Tag Archives: John Burns

DEATH’S HEAD: iN REAL TiME, YES?

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

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

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


“I loved messing with legal”

Richard Starkings, Editor, Death’s Head

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

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

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

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

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

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

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

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

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

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

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

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

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

WANTED GALVATRON: DEAD OR ALIVE

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

HEADHUNT

Transformers #133 and #134

THE LEGACY OF UNICRON

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

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

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

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

As the comic launched another one-page story appeared, this time as an actual advertisement for the monthly. I first saw it in Transformers #193. How could I not rush out to buy it after that? The scan above was taken from #29 of my Real Ghostbusters collection, which went on sale 17th December 1988 while #2 of Death’s Head was on sale. Richard was the launch editor of that comic and told me, “I’d edited The Real Ghostbusters for a year and I knew you could tell a story in one page.”

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

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

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

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

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

See you then, yes?

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

ViSiONARiES ANNUAL 1988: REPEAT PERFORMANCE

When I reviewed Marvel UK‘s monthly Visionaries comic earlier this year the general reaction on social media fell into two camps. There were those who’d forgotten all about the comic and those who never knew it existed. Even fewer knew about this annual. Exactly 33 years ago to the day, back in 1988 I received it on Christmas Day, not knowing about the existence of a regular comic until it was mentioned inside. I was gutted I’d missed out, being such a fan of the cartoon, so finally reading their origin story (which I’d missed on TV) was a thrill.

Of course, today that thrill is diminished somewhat after reading that story several months ago in the comic. I can imagine fans weren’t too pleased that over half the book was reprint material either. But let’s start at the beginning with that eye-catching cover by Martin Griffiths (Thundercats, The Real Ghostbusters, 2000AD) and John Burns (Transformers, Sable and Fortune, G.I. Joe). Only upon reading these for the blog did I realise this was the image produced for the premiere issue marketing. But still, original Marvel UK pieces like this are the envy of American Visionaries fans, just like this opening spread by Dougie Braithwaite (The Punisher, The Real Ghostbusters, Batman) and John.

There’s an editorial matching the comic’s design, although at least here it’s all hype for the annual in the reader’s hands rather than advertising for other titles. Surprisingly it explains the strip is a reprint but it does make a big deal of the fact there are two brand new prose stories and a handful of fact-files. There’s also the obligatory space to fill in your name in case your friends decided to steal it away from you.

Monthly Visionaries editor Steve White is credited as designer here, most likely because most of the design is lifted straight from the comic with minimal changes. The editor is Marvel UK stalwart Richard Starkings (Transformers letterer, The Real Ghostbusters launch editor, Elephantmen writer and Comicraft founder) and with limited resources to produce an annual for a comic which had proven unsuccessful, meaning no UK originated strips, he’s done a fine job in pulling together a book I have very happy memories of.

So yes, the most exciting thing in this annual for me originally was finally reading how it all began and it’s always a good read, no matter how many times I do so. The End… The Beginning takes up a whopping 38 of the 64 pages available here and is the original version of the strip, minus the great big lump of text that removed some important panels from the start of the second half when published in #2 (see below).

Based on the teleplay by Flint Dille, adapted by Jim Salicrup, pencilled by Mark Bagley, inked by Romeo Tanghai, lettered by Janice Chiang and coloured by Julianna Ferriter it’s still a masterpiece in origin storytelling today, however I’m not going to read it again for this review. It may have been brand new and exciting 33 years ago but I read it for the comic’s reviews last spring and again in the pages of Transformers this year on the blog’s Instagram! (I’ll explain that at the end of the review.) So for the full details of this story check out the reviews of #1 and #2 of the comic.

So I’m just reading the parts that are new and as such it’s a much different, much shorter experience this time around. We begin with the fact-files, of which there are six featuring Spectral Knights Leoric, Witterquick and Arzon, and Darkling Lords Darkstorm, Cindarr and Cravex. I’m not sure who drew the images for them but they are rather basic. Four of them were used for the editorial page, although just their faces. Given how far in advance annuals are created I think we can conclude these were drawn for these fact-files and then used in the monthly.

The descriptions have basically been lifted from the toy packets, reworded slightly to include the occasional reference to the origin strip. While the cartoon and comic had our heroes turn into the animals on their chest plates, the toys simply said these totems “represented” the characters’ personalities and you can see that’s used here too, which is a bit strange. Also, by this stage Darkstorm‘s goal had been established as more than simply wanting to conquer his foes (I’ve gone into that in depth in the monthly reviews) so it’s a shame to see that included.

I loved getting my Marvel annuals every year with their mix of strips and text stories. Unbelievably, some of my friends didn’t read the prose tales and wished their books were strips from cover to cover. They really missed out, these were some of the very best stories told by Marvel UK; it was one of the annual text stories that created Megatron‘s background of being a gladiator before the war, something that’s canon in basically every interpretation of Transformers today.

The writers would often concentrate on a couple of characters for the whole story, using the format to have some fun with them. While Transformers used it to develop them, for most of the other annuals it was a chance to take one small battle or incident and create a story full of personality and humour. That’s definitely the route the two new stories take here. First up is The Edge written by Ian Rimmer (Zoids, Action Force, Transformers) with art by Will Simpson (Transformers, Hellblazer, Rogue Trooper) and colour by Stuart Place (Captain Britain, Transformers (yes, again!)).

