yet Nedry is constantly saying he’s underpaid, his boss unwilling to negotiate. Here, Simonson picks up on a plot thread from the novel that the film touched upon (and those fans missed) and elaborates on it. Nedry’s bid was very high, no expense was spared, but it was made before he knew the secret of what the attractions on the island actually were. Once he found out he thinks he underbid, but Hammond is a man who honours his word and expects others to do the same.

Realising the fortune Jurassic Park is going to make Hammond, Nedry constantly tries to spin that his work is going to be far more complicated than first estimated, but really it’s not true and he’s just pushing for more money. Hammond doesn’t budge. His computer experts perfectly relayed to Nedry what was required, the fact the animals are dinosaurs doesn’t change anything. Six months in however, Nedry begins to realise extra money will never be forthcoming from his computer work and when he overhears Henry Wu discussing the embryo laboratory he clicks that’s where the money is, in the dinosaurs, and their embryos are perfect for smuggling off the island.

The story ends with his first attempt at reaching out to Ingen‘s competitors but for me the real meat of the story is seeing the beginning of the relationship between these two characters. Also, unlike the previous prequel story (Genesis) foreshadowing isn’t shoved in our faces, instead it just concentrates on telling a good story based around a key plot point in the movie, with the characters at its heart. Hammond comes across as a bit too cantankerous at points compared to Richard Attenborough‘s charming portrayal and more like he is in the novel, but in the end it’s an interesting little prequel and a nice addition to the comic.

There’s no Xenozoic Tales this issue so the remaining strips get more room to breath, although I do miss Tenrec and Hannah. They’ll be back, though. Alongside the eight-page Betrayal and the ten-page Dark Cargo (for a meaty 18 pages of Jurassic Park) is Ricardo Delgado‘s always stunning Age of Reptiles which makes up 11 pages, sandwiched in the middle. It starts off serenely with a large Ankylosaurus enjoying some bark from a monstrously sized tree that dwarfs even this huge dinosaur. Then they hear a noise and step to the side to have a look around the tree. Personally, I think the way this simple gesture is drawn is just so full of character.

I was beginning to feel sorry for the peaceful beast who now found themselves outnumbered three-to-one against our favourite predatory rascals, the Deinonychuses. As you can see from what happens on the next page I needn’t have worried. This is enough to make the smaller dinos run off, beaten with one swipe of a tail. I just love this big action shot though, especially since the build up was so peaceful, it’s such a surprise! We get another little respite when we check in on the Tyrannosaurus rex pack as Long Jaw arrives back and nuzzles the noses of his mate Talon and their baby, with the other male Blue Back and his mate Climber looking on.

The whole pack is angry and soon Long Jaw sees why. The large circular nest is empty of all its eggs except for a few pieces of broken shell and one last intact egg, tucked in next to Talon. We then get a double-page spread and a really brilliant moment as he looks down at evidence of who robbed their nest and, even though a T-rex‘s face shouldn’t be that emotive, we can tell he knows exactly who was responsible. The way Ricardo lays this out with his face between the footprint and those same feet now on a nearby beach is just genius.

Look very closely at that big panel in the middle of the page. Have a look up into the cliffs and, amongst the silhouettes of the craggy terrain you should spot the shapes of a head and a tail. I’ll admit I don’t think I ever noticed this the first time around back in the 90s because it surprised me when I spotted them now. It’s so subtle, I love it. It also leads on to the climax of this issue’s chunk of the story.

After filling their bellies with the eggs the three thieves start making their way up a very narrow path along one of those cliff faces and come face-to-face with our two female Tyrannosaurs. Their size and power in comparison is perfectly captured and I particularly like the overhead view showing just how trapped the smaller dinos really are. There’s even a tiny bird looking on. Little details like this amongst all the action and drama is a trademark of Ricardo’s and one of the reasons I love his work so much.

The leader of the Deinonychuses turns and barks orders at the others, one of whom turns and runs at the T-rex coming up behind them, the story cutting off for this issue as they leap into the air, claws bared. Age of Reptiles was never intended to be told in this way; it was created as a graphic novel to be read from beginning to end in one sitting. But it just works so well, editor Dick Hansom doing a great job of knowing when to edit to make each piece feel like a complete chapter. It’s a great cliffhanger. (Yes, that was very much an intended pun.) However, it’s a particularly frustrating ending this time, which I’ll explain after the third and final strip.

“Phooey on your ‘Chaos’! We’ve got boats, planes, radar…!”
Renny

“So does the war on drugs.”
Dr Ian Malcolm

Steve Englehart‘s Jurassic Park: Dark Cargo continues with Dr Ellie Satler, Dr Alan Grant and the juvenile Velociraptors transported from boat to a huge air transport and during the flight our human heroes eventually awaken to find their cage surrounded by the hissing, clicking raptors. One tries to pick the lock of the cage just as they did to their own, but Alan’s broken belt buckle from his failed attempt, still caught in the lock, stops them. They run off, the pilot noticing shifting weight so George Lawala (the first in a long line of greedy humans who would underestimate the intelligence of dinosaurs) goes to investigate. He frees Alan and Ellie and gives them shotguns, the chapter ending with them all searching the huge plane.

