Tag Archives: James Nicholas

RiNG RAiDERS #5: ELECTRiFYiNG STAKES

Being the only issue I somehow lost between childhood and bloghood this cost me a pretty penny a few years back but it was worth it to have the complete collection again. The superb Ian Kennedy cover featuring my favourite Skull Squadron aircraft, Skull Leader Mako‘s Mig-29 ‘Sea Hunter’ certainly softened the blow to the bank balance. Regular readers may wonder why the question on the cover is being posed when we’ve already seen the answer in #2, but that was a secret for the readers. As far as the Ring Raiders were concerned it was still unconfirmed and made Mako one to fear.

I love the details in the cockpit (something the toys simply couldn’t have due to their size) and the size and power Ian brings to his renderings of these planes. I also love that crosshatch effect for the sky which adds the illusion of texture to the glossy cover. Inside, editor Barrie Tomlinson‘s Battle Zone ’99 comes to its conclusion after beginning back in #2. A more lighthearted affair than the other strips, it’s acted as a great way to introduce the relationship between the calculating Skull Leader Chiller and his own leader Skull Commander Scorch, which comes to a funny conclusion on the final page.

Carlos Pino‘s work has been colourful and fun throughout, perfectly suiting the fast action script and bringing the comedic moments in the air to life. But in this final part there’s something of an anomaly. Chiller’s wingman just doesn’t look right, does he? It’s a mystery, the answers lost in the mysts of time that were the late 80s, but it looks like he’s been altered after the fact. Perhaps the wrong character was drawn originally?

As for the story, which started off with the death of so many sailors on board a submarine, it ends more like an episode of the cartoon series. Chiller’s wingman lands to rescue him but his plane is a single seater so instead of joining the fight on the ground he’s unceremoniously strapped to the prop plane’s tail while Chiller commandeers it. It may have been light on plot but as an action-packed way to kick off every issue it’s been a short, to-the-point bit of fun. With the comic introduced, Barrie and Carlos will team up again next issue for its replacement in a serial which features more plot and the return of Chiller as the lead villain.

In the continuing Trackdown written by Angus Allan and illustrated by John Cooper it looks like Freddie Riley and the professor’s adventure is coming to an end as they approach Wing Commander Joe Thundercloud on a supposedly deserted airstrip, unaware Blackjack and his Harrier ‘Battle Bird’ lie in wait. The panels showing the Ranger helicopter and then Riley’s point of view feel like the camera (for want of a better word) has zoomed inside in one fluid movement. Just me? Well, that’s how it felt to me. John Cooper was certainly cinematic in his storytelling.

In this episode the story transitions back to the characters from the toy line as Riley and the professor are beamed aboard the Air Carrier Justice where they watch the unfolding drama alongside Ring Commander Vector. As much as I enjoyed the comic’s original creations Riley and Runtz I never felt disappointed with the way the story changed its focus here. It was just the natural way for it to go when Riley’s situation was resolved. It’s a fast-paced story but it’s full of character and each issue brings another layer to the plot. It feels masterfully planned out, so kudos to Angus for doing such an amazing job with his first story for a brand new franchise.

As a kid I loved the scenes on the ground just as much as the air combat that was at the heart of it all. While they could be shot down, which we’ve seen plenty of in fact, there’s a feeling of invulnerability in the air and a vulnerability when they’re on their feet. Here it adds suspense as Joe lies unconscious, helpless as Blackjack does his cool vertical takeoff with the doomsday device, after confirming the ambush worked perfectly because he can radio control his bird on the ground. A nice little piece of information from the toys there.

(I have to admit I’ve always found the way Harrier jets take off and land just amazing to watch too.)

Skull Leader Hubbub is a Vietnam vet. Having fought for America he’s been left damaged by the ravages of war.

In pursuit, Joe can’t shoot down or even cripple the Battle Bird, not with the Doomsday Device on board. Unable to stop it being taken back to Scorch the strip ends with a feeling of complete helplessness. I can’t remember what happens next, so just as I had to originally I’ll be waiting two weeks to find out. One thing to note here, there are a couple of references to Thundercloud’s heritage which read rather differently today and which I’m ashamed to say I glossed over at the time. But given how they’re used by the Skull pilots it adds to their viciousness in the panels in which they’re used.

