Tag Archives: James Sinclair


Another issue of Dark Horse International’s UK version of Jurassic Park hit shelves 28 years ago today with a slight redesign to the cover, an even split inside once again and a few extra pages, although not quite the number it had before. Michael Golden’s cover is framed this time and the text is reduced, resulting in us being able to see more of his excellent art. Such a shame the best cover art of the series wasn’t given this treatment last month, eh?

The monthly comic had always totalled 36 pages but last month this plummeted to 28. There are 32 here so it’s slowly returning to its previous size and it’s made up of 16 outer pages made of a higher quality grade of paper, with the inner 16 the usual matt. Just like last month the Jurassic Park strip and the Age of Reptiles back up are given the same amount of room to breath, so with the increase in pages that’s 14 a pop. A nice chunky read this month and it’s a corker.

Steve Englehart’s official sequel to the first movie continues with the first part of Rush!, however on the contents page it’s listed as ‘Raptors Attack: Part One’, the name of the four-issue mini-series in the US, the first story of which was Rush. A strange decision by editor Dick Hansom, particularly when it’s not explained and at the time, without the aid of the internet to look such things up, I assumed the comic was making up a name on the contents page but didn’t know why.

But that’s not important. What is, is that this sees the first steps in a story which may seem somewhat familiar to fans of later instalments in the movie series decades later. Doctors Ellie Satler and Alan Grant wake up after supposedly having blacked out when their plane crashed (we’re told the jungle was so thick it slowed their fall just enough) and find themselves guests of a man named Raphael in the middle of Colombia. But it’s not just our human characters he has taken in.

We find out Raphael is known as the “Columbian Criminal” by US politicians, although he says he’s innocent because the drug trade would continue whether or not he was in charge, he just profits. He comes across as a charming individual, but his isolation in the middle of the jungle, hiding from authorities while maintaining his empire, has made him somewhat paranoid. He believes the crash has delivered the perfect solution. Knowing all about Hammond’s island thanks to his links in the corrupt government, he’s going to train the Velociraptors to be his guard dogs to protect those profits.

As you can see above the dinosaurs aren’t happy about this at all. Caged up with electronic collars, the ferocity of the animals trying to get at our heroes through the toughened glass is perfectly captured by penciller Armando Gill, inker Fred Carillo and colourist Renée Witterstaetter (who, as always, is also Story Editor), with John Costanza’s letters working a treat at conveying the sound of their fury. Only two ‘raptors are being trained so far though, the third is being kept separate and still recovering from its injuries, only alive thanks to Ellie’s intervention last issue.

While the American government continues to track their plane, the doctors try to convince Raphael what he’s attempting is impossible, but he uses humankind’s taming of wolves as an example to prove them wrong. Raphael even tells Ellie, while she tends to the wounds of the injured ‘raptor, that if it is indeed impossible he’ll have no more need of her and Alan. They’ve no choice but to help. Above you can see his first attempt at control while Alan and Ellie watch on helplessly.

This continues for a few pages and the reader actually begins to feel sorry for the ‘raptors as they continue to disobey, trying to escape, their anger at Raphael clear in their eyes, as they get electrically shocked again and again. Alan and Ellie beg him to stop but it falls on deaf ears. He’s completely crazed and doesn’t understand why they’d wish to protect animals who would tear them apart given half the chance. Eventually they tire, looking beaten, completely defeated. But they’re faking it to stop the pain, regaining their strength for one final attempt at attack.

The artwork has definitely gone up a notch

Things conclude for now when our heroes’ protests become too much for Raphael and, combined with his annoyance at the dinosaurs’ disobedience, he orders them to go and tend to his new pets. A ‘raptor in a cage weakened from a shotgun wound is one thing, but being thrown into another with these two is something else! This is the cliffhanger for this issue and I can’t remember what happens next, so the dread is likely reminiscent of that I felt back in 1994 when I also had to wait a month for the answer!

While it’s the same creative team behind Rush! as we had for Dark Cargo, the artwork has definitely gone up a notch. The dinosaurs in particular look how they’re supposed to again and the story was incredibly exciting as a teenager. Remember, this was a few years before The Lost World: Jurassic Park so we hadn’t seen anything like this yet, we’d only seen these creatures on the island, nowhere else.