The story is bookended with Merklynn playing a game of chess, or whatever the Prysmos equivalent is, and equating his game to the ongoing battles between the two factions of warriors he’s created. The theme here is luck; no matter the strategy in the game chance will always play a part. The story itself is simple but fun and these bookends are an attempt to make it all feel more substantial than it actually is. It’s an interesting way of doing it and a good example of the more experimental writing techniques used in the text stories.

Reekon and Virulina are stalking about the lake near Leoric‘s compound when they happen upon Cryotek gathering drinking water and immediately hatch a plan to take him out involving both of their totems, a plan which is actually quite smart and very entertaining. In the midst of the fight the wooden shaft of the Spectral Knight’s staff gets snapped in two and the magic power itself disappears from within. This is a moment of revelation for the Darkling Lords but surely they’d have known this already? Has no damage come to their own wooden staffs in all this time?

The Lords launch a mass attack in which their targets aren’t the Knights themselves but their staffs, and they begin destroying them one by one. Surely a risky manoeuvre since their own staffs would be just as vulnerable, surely? Cryotek is holding the two pieces of his and needs a free hand to fight, so he holds them together in one hand at the point where they snapped apart. The magical energy returns, all it needed was to be held together and connected via the inner energy of the person whose persona is embodied within it. The battle ends in a draw and we read about Merkylnn resetting his chess game ready for the next battle and laughing.

It’s a strange little tale that doesn’t make an awful lot of sense if you think about it too much but there are some nice character moments, particularly for Reekon and Virulina. The dialogue between the two is snappy and funny as they whisper and bicker about their plan, and Reekon shows a masterful mathematical mind in working out the odds of success (and survival), an aspect of his character we never got to see in the comic before its premature cancellation. Definitely worth it for these moments alone.

The second prose story is the final new Visionaries story of the whole run, so in hindsight it has an awful lot to live up to. I’m very happy to say it does so with aplomb. False Light at Fulch Rock stars Arzon, Darkstorm and Cravex and is written by Dan Abnett (Doctor Who, Knights of Pendragon and a legend on The Real Ghostbusters), with accompanying art by Dougie Braithwaite and Cam Smith (Supergirl, Sinister Dexter, New Mutants), and colours by Chris Mattews (Thundercats, Mighty Max).

I was won over from the very first sentence, which paints the picture of a monastery on a cliff edge in the middle of a “dark storm”. With an image of the similarly named leader of the Darkling Lords on a purple horse across the page it immediately draws you in; we’re in for a treat with this one in atmosphere alone. However, everything else about the story is a winner too.


Darkstorm: “The Crystal of Light. With it, I will be supreme.”

Cravex: “You?”

Darkstorm: “The Darkling Lords. Whatever. Now come on!”


It tells the story of the Knights and Lords travelling to townships offering protection in this new dangerous age and Arzon’s next stop is Fulch Rock where the Order of the Lightfinders have taken refuge, led by Murnoc. Before he can get inside he’s set upon by Darkstorm and Cravex, barely escaping thanks to his Power of Knowledge spell poem, with which he’s able to predict the most likely next attack from his foes. However, he eventually falls over the cliff, transforming into his eagle form at the last second, slowing his decent enough to survive although he’s badly injured. He’s found by the Lightfinders and brought inside, where Darkstorm is ordered not to harm Murnoc’s guest while he works out which side to accept protection from.

It’s a great start. The rest of the story explains how the Lords are only offering protection because of the rumour of a Crystal of Light much like Merklynn’s hidden inside. There’s some cracking dialogue here which we’ve come to expect from Marvel UK text stories and in the end we find out it’s all been a ruse to lure the Lords there to steal their armour, what these religious nuts call “Aftertech” and view as their salvation, to power themselves and take over the land. The crystal is a fake and the three Visionaries must work together to escape due to the vast numbers of followers Murnoc has amassed.

Dan’s writing paints a picture in the mind and I think the story works so much better as prose than I think a strip would have. The Visionaries comic was always very good at building atmosphere with its descriptive panels, but having what is essentially seven pages of that kind of writing is something else. After the final battle Arzon tells Darkstorm the lesson to be learned is not judging others by appearance alone and that it’s a shame the two sides, so formidable together for the greater good, couldn’t work together to rebuild the planet. Darkstorm actually hesitates here. But in the end they leave as enemies. It’s a nicely written reference back to the monthly and the fact Darkstorm truly believed he was just doing what was best for his world.

See if you can track the whole series down, you’ll enjoy some of the very best 80s comics you’re ever likely to read.

So if you’ve read the strip already is it worth your while picking this book up? Most definitely. The exclusive art and text stories are worth the entry fee and it’s essential for the completist. It’s also a bittersweet moment because as I finished Fulch Rock I realised that was the last story these wonderful characters had. There’d be a Spring Special a few months into 1989 which was a page-for-page reprint of #5 of the comic, released to plug the fact Visionaries were returning to the Transformers comic, which I’m reading in real time on the blog’s Instagram. But when they did reappear it was yet another reprint of The End… The Beginning, making it three times it was published in the UK in one year!

It’s been a blast reliving the feeling of receiving this annual all those years ago. It’s sad to know there are no more stories to come when the comic had some of the greatest potential of any licenced title. It started off in such strong shape and was developing so fast. I truly believe it’s a great loss we didn’t get to see what could’ve happened if the lifespan fellow Hasbro franchises like Transformers and G.I. Joe had, had been granted to the Visionaries.

After Christmas get yourself on to eBay and see if you can track the whole series down (it won’t take too long to complete), you’ll enjoy some of the very best 80s comics you’re ever likely to read.