Scott Goodall‘s complete tale this issue focusses on the Skull star of the Bomber Blues serial, Hubbub the Skull Leader of Rebel Wing. We’ve seen him use his electronic weaponry in that story and here we learn of where his fascination with electricity’s power began. It all kicks off with this glorious splash page by Geoff Campion showing the kind of air battles only this comic could be capable of. The lightning, Vector’s stealth fighter powering into the scene, even another Harrier doing a daring manoeuvre with those vertical jets, it’s all there in one panel. Exciting stuff!

Originally the owner of a rigged slot machine parlour Hubbub thought he was a tough guy, emperor of his own little domain. He’s also a Vietnam vet. Having fought for America he’s been left damaged by the ravages of war. This theme of the Skull Squadron was pointed out in an earlier issue. We were used to our heroes in everything from The A-Team and Knight Rider to Airwolf and Magnum P.I. being veterans of that war and we learned how it affected them. To see it played out in my toy licence comic was great, especially how it told of the horrors faced during that war turned the vets into the bad guys instead.

With all of these little details building up issue-by-issue, character-by-character it’s all the more heartbreaking to know they didn’t get to flourish in a long-running comic where these various aspects of their personalities could have been revisited in future serials. However, it wouldn’t be the last time the ghosts of Vietnam would be felt in Ring Raiders, although you’ll have to wait for the special in the early months of next year for that particular story.

Surprisingly, when he’s robbed at gunpoint in his office we see how much of a coward Hubbub actually was in the days before Skull Squadron, cowering while the thieves use harmless pop guns to escape. The police don’t care either because they know he’s a crook himself (and actually in the end this cop is the ringleader of the thieves). Through contacts in Chicago’s rough South Side he’s able to stake out the next target and hide on the roof of their van while they make their escape.

Falling off when the driver loses control on the wet runway of the airport from which they’re going to flee the country with their last score, Hubbub finds himself at their mercy, outnumbered and this time their guns are very real. It’s at this point his life is miraculously saved and thus begins the creation of the character we’d grow to love (or love to hate); a sudden bolt of lightning strikes the metallic dish on top of the van the thieves had put there (to make it look like a repairman’s vehicle). The bolt blinds them long enough for Hubbub to make his move. We then finish things off with a little more of his history and a gorgeous final few panels as he rounds off his tale.

After Ring Raiders was cancelled the new year brought a new partwork to my newsagents called simply Airplane and I collected the first handful of issues. My interest was in no small part thanks to how the comic would treat these fantastical airplanes in as real a way as possible, always referencing them by their proper codes and names, and then there were historical scenes like above featuring Vietnam and other real world conflicts. A new series of pin-ups next issue heightened my enthusiasm too. I’ll talk more about that next time, but for now just look at those final few panels, making the transition from Vietnam to the world of the Skull Squadron via the aircraft Hubbub used. Beautiful imagery to end an engaging and fun little story with surprising depth.

After the letters page the Next Issue promo feels retro even for this 1989 comic. Featuring a biplane, a big banner to the left and a headline along the wings of the plane, it reminds me of what Barrie might have used to promote an issue of Battle for example and I love it! If the Ring Raiders toys had been more successful I honestly believe this comic could easily have been seen as a modern, high-tech version of those classic war comics. It certainly had the writing and artistic talent for it!

Moving on and another story comes to a rather sudden end in part five of James NicholasBomber Blues, drawn by Don Wazejewski. It also includes what I originally thought were contradicting actions from Raider ‘Cub’ Jones. He begins by blasting a crashing Skull plane out of existence to save Hubbub who had ejected from his own aircraft last time and was standing in the crash zone. I like this; the Raiders have a code and will always aim to capture rather than kill.

But then on the very next page he inadvertently places innocent lives in danger. One of Hubbub’s wingmen sees an opening but isn’t prepared for Cub dropping his flaps and undercarriage to drastically reduce his speed, letting the Skull pilot fly past before returning fire. It’s a neat move and the pilot ejects to safety but the plane crashes right into the airfield below, the very one Cub had been trying to protect this entire time.

The World War II pilots run for their lives and barely escape. I remember thinking this went against that code I mentioned, so why did he shoot the plane down there? The key moment here is the Skull pilot’s final radio communication. “Double engine flameout! All power lost… entering terminal dive!” In other words, he’s known he was going down and at the last moment forced the nose down early, aiming the flaming plane towards the hanger.