That’s the main plot out of the way. That’s not to say it isn’t fun, it certainly is, it’s just there are two individual pages elsewhere in the story involving subplots that really stood out to me. The first involves the army’s continuing attempts to clean up the mess of the island’s failed park. Having tracked Alan and Ellie to the beach they’re at a loss as to where they are. For me it’s great to see the new character, INgen‘s Dr Fischer back again (he first appeared in #6) and I’m still hoping we get to see more development of him in the future. But it’s the person on the next page that elicited the highest level of excitement when I read this back in 1994.

Of course, nowadays we’ve seen Dr Ian Malcolm, so memorably played by Jeff Goldblum, in The Lost World: Jurassic Park and Jurassic World: Fallen Kingdom and he’ll be returning again in the sixth film, Jurassic World: Dominion later this year (at the time of writing). At the time his return was a complete surprise. If the comic had a proper editorial and Next Issue promos I’m sure this would’ve been mentioned before it happened, so for once I was glad of the minimalist approach. It meant the surprise was kept until this very moment. He just appears in this one sequence as he recovers from his injuries from the movie but it’s exciting to see the character in this first official sequel, and he’s perfectly drawn by Armando Gil and Dell Barras (with John Costanza on letters and Renne colouring).

Also mentioned here is ‘The United States Central American Command Center’, or ‘CENTAMCOM’, the comic’s own take on the real world CENTCOM and the resources they have in their search. It brings a larger scope to the background story that’s slowly developing while the main plot focusses on our two main characters. I always enjoyed these aspects of the films, always wishing they’d delve deeper into the inner workings of INgen and the larger world within which the stories were set. Then it all ends with the biggest shock of all. Under the final panel we’re unceremoniously told #11 wouldn’t be on sale until Thursday 9th June. What?

This issue went on sale on Tuesday 29th March 1994, so suddenly my favourite monthly comic was telling me I had to wait ten weeks for the next chapters to all these stories. Can you now understand why I was so frustrated earlier? The use of the JP logo on the cover instead of the previous title graphic (I love the logo but preferred the previous one for the comic) was just the first big change to come. Ironically, this issue felt once again like the first one I bought, settling back into a great format after a couple of months of trying to fit too much into its 36 pages. But that would all change. I’ll go into that next time because at this point originally I hadn’t a clue why there was such a long wait. You’ll just have to wait to find out too.

I’ll finish off with a look at the very-90s adverts this issue contains. There’s a teeny tiny liddle widdle radio which would’ve been right up my alley back then and it isn’t dissimilar to that given to Bond by Q in Skyfall many years later. The back cover has an advert for Dark Horse International‘s Manga Mania as the animation style started to take hold here, mainly thanks to Akira (with a hint of things to come for Jurassic Park on the bottom-left of its cover) and there’s a convention to match. Finally, those highly expensive phone-in competition lines which, when you think about it, should never have been in the pages of comics such as this (or the magazine Commodore Format I was collecting at the time which had plenty of them) when so many young readers could be tricked into spending a fortune on their parents’ phone bills. (No, I didn’t.)

So, with a clifftop battle in full swing and a pack of deadly Velociraptors on board a cargo plane we have to be patient and take a breather from the comic for a while. It’s difficult enough to not read ahead but this is going to be ridiculous! I’ll just have to cope somehow. The next Jurassic Park review will be here from (big sigh) Thursday 9th June 2022, just one day before the release of the next movie in fact. Oh, now I’m all excited again!

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JURASSiC PARK #9: SPARED NO EXPENSE

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This review was due on 22nd February, click here to find out about the delay. More catch-ups to come this week.

The cover for issue nine of Dark Horse International‘s Jurassic Park is a strange beast, showing what appears to be Dr Alan Grant killing a Tyrannosaurus rex! Drawn by Gil Kane it’s completely uncharacteristic not only of Alan but for the comic too, which so far has stayed true to the book and movie. Seeing one of our heroes with a massive gun taking down one of the animals like a clichéd action hero, while a second T-rex comes up behind has nothing to do with Jurassic Park!

The cover is taken from the US comic series’ preview issue which contained two small prequel strips. It had two different covers, neither of which reflected in any way to anything that happened within the stories (a pet peeve of mine). They were also seemingly drawn long before the artists even knew what the script for the movie contained. A bizarre thing to begin with then, even more so to choose it for the UK comic when so many other more suitable ones were available in the US series by now. But the real news was those prequel strips had arrived.