If you were to read this issue and the following chapters (from what I remember of them) for the first time now the impact may be somewhat diluted after the five movies that have followed, but I’m still just as thrilled as I was back then because that’s how I instantly feel when I open each issue, like it’s 1994 all over again. Back then this was the only sequel and it was developing the original movie’s plot in ways I’d never imagined.

It feels epic yet it’s ultimately just a tale of two dinosaur packs so we’ve got to know the individuals involved

Moving on to the second half of the issue and it’s hard to believe we’ve only had seven parts to the simply brilliant Age of Reptiles, superbly written and intricately illustrated by Ricardo Delgado with the bright and vibrant colouring of James Sinclair. The connection I feel I have with these silent comic stars makes it feel like I’ve been enjoying the strip for a lot longer. It just feels so epic yet it’s ultimately a small tale of two packs of dinosaurs so we’ve got to know the individuals involved, each one standing out with their body language or distinct markings.

We begin with the Deinonychuses walking alongside a huge Ultrasaurus. Initially we think they’re maybe just heading in the same direction, or using the huge beast as cover, but then she begins to tire and eventually collapses, dead from a series of smaller wounds inflicted on her by the pack. But in a moment that shows the brilliance and the humour of Delgado, they realise they’re not alone for this potential feast, above.

Regular readers of the blog may recognise some of the characters below, although I must say I’m a little disappointed they’re only in this for a page or two and that’s it. Being named in #9’s ‘Cast of Characters’ I was looking forward to their introduction, especially Hades, our red Carnotaurus friend there, but they’re no sooner introduced when the story moves on. But their presence is important. As a result, all but one of the Deinonychuses want to make a run for it, as you can see in the funny series of panels below. This is what I meant by how Ricardo is so good at character through body language.

Surprisingly, while we’re led to believe Hades and his team’s arrival would lead to a fight over the food, instead a battle takes place between Dark Eye, the current Deinonychus leader who listens to the worry of the pack members and leads them away to fight another day (in the photo above see the bottom panel, dino on the right), and Quetzal who wishes to stay and claim their prize (they’re the angry looking one).

There’s a bit of back and forth, then the rest desert Quetzal to fight for the food alone, but she leaps on top of Dark Eye and next thing we’re underneath a huge skeleton in the barren landscape for a leadership battle.

A gorgeous, epic spread. This continues for another page or two and at one point they rush each other, claws bared as they pass and we see blood fill the frame. But whose was it? In the end, in a shock twist, Dark Eye is the one to fall, leaving Quetzal to assume control.

I loved the suspense here (played out over more space than I can show you) and was genuinely surprised when, panel by panel, I saw it was Dark Eye who had lost. I was even more surprised to see the amount of blood and too know they’d actually been killed.

Age of Reptiles isn’t a strip for those who like to rush through their comics, this is for people like myself who really take their time, savouring every little detail in each panel before moving on to the next. Especially since this strip contains absolutely no words at all, changing scenes, times of day and handling transitions all through visual queues. There are so many little details that come together to tell this story, you’ll spend just as long with it as you would with a wordy strip from any modern comic.

So what could this turn of events mean for the pack in their war against the Tyrannosaurus rex families? With their new, dangerous leader at the front the final page of this penultimate chapter sets a moody scene as they return to their nest where one of the rex females had previously killed so many of them. On the one hand it’s disappointing to know there’s only one more part of this wonderful story to go, but on the other it’s the moment it’s all been building to. I’m so glad my memory has failed me and I can’t remember how it ends because I’m (probably… again my memory!) as excited as I was back then. I can’t wait to see the conclusion.

A consistently great title, Jurassic Park has evolved and changed over the past year. My favourite format was definitely when we had three strips consisting of the film sequel, the strip set in the age of the dinosaurs and the sci-fi futuristic strip with added dinosaurs. But from memory the rest of the comic’s run would be two strips, with just the one back up, like this and last month’s issues. That’s not to say there are no more changes afoot, however. For now though, there’s another month’s wait ahead until I find out how these cliffhangers revolve themselves. Issue 13’s review will be up from Thursday 4th August 2022.


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 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 of one of ‘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 coloured by 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 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 (the missing pages are added back in next time) 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. 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!


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.”


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.