It’s certainly a dramatic twist, which makes the sudden ending all the more strange. Another wingman lands to pick up Hubbub who takes a leaf out of Chiller’s book from earlier in the issue and forces the pilot out, taking the airplane up alone to face off against Cub for the final fight (leaving the pilot in the middle of World War II I’d assume). There are some great acrobatics as his slow prop plane tries to angle itself into the path of the jet but ultimately he flies out of the time zone in retreat. We’re now down to the final few panels and Cub opens up a time jump too and signs offs!

He disappears, leaving the wreck of the airfield below him, telling the men he’s befriended that he’ll see them again when needed. He could at least have helped with the clean up. To be honest, Bomber Blues has been a blast from the start and Cub’s affinity for the people battling in the time zone he was originally plucked from was something I would’ve liked to see return in a later issue.

I do think this final chapter could’ve been split over two issues though so that it could’ve included at least a page of some kind of epilogue. As it stands, it’s still a great action-packed story notable for taking place almost exclusively in the air, the ending is just a bit rushed.

This issue’s advert hasn’t got much in the way of original art this time that’s for sure, just a tiny F-9 ‘Sky Tiger’ taken from Bomber Blues. But what it does contain is a lot of memories. Looking back at this I’m thinking, “Oh I had that, and that, and that!” In fact, I had everything shown here! Well, except my Battle Blaster was a Ring Raiders model not the Skull Squadron one.

I can remember opening the giant boxes for those three bases on Christmas Day, although unlike the photos here (or indeed the images on the box) my Sky Base Freedom was just the Sky Base Courage mould painted another colour with different guns. (I see in this photo some of those accessories are missing too.) Those are some very happy memories, only marred slightly with the knowledge the comic had already finished.


Mako got Baker in that last scrap over the fort, Commander! Didn’t see him bail out!”

Tremlet, Freedom Wing

While Mako and Yuri Kirkov both made the cover it wasn’t in relation to their strip. Perhaps that’s a sign they were arch enemies, destined to face off time and again. For now, Tom Tully‘s Freedom Flight continues with part six and the fort is on its last legs with Mako leading the rebel planes in a spectacular assault as presented here by Sandy James. Mako and his men easily take out the government planes, leaving the ground forces at the mercy of the rebels.

Kirkov’s plane is nearly repaired, catastrophic damage from Mako’s previous attack being averted thanks to his use of the ring last time, and he’s frustrated as he helplessly watches the battle unfold. Interestingly, he uses his ring to power the monitors and surveillance cameras of the fort which had lost all electricity. Getting impatient he finds out that repairs have stopped because of a very simple reason: It’s 1966!

His incredible F-4 ‘Comet’ is from another time and the ground crew have never seen anything quite like it. They’ve been able to slap together repairs on the physical damage but when looking at the hydraulics they come across computer circuits and controls like something that might as well be from a sci-fi movie for them. I liked this small bit of technical information and it brings up a conundrum with the whole time travel thing. Little scenes like this show the writers are taking the subject matter seriously. Yes, it’s all fun and far-fetched nonsense, but ground that nonsense with some moments like this and you can inject real jeopardy into the fantastical set up.

Kirkov takes a gamble, assuming that after the physical repairs all that’s needed is a little bit of power, something that normally would be out of the question but which the ring may be able to provide (as established with the fort’s equipment). There’s a rather corny caption to go with it, but apart from that it’s another enjoyable episode. It’s the only story so far to use the ring for its main purpose and we saw how it could have a detrimental effect on the pilot last issue. I’ll assume here it’s more like jumpstarting a car.

By this stage all of the members of Freedom Wing have been named and we find out Baker has been shot down, with no sign of a ‘chute. We’re left to presume one of the Ring Raiders has been successfully killed by Mako as they fly to a three-on-three battle next issue. High stakes indeed. In fact, Freedom Flight and Trackdown both have the highest stakes for our characters and a real feeling of peril, and it’s because of this that they’re definitely my favourites. So far anyway.

From memory the next issue is the best of the run but of course it would also contain the very worst news imaginable. You can see how it manages to both thrill and sadden when the review lands on the blog on Thursday 25th November 2021.

RiNG RAiDERS #4: A COMiC WiTH TEETH

With a gorgeous hand-painted Ian Kennedy cover and a larger logo there’s an air of confidence about this issue, the fourth in Ring Raiders‘ short life. It really felt like it was settling in for the long run. But just look at that piece of art! The covers don’t actually relate to a particular story point inside, but this was never an issue for us readers. We just wanted glorious, attention grabbing art like this every issue and that’s exactly what we got, with every one by Ian from now on.