In fact there are no less than four strips this month, but with no extra pages some of our regulars have a little less room to breathe. Things kick off with the eight-page prequel story Genesis which shows us the moment ill-fated lawyer Donald Gennaro is shown the secret heartbeat (as John Hammond describes it here) behind the island, which up to this moment Donald thought was simply a luxurious tropical adventure park. Much of the movie adaptation team are back including writer Walter Simonson, Gil is pencilling, Renée Witterstaetter is on colours, John Workman‘s speech balloons are back and they’re joined by new-to-JP inker Mike de Carlo (Crisis on Infinite Earths, Legion of Super Heroes, Animaniacs).

Ground is being broken for Jurassic Park and Gennaro is there for the first of his many visits. Set several years before the movie there’s obviously going to be a distinct lack of dinosaurs for the most part, but this is all about the background to the story, which already had such a solid grounding thanks to Michael Crichton‘s original novel, from which writer Walter is choosing individual scenes. There’s also a baby T-rex and some lovely foreboding imagery, such as the use of an excavator’s clamp digging a deep trench beside the dirt road. It’s clear what this represents to the reader. A nice touch.

Hammond takes Gennaro to a small cabin and shows him some old monster movies, full of stop-motion dinosaurs and the like (a simple trick to get them into the comic), and gets really excited as he explains how these thrilled audiences and the advances in technology have made them more realistic and thus more exciting, a nod to the revolutionary CGI of the film. Gennaro doesn’t care and soon the two men are on their way to the famous hatchery where Dr Henry Wu has summoned them to see the birth of InGen‘s very first dinosaur. It’s a tiny T.rex but Gennaro is still unimpressed.

He’s a numbers man, he wants to see the final product, the things that are going to get people spending money on over-priced tickets to get there. While that much is in keeping with the movie character, I still feel he would’ve had some form of awe towards the first living, breathing dinosaur baby in millions of years! The fact he’s actually disgusted by it is a bit much. For me there are also too many instances of movie dialogue being used. It’s meant to come across as clever foreshadowing, but with the amount that’s used it just feels forced and unoriginal.

Because of the overuse of this dialogue for all three characters these final scenes come off as plain silly. Gennaro saying he wouldn’t walk out of a men’s room to see the T.rex is an oddly specific thing for someone to say, and of course it’s only written here because of how he’d memorably meet his fate in the film. Perhaps without all the other movie dialogue (and especially without Hammond’s retort!) it would’ve been a funny touch to end on. All-in-all, it’s a strange little strip. It adds nothing to the Jurassic Park story and actually does a bit of a disservice to the characters involved.

The war is on.

Much better is the next chapter of Age of Reptiles. The ongoing Jurassic Park sequel is still in here but 11 pages of Ricardo Delgado‘s incredible creation is next up, breaking the comic up a little. After the cliffhanger last issue there are no prizes for guessing the pack of Deinonycuses are down another member. After one of their friends has his head bitten off and his body dragged back into the water we get a funny moment of the fish (which distracted him in the first place) wriggling its way across the rocks and plopping safely back into the lake.

The two remaining members of the group, leader Dark Eye and Quetzal are spending their day stalking a giant T.rex called Long Jaw, the same one we got acquainted with last time. What are they hoping to find out? That’s for another episode. This issue, they witness from afar the ‘rex challenging the leader of a herd of Triceratops, each one beautifully and individually coloured by James Sinclair. The leader of the herd isn’t backing down and roars at the ‘rex, the giant predator remaining silent, the small bird on his nose responding instead.

However, as you can see from the second photo above, after many cries from his mate the male Triceratops takes a look at the Tyrannosaur‘s slowly opening mouth and decides to heed her warnings, leaving a miffed T.rex behind in a moment that did make me laugh. It was a fight for the sake of a fight, it was never about predator and prey, but that panel with the little squiggly line above Long Jaw’s head depicting his annoyance is a great comedy moment after a few pages of tense build up.

We rejoin our two smaller dinosaurs as they return to their nest only to find that while they’ve been following one of the Tyrannosaurs, Blue Back (who they originally ran into back in #6 when all this began) took advantage of their absence and has killed everyone else in their pack in revenge for the theft of his family’s eggs in #7. Once he sees the shocked look on their faces he simply drops the final body and leaps across the chasm in an echo of their escape from him, disappearing into the jungle. The war is on.

Once again Ricardo’s pacing is superb and his art gorgeous, with James’ colours the perfect accompaniment. There’s action, an interesting story, individual characters and some genuinely funny humour. It was always a highlight of each issue and was the first strip I’d read every month. While it was originally released as a book I prefer getting little chunks of it at a time. It highlights the tension and obviously makes it last longer.

