ThoseWeLeftBehind TWLB

Skin - Milligan & McCarthy (1990 / 1992)

noreply@blogger.com (those we left behind) — Fri, 06 Nov 2009 11:56:00 +0000

If you were to think about a list of 'lost' comic books that really need - in fact, demand - a reprint, what would you come up with? Alan Moore's 'Miracleman'? Morrison's 'Flex Mentallo'? Ennis' 'Hitman'? A reprint of IPC's 'Scream' title from 1984? The heavily politicised UK title 'Crisis' from the late 80's? What about Marvel Comics 70's / 80's Science Fiction titles like 'Micronauts' and 'Rom'?

Some of those would be near the top of my list (and the good news is that we should be getting the full Marvelman / Mircaleman story from the 80's reprinted. If you need more history on the convoluted and painful tale of Marvelman / Miracleman, see here.

However, top of my list would be an excoriating attack on Corporate villainy and cowardice, and its effect on one tragic, angry young man. At the top of my list would be 'Skin', by Pete Milligan & Brendan McCarthy.

Skin is a 48-page graphic novel written by Peter Milligan, from an original story from the illustrator of the book, Brendan McCarthy, with stunning colours by Carol Swain. Within those seething 48 pages is some of the most angry, poignant, bitter and tragic comic literature ever published. And it was thanks to an unlikely source, Kevin Eastman, creator of Teenage Mutant Ninja Turtles, that this story ever did get published. Originally destined for the Fleetway title 'Crisis' in 1990, it was rejected because of objectionable content. With the stories controversial subject matter potentially making it unpublishable, it was Eastmans Tundra Publishing that eventually picked up 'Skin' in 1992, putting it out as a graphic novel.

It tells the story of a young skinhead, Martin Atchitson (aka Martin 'Atchet), a 15 year old with Thalidomide birth defects (clearly seen in the image above), growing up in early 1970s London. He is a 'Skin', or Skinhead, a predominantly white youth cult (though influenced by Black / Afro-Caribbean culture) that was mainly active in the 1960s and 1970s, before its style was appropriated and politicised by right wing extremists who believed in anti-immigration and carried out ethnic violence and football hooliganism.

The depiction of this subculture is authentic, with all the Skinhead style on display - Cherry Doc Marten boots up to and covering the shin, Braces over the top of a Mod-ish shirt (like a Ben Sherman) or Fred Perry, with tight jeans rolled up to show off the full boot. Martin is accepted as a member of a local Skinhead gang, led by the violent, unpredictable Johnny Gorman. That acceptance is limited though, with the likes of Gorman and other gang members Steve Bennet and 'that prat O'Donnel' all, to some degree or other, bullying Martin because of his disability.

Martin himself is also unpredictable, a mix of adolescence and impotent fury at his condition, leads to violent rages and his sexual urges manifest themselves in near sexual assault. A lot of this content can be uncomfortable to view, but none of it is ever gratuitous. When 'Cross-Eyed' Ruby, a girl Skinhead who obviously has feelings for Martin, educates him on the drug Thalidomide and its terrible effect on him, his rage becomes focused, crystallised, and a terrible denouement to this affecting story is set in motion.

Sadly, as mentioned earlier, this profoundly affecting comic is out of print, and unlikely to reappear any time soon. However, copies do turn up from time to time on Amazon and ebay. Also, a group, Modern Life is War, produced a song called 'Martin Atchet', which is a tribute to this fantastic piece of work. There is a link to a youtube video here, which includes some of the artwork from 'Skin' - be aware that it is not for the young or anyone who is likely to be offended.

I have no idea is this is the case (I merely surmise), but I can see how Shane Meadows could have been inspired by this work to produce his own portrayal of Skinhead culture, 'This is England'. Both protaganists are outsiders within a subculture that are by definition outsiders. Both protaganists rail against injustice, having both suffered tragedy. Both portrayals are authentic to the Skinhead subculture. It may not be the case, but 'Skin' is an affecting experience. Once read, and it can be easily done in one intense burst, it stays with you. Not easily forgotten, 'Skin' needs to be reprinted, so a new generation and a new audience can appreciate an important piece of comic book fiction.