While the pin up inside would tell a short story explaining the cover image, the covers for the likes of Mask, Super Naturals and even Teenage Mutant Hero Turtles Adventures (all edited by Ring Raiders’ Barrie Tomlinson) would instead highlight some of the characters (or planes) featured inside rather than a particular plot. Known for his love of painting aircraft, Ian is the perfect cover artist for Ring Raiders and never fails to bring the little toys to spectacular life.

Inside, all of our stories continue apace beginning with part three of Barrie’s Battle Zone ’99, drawn by Carlos Pino. The comic has a great mix of scripts with some focussing more on the action, some on the plot and some on individual characters, with the best incorporating all three elements. The comic likes to kick off with pure action. Skull Leader Chiller has been able to get inside the gravity-powered sub after subduing the last of the crew and made his way to the weapons controls, firing off the anti-aircraft missiles. When the Ring Raiders fire their flares the missile is blinded and locks on to the first thing it detects, Skull Commander Scorch!

There’s some funny tit-for-tit between the two Skulls, their leader expertly evading the missile and setting it on a course for the sub, where it passes metres above Chiller’s head! Summoning his Bandit Wing through time the stage is set for a final confrontation, but is it going to be between the two sides of the conflict, or the two Skulls? There were no lengthy plans for the comic’s overall story yet but throughout the run it does seem Chiller would like to assume control, and with some of his schemes he could be manoeuvring himself to make a play for Scorch’s position. An interesting dynamic, played for laughs in this story.

Eagerly I move on to part four of Trackdown from writer Angus Allan and artist John Cooper and the tension is building. Upon first reading we may have thought this was building to a climax but in reality it’s far from its conclusion. With Blackjack‘s Havoc Wing lying in wait to ambush the Ranger helicopter occupied by Riley, Runtz and the professor, Riley’s commanding officer Joe Thundercloud and his men swoop in to save the day. In the chaos Riley overpowers Runtz, knocking him unconscious and using his radio.


Housed in Sky Tiger’s forward underbelly, Tigerclaw is a retractable pod of 25 miniature missiles that can each be remote controlled by the plane’s on board computers.”

Those Characters From Cleveland/Matchbox

With no radio on board the original plan had been to pass one from one aircraft to the other so that the Air Career Justice could triangulate their position and beam them and the Doomsday Device safely to the landing bays. There’s also mention of using the telepathic circuits inside the rings, which is the first they’re officially mentioned. They’ve been hinted at, that somehow they can communicate with each other using them and how the rings can send warning signals through time, but this is the first we’ve discovered the pilots can speak to each other in a kind of telepathic fashion via the high-tech jewellery.

But, with communications back thanks to Runtz’s radio the Raiders no longer need to make such a dangerous play, much to the chagrin of their Wing Commander.

I really am enjoying the original character of Riley and the brilliant writing (only four issues in) has me believing these men really do have a solid friendship and history together, despite very obviously coming from completely different backgrounds. With the Ring Raiders assembled from various points throughout history and from all across the globe they were an extremely diverse bunch. It was one of the things I liked about the set up as a kid and, I have to say, as an adult now.

The humour between them is very natural and I think it’s wonderful how the wing’s leader, such a noble warrior on the surface, just wanted to show off. Some comics could be painfully obvious in being licenced fare, their one purpose being to sell toys, the stories feeling little more than toys moving about in long, elaborate adverts. But it’s a testament to Barrie as the driving force and his assembled creative team that Ring Raiders feels like it’s an action adventure comic first, a licenced title second.

When I see my second favourite comic ever paying homage to a favourite film of mine, it just brings a huge smile to my face.

We have a change of artist for the complete character tale this issue. ‘Salty’ Salton: Super Stunt Pilot from 50 Years Ago gets brought to life by another member of Barrie’s regular team, Geoff Campion (TV Comic, Battle Picture Weekly, Action Force). Geoff brings a lovely classic comic feel to the strip (beyond the fact the comic is already 32 years old), which is just perfect for a tale about Salty as a young gung-ho stunt pilot in his prop plane, a mysterious cursed lake and hidden underground lairs.

After being freaked out by a set of clockwork toy teeth in the dining hall of the Air Carrier Justice, Salty relates a story of the death of one of his stunt partners. Due to perform low-level aerobatics over the idyllic Murchison Lake in Wyoming, a local tells Salty of missing people, dead bodies on the shore and giant teeth marks on the sides of sunken boats. Not believing any of it, Salty watches in disbelief as one of his best friends flies behind an island in the lake and, instead of pulling up to do his stunt, his plane explodes while he’s out of sight.