Every creature here is so full of character but where did I get those wonderful names from if there are no written words in the strip? Well, included in this issue is a bonus Cast of Characters page from the book. It would’ve been good to have had this alongside the first chapter but it’s better late than never. Also, there appear to be some interesting new characters to come. I can’t remember them so I’m excited to see where they fit in with everything. More exciting times ahead.

Our regular Jurassic Park strip has been cut down to only six pages but we can’t really complain when we’ve already had an additional prequel, totalling 14 pages for our title strip. Our regular sequel team return for the first (little) chunk of Dark Cargo; writer Steve Englehart, penciller Armando Gil, inker Dell Barras, letterer John Costanza and colourist/story editor Renée Witterstaetter. Confusingly, the story is called ‘Raptor – Part Four’ on the contents page because Dark Cargo was the second issue in the original American Topps Comics ‘Raptor’ mini-series, and the first (‘Aftershocks‘) was split across the three previous UK issues. This confusing decision to list the strip after the US comic’s individual series rather than the actual strips would continue all the way to the final issue.

Doctors Ellie Satler and Alan Grant awake locked in a cage on a cargo boat with big game hunter George Lawala in charge. The juvenile Velociraptors have been locked up separately right next to them, already wide awake and alert to everything going on around them. This is key (no pun intended for what I’m about to describe), as we see the ‘raptors in the background of nearly every panel of the humans talking, watching what they’re doing. Alan realises his belt is the one with the buckle he’s used as a substitute knife before on digs and perfect to pick the lock, before Ellie notices something happening in the other cage.

We also see the dinosaurs hissing and clicking at each other, Alan deducing they’re discussing them and how to escape. I can remember pieces of what’s to come and it’s definitely a story centred around the intelligence and learning capabilities of these juveniles, and their instincts and observations of the various humans around them. I’m looking forward to reading it again after so long with a fresh set of eyes, especially after enjoying the four movie sequels (so far) which have really delved deep into this.

There’s a funny moment when Alan comments how these are adolescents, the equivalent of human teenagers and says, “Not quite fully grown but wanting to take on the world! The absolute worst group to let loose!” But before they can warn Lawala of the lock picking he sprays them and the ‘raptors with a sleeping agent and off they all nod until next month. Before they pass out Lawala shows us he’s the atypical Jurassic Park villain (before there was such a thing); he’s never encountered a dinosaur before, but he’s a human, and a man, and thus is more intelligent and can control them just like any other animal he’s hunted. We just know that’s going to work out well, don’t we?

“The necessary sacrifices were made.”

Fessenden

It may be just one small scene on board the boat, but it’s atmospheric stuff and has plenty for readers to get their teeth into, building excitement for the chapters to come. I’m actually surprised at just how much of this could’ve been the basis for some of the main stories in the sequels, especially Jurassic Park III and Jurassic World which both did a superb job of building on the themes presented here. It also doesn’t feel like we’re being short-changed with only six pages this month because it’s a perfect little strip in its own right and acts as a prelude to the disaster to come.

Mark Schultz‘s Xenozoic Tales rounds off the issue, once more beautifully coloured by one of my favourite Transformers colourists Steve White (whose current dinosaur artwork needs to be seen) but we only get a measly four pages this time. Obviously, editor Dick Hansom would’ve had this all worked out in advance to give us as much as possible every issue, knowing we’d have extra content this month. As such, there were only four pages left of this particular story to tell. But what four pages they are.

It not only solves the mysteries of that cliffhanger but also grosses us out a little on the way to its conclusion.

So Tenrec returns to Fessenden after the shock cliffhanger and demands a full explanation. The swamp had taken over body, mind and soul of his entire research team, everyone driven to the edge of nervous collapse. But Fessenden was getting incredible results from his experiments; he could solve the food shortage crisis. As you can see above he started performing autopsies on the local dinosaurs and experimenting on his own people, deliberately cutting them off from the outside world so they’d have no choice but to take part. Soon they were thriving in the swamp and even communicating with the animals. But then the physical changes began.

He doesn’t delve deeper, instead making a sudden run for the swamp. For the final page of the story and the comic we’re presented with this below. It not only solves the mysteries of that cliffhanger but also grosses us out a little on the way to its conclusion.

At its centre it’s a typical tale of humans messing with nature and suffering the consequences, so it’s quite appropriate for a Jurassic Park comic. However, it’s told in a very engaging way, is beautifully drawn and I’m so glad Steve was brought on to colour it, he takes it to a whole other level. Any fans of Mark’s comic really need to hunt this down because this particular coloured version is exclusive to Jurassic Park.

Despite the rather average headline prequel story this month, this is still one of the best issues yet thanks to just how enjoyable the three ongoing serials have been. It bodes well for next month, that’s for sure. The next issue’s review will be here from Tuesday 29th March 2022.

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