One of the other stunt flyers had been in the air and lands safely but is terrified of going back out over the water again. Salty takes to the air to investigate and over the wreckage he gets the shock of his life as a giant shark, bigger than anything he could imagine, leaps out of the water and damages his plane, only his unique skills saving him from certain death. His inner thoughts echo those of his terrified friend. “It’s teeth… all teeth… and jaws!” That final word is important.

Crashing on the island and noticing a manmade cave entrance, Salty soon discovers a secret Skull Squadron base under the lake and a control centre for a huge robotic shark, used to terrify locals into staying away. This is all revealed through this wonderful panel arrangement above, the lair taking up the middle of the page while the story plays out around it. What a wonderful design and a fun way to tell the story as Salty programmes the shark to home in on the base and crash through the observation window, flooding everything. Below is part of the final page of the story and this is where that important word above comes in.

Firstly, I should explain my favourite film of all time is Jaws and I have a soft spot for its second sequel, Jaws 3D. I even upgraded my TV and BR player about five years back so I could finally see it the way it was intended. Hands down the best 3D I’ve seen in film. Anyway, at the end the giant shark in the film spots our heroes through an underwater observation window and swims straight through it, the gushing water scattering bodies everywhere.

The end of this strip feels very familiar, right down to the little details like the shark coming head on at the glass in the background. If intended (and I can’t see how it wasn’t) I personally think it’s a great homage. I can’t remember making this connection as a kid but now when I see my second favourite comic ever paying homage to a favourite film of mine, it just brings a huge smile to my face. It’s fun, silly (in a good way) and completely far-fetched. I think fans of the movie would appreciate it. Writer Scott Goodall is either one of those fans or is having a great time poking fun at the film.

After a page of letters we have a brief look at the next issue. No story details, just the fact Skull Leader Mako‘s Mig-29 ‘Sea Hunter’ is on the cover and he’s the pin up. Of course, we know Mako is one of the stars of the ongoing Freedom Flight strip so his being on the cover makes sense, as I mentioned above. I have to say I’m looking forward to seeing his shark motif aircraft (this image below) painted in full colour by Ian Jackson.

The fourth part of James NicholasBomber Blues once again takes place almost entirely in the air, as Skull Leader Hubbub narrowly avoids death at the hands of the youngest Raider, ‘Cub’ Jones during World War II. Using his jamming system at the last second he sets the missile on a return course back to its sender, the decor of Jones’ plane suddenly looking less fearsome and more terrified!

I joke, of course. The strip is packed full of action and plenty of twists and turns, the reader never quite sure who’s going to come out on top. If there’s one thing the comic had taught us already it was the good guys can get shot down just as often as the bad guys. Even last issue’s cliffhanger for this story was the missile homing in on Hubbub, for all those young Skull Squadron fans. So the outcomes of individual battles was never certain.

From here it turns into a battle of wits between the two air aces. The missile is bounced back and forth until it’s finally destroyed by Jones blasting it out of the sky with his 20mm cannons. It’s at this moment the personal nature of this mission takes a hold of him. Plucked out of the war to join the Ring Raiders it’s like he has unfinished business in this time period, so he’s taking the chance to save those the likes of whom he left behind first time around. It adds an air of determination to the character so when he unleashes his ultimate weapon you know he’s here to end this once and for all.

Well that missile pod is rather unique! I’ve looked up the licence information Barrie and James kindly sent me (which I’ll cover in-depth at a later date) and while the toys were obviously too dinky for detachable weapons and hidden compartments, in the information provided by Those Characters From Cleveland was the following:

“But of all the modifications done to his F-5, the most hazardous to Skull Squadron planes has been its Tigerclaw mini missile system. Housed in Sky Tiger’s forward underbelly, Tigerclaw is a retractable pod of 25 miniature missiles that can each be remote controlled by the plane’s on board computers and used against air, land and sea targets.”

The little mini-comics we received with our plane packs must’ve contained these details, to light our imaginations while playing. This particular weapons system certainly sparked James’ imagination and results in Hubbub ejecting as his craft explodes, although he does make quite the impact (figuratively and literally) as he lands, thanks to artist Don Wazejewski‘s expressive faces. Details like this and James’ obvious enthusiasm for the subject matter, both in airplanes and the actual licence, shines through in a real treat for die-hard fans of the toys.

It’s commercial break time and another advert created by the comic’s creative team with a Sandy James drawing of Ring Commander Victor Vector and some Wings photos. Recently Barrie told me he couldn’t remember if these photos were taken in-house or supplied, but he did say if it had been up to him they would’ve been more professional. I never thought anything of it at the time, but now I can see they could definitely have been better. I think they’re just black and white photocopies of the colour images on the packets, resulting in a rather muted end result.

Next to this is the pin up I mentioned earlier. It’s also drawn by Sandy and then it’s on to the fourth chapter of Freedom Flight where he’s able to add his particular style of colouring to the tale of a government on the verge of being toppled by a rebellious uprising, written by Tom Tully. Last time we saw Wing Commander Yuri Kirkov use his ring to energise his failing F-4 Phantom ‘Comet’ just enough so he could touch down on solid ground, much to the annoyance of Mako.

Kirkov has unknowingly landed in rebel territory and quickly finds himself surrounded. As explained before, when a ring is used this way it also floods the pilot with energy in order for them to be able to control the aircraft, but all of this drains the pilot, so Kirkov isn’t in any condition to make a run for it and finds himself captured. His wingmen are soon on the attack though, strafing the advancing troops and again it’s nice to see a strip namecheck the pilots who were left unnamed in the toy line.

From speaking with Barrie it seems Matchbox and Those Characters From Cleveland told him he was pretty much free to expand on what the toys had set out. Apparently they were very happy with what was being produced in the comic and when you have strips like this, who can blame them? I just adore Sandy’s colouring, with the bright, bold livery of Freedom Wing replicated throughout the rest of the art. I think this is really rather neat, his colour scheme for the whole strip centred around those of the toys.

Thus ends another issue of a simply fantastic comic series. When you take a look at the comic as a whole it’s great to see so much strip content here for the licence. Marvel UK comics would have maybe one or two strips, maybe a non-related one as well and in some cases a small text story, the rest of the pages filled out with extra features. Some were great, some were fillers. Fleetway’s own Super Naturals was more like an anthology comic, with two of its five strips not related to the licence. However, for Ring Raiders we got five superb strips, each taking us on completely different adventures with this huge ensemble cast.

The next issue was the only one from my original collection I lost over the years and I had to track it down online. It’s a corker and was worth the inflated eBay price. We’ll actually see some of our current stories come to their conclusions too. So check back on Thursday 11th November 2021 for #5.

WiLDCAT #1: NEW ARRiVALS

So it begins! I can remember the excitement of buying this after the hype of the preview‘s end of the world storyline. This may have been the same size of paper as OiNK, but there was something about Wildcat that just made it feel bigger in my hands. It was such a complete package (the stories, the art, the characters, the scenario) the excitement kind of overwhelmed me, to be at the start of such an epic comic! Of course, with hindsight I know it only lasts 12 issues, but I’m sure as hell going to enjoy the ride again!

Ian Kennedy draws the attention grabbing front cover. Ian was a mainstay of many of creator and editor Barrie Tomlinson‘s comics and you’ll see plenty of his work this winter in blog reviews for Ring Raiders and Super Naturals, my other favourite creations of Barrie’s. As for that brilliant logo, Barrie recalls it was created by him and group art editor Doug Church and its design would be carried throughout every strip. So a mere week after my first ever comic (OiNK, keep up!) was cancelled I was collecting the first issue of its replacement. Hey, we moved on quick at that age!

Editor Barrie said it was hugely important to have both a female lead and a black lead

We kick off with a brief, one-page recap of the preview and then we’re straight into the action. Wildcat is broken down into four five-page strips following the leaders’ expeditions and a six-page complete tale set aboard the spacecraft itself. Our first strip is Turbo Jones, the man who predicted the destruction of Earth (although it did explode instead of being hit by meteors, and a few years early) and as with all the main strips this issue we begin with his landing on the surface of our potential new home.

Barrie takes lead as writer (it’s his baby after all) and Ian stays around to bring the inaugural strip to life and Turbo down to solid ground. With a bump. The first thing I notice is how, after he mellowed when surrounded by his fellow crew towards the end of the preview, he’s reverted to being more hard edged again, particularly towards poor Robo, his android sidekick. In the preview he would snap at Robo when he called him “master”, but only because he believed friends shouldn’t do that, but here their strange relationship reminds me of that between early Judge Dredd and his home help, Walter the Robot.

If memory serves me correct (which is quite the ask these days) Turbo loosens up as the strip goes along, particularly thanks to Robo’s friendship. I have a recollection of warming to him and rooting for him with each cliffhanger. But when you think about it, it’s natural for him to be tense, he’s leading the first landing on an alien world after all and it isn’t exactly going well.

Upon arrival his team is instantly captured by a race of beings who call this region of the planet home and are naturally suspicious of these strange alien creatures called humans. Turbo doesn’t take kindly to this and his inner thoughts are full of plans for fighting his way out. But there are a couple of little hints there’s more than meets the eye here, a key theme in Wildcat throughout all of its stories. Our initial reaction as kids is meant to be of shock, to think the same as Turbo, that these wonderfully designed aliens are frightening and a potential enemy.

However, the comic would teach the characters (and thus us readers) the important lesson of not judging a book by its cover. For example, as they fly over what looks like a dinosaur one of the aliens laments how others treat these “magnificent beasts”. These lessons would play out over several issues, varying from one strip to the next. This was long-form storytelling and, while there was plenty of action and building to cliffhangers, nothing ever felt rushed. Twists and turns kept us guessing and we soon understood things weren’t always as they seemed. More on this below.

The next strip leaps off the page. Joe Alien, as drawn by Massimo Belardinelli (Ace Trucking Co., Sláine and a simply stunning Super Naturals strip you’ll have to see to believe) is the only colour strip and suits his style just perfectly. It’s also the right choice for the colour strip, being full of wonderfully grotesque plant life and that intriguing main character himself. Joe is the last of his race, who were all fitted with external brain packs at birth to absorb as much knowledge as possible throughout life to share this with other species. Oh, and they had telescopic limbs.

In this first chapter Joe and his team get acquainted (Joe showing them what happens if his brain becomes disconnected) and notice the landing craft’s scanners indicate the area is rich in vegetation but no other lifeforms at all, so it’s safe to explore. Have they never seen a horror movie in the distant future? It’s not long before a trooper goes missing after encountering a hallucination plant, giving him a vision of his favourite night club, making him want to walk inside without realising the imaginary doors are actually its big, slobbering mouth.

The “burp” just makes this scene. This is a sort of mini-cliffhanger as the strip is split between a three-page chunk and another two pages in the centre of the comic. This was my first exposure to Massimo’s work as a kid and I loved it. The plants feel really textured and the humans themselves have unique chunky proportions to them, bringing a real cartoony feel to proceedings and giving us a false sense of security before the horrors begin.

Our next character is our female lead and by far the most intriguing going in to this issue, Kitten Magee. Between mysteriously avoiding discussion about her father’s death whose money she inherited and telling her robotic pet Crud to make sure her “life dust” supply is packed, the preview certainly piqued my interest in this character more than any other. Refusing to have any men on her team, she and her colleagues land on the planet in a remote jungle swamp area ready for action.

Kitten’s team are the only ones named and given unique character traits rather than being unnamed troopers. We’re introduced to Casandra Cardeti and Doc Barnes in this first chapter and to see the beginnings of a proper team and their interactions as fleshed out characters set this strip apart from the others. It may be all action from beginning to end, but it also manages to cram in enough drama and character development to make for compelling reading.

Encountering a slug-type creature and a giant water-based monster that work together to catch prey, Kitten uses her cunning, physicality and some unique jewellery to cut, slice and burn her way out of trouble just in time. The fantastic, almost scratchy artwork of the late, great José Ortiz (The House of Daemon, The Thirteenth Floor, Rogue Trooper) adds a great deal of atmosphere to the jungle and an immediacy to the action. It’s thrilling to look at.

As a child I was wondering if we humans were always going to assume something different was to be feared but then Doc Barnes laments the creatures’ demise. This was another hint for me that this comic was really teaching us something. It was different and it was laying down the basics here before developing really rather quickly.

In the end Kitten and her team walk off, unaware of the fat male presence floating menacingly above them, hidden in the trees. I can remember the look of this guy and his race but nothing else, so I’m eager to get stuck into further chapters of this strip and see where it goes.


“I was delighted to be offered Loner as my character.”

David Pugh

After Kitten there’s a double-page spread of apparent reader contributions but how is that possible for a first issue? According to Barrie he has memories of visiting neighbouring families of his, knowing where children of the right age bracket were living and asking them to contribute to it after showing them a dummy issue. I know of only one other comic which did something similar and that was #1 of The Transformers which took a dummy issue to a local school to gather feedback on the comic for letters.

Back to the strip action and the moment I’ve been waiting for has arrived. A former mercenary who always worked on his own, with only his specially modified classic six-shooter ‘Babe‘ for company, a rare black hero in British children’s comics of the time takes centre stage at last. Meet my favourite Wildcat character, Loner.

Still arriving down in a multi-person pod, highlighting the sense of isolation in the very first panel, Loner finds himself in a desolate part of the planet and he isn’t happy about it. Seeking some action he finds a previous radiation storm causes him to lose contact with Wildcat so he takes to exploring the rocky desert landscape.

A wide image really brings home the feeling of him being all alone. At least for now anyway. A falling rock is no accident and he spots some indistinct alien figures in the shadows. It surprised me to read this for this review and spot humanoid beings were responsible because I can only remember the little fur balls and the giant, crazy lizard monster to come. More on him in a later review and believe me, if you think the art here is great it’s incredible in coming issues!

Loner was created by Barrie specifically with artist David Pugh in mind. To quote David from 2019’s Loner graphic novel, “I was delighted to be offered Loner as my character. I had perfected a black and white style which I felt had enough texture to not need colour. I enjoyed the challenge of creating a handsome, cool and tough black guy. I was listening to a lot of West African music so my Loner became a cross between Jimi Hendrix and Senegalese singer Baba Maal.” I can see it! Indeed, Barrie told me it was hugely important for him to have both a female lead and a black lead because they were woefully underrepresented in UK children’s comics.

Falling through the ground and discovering a whole hidden world lit by luminescent rocks he finds little furry creatures he thinks could be a source of food. But when one suddenly attacks him, electrifying him, he shoots it dead. Next thing a deafening chorus of chirps erupt from dozens of the creatures surrounding him. One shock may have been a slight annoyance, but this many could kill him. Remembering how these creatures would become his friends later, it’s so interesting to go back to their first encounter.

David says working on Loner was the happiest year in his comics career and you’ll see as we go along how this comes across on the page. For now he’s the main attraction (alongside the free gift) for the second issue in a fortnight’s time. Interesting to see the planet get named here first instead of in one of the strips. Loner was not only my favourite Wildcat character, he was one of my very favourite comics creations from all the titles I collected at the time. I’m looking forward to seeing if he matches up to the memories.

The final strip is The Wildcat Complete. Each issue would end with a slightly longer story set aboard Wildcat itself. Just right, since the comic is named after it. This anthology series would often be of the horror genre with a very Twilight Zone feeling to the stories. For this first instalment the artist is Enrique Alcatena (Batman, Conan, Aliens) and his art brings a suitable spookiness to the Wildcat pilot Lancelot Knight‘s (subtle heroic name) discovery of a strange object outside.

It’s nice to see the inner workings of the Wildcat and get a chance to meet some of the crew. I’m also very happy to see a perfectly 80s sci-fi bridge to kick things off in. What he spots looks remarkably like one of NASA’s Explorer craft, which the young readers would’ve known about at the time. While they were current designs to us, they’re an ancient space craft here.

We find out the one now cruising past the Wildcat famously went missing in 1999, still 11 years in the future to readers but soon enough to make this fantastical tale feel closer to home. With a diverse crew from all over the world this Explorer was sent into space to explode our planet’s last nuclear weapon. We were so optimistic in the late 80s, weren’t we? It has now suddenly showed up again right next to the last remaining human beings in the universe. Naturally Lancelot has to go and explore.

I’ve distinct memories of seeing these ghostly figures and their rotten corpses and the impact it had on me. I knew right there and then this comic was going to continuously surprise me. The Wildcat Complete tales in particular, being an anthology, could be absolutely anything! What a rush that was.

After his own shuttle accidentally disconnects from the Explorer, Lancelot is trapped on board with the souls of the brave crew, who can’t rest until their mission is complete. His shuttle drifts away, as does any hope of ever returning to the Wildcat but Lancelot surprisingly makes peace with his predicament, seeing it as an honour to be able to help these personal heroes. It ends with a lovely panel of the now deceased crew, content at last, with their new eternal companion.

The back cover of each issue would have a colour pin-up of one of the main characters or alien creatures and they kick off with Kitten Magee and Crud, bringing to an end the most original premiere issue of a comic I’ve ever read. A fortnight sounds like a long time to wait for the next instalments of all these great stories but I know it’ll be worth the wait.

I remember thinking the comic somehow kept outdoing itself each issue. Let’s hope it lives up to those expectations now. Remember, remember, Wildcat returns to the blog on Friday 5th November.