Review - Judge Dredd Complete Case Files 02 (Rebellion Books, 2006)

noreply@blogger.com (those we left behind) — Thu, 05 Nov 2009 14:40:00 +0000

This second volume detailing the chronolgical adventures of 2000ADs star in the ascendant is a real eye opener. The shift in quality from the earlier Dredd adventures is powered by one major change - Dredd goes epic. Twice. Consistency is another factor to the rise in quality inside this volume. Just two writers (John Wagner, Pat Mills) and a handful of great artists (Brian Bolland, Mike McMahon, Ron Smith, Brett Ewins and Brendan McCarthy) produce over 300 pages of work, and there is very little in the way of filler.

The Pat Mills epic 'The Cursed Earth' (with more than a nod to Roger Zelazney's 'Damnation Alley') is first, as Dredd and a motley crew of aliens, punk criminals and Judges try to deliver a vaccine to the ailing Mega City 2, and this journey across the radioactive wasteland between the 2 Mega-Cities provides the breadth and scope for Mills imagination to run riot as devastated communities in the wastelands, mutated flying rats, and gambling-obsessed mafia judges are all encountered by Dredd.

By the time of the finale, when a robotic army (a legacy of the Atomic War attacks what remains of Dredds convoy, the pace is relentless and absolutley gripping. This is a tale of heroes and sacrifice, with artists McMahon and Bolland giving this tale a suitably epic feel to match the text. Apart from the 'Apocalypse War' and 'The Executioner' storylines, I don't think any other Dredd story has gripped me as much.

John Wagner's immediate follow-up, another epic entitled 'The Day the Law Died' puts a (plainly insane) Deputy Chief Judge, Cal, in charge of Mega City One after the brutal assassination of the ailing Chief Judge, Clarence Goodman.

What follows is a battle for the soul of Mega City One as Dredd, a fugitive framed for a crime he did not commit, leading a rag-tag resistance army against the dangerous, murderous Cal and his fearsome SJS troops (an obvious nod to Hitlers SS).

Like 'The Cursed Earth', in this second epic it is the most unlikely who step up to be heroes - for Fergee in 'The Day The Law Died!', read Spikes Harvey Rotten in 'The Cursed Earth'.

'The Day The Law Died', while not as diverse and without the same amount of all-out action, is as gripping, though it does suffer slightly from the fact that there were several artists working on this arc (some McMahon, some Bolland, some Ewins / McCarthy, some Bolland / Leach, and finally, the introduction of the mighty Ron Smith to the Dredd art roster). It loses a little consistency, especially in the various depictions of Cal (McMahon giving him by far the most terrifying look of a lunatic, whereas Smith made him look dashing in a Frank Hampson / Dan Dare style. The finale, with Cal ready to put the whole City to sleep forever, while Dredd and his gang of resistance fighters race against time to stop him, is a classic.

So, in summary, this second case file is much better than the first compilation - in fact it's a huge leap in quality, undoubtedly bolstered by the chronology which saw one epic follow another. The world of Dredd expands with the inclusion of some memorable characters - Tweek, Spikes Harvey Rotten, Judge Giant, Fergee, Judge Griffin - and we (thankfully) see a lot less of some others who were heavily featured in Complete Case Files 1 (Maria, Walter). Dredd himself is a lot less whiny, looks more grizzled, and in both epics actually comes across as a proper action hero. How Dredd is placed in these stories - as the saviour / hero of a whole Metropolis - suits the context. Things would change over the years, as Dredds position in his world would shift, but the stories in this volume of Complete Case Files place Dredd firmly as the man of the moment, unwavering in his faith in Justice and the right of the Judges to dispense it. And it really works well in these stories. In fact, it keeps getting better, as further 'Case Files' will prove. If you want an introduction to Dredd, and you are not bothered about being completist, then this is the volume to get - skip the first one, it is a bit of a chore to wade through.

My only gripe is that we don't get the 2 (subsequently) banned episodes from the 'The Cursed Earth', or the bizarre, grovelling apology to the Jolly Green Giant in another prog after threats of legal action. We do, however, get a description of the Burger Wars and Green Giant episodes (but here below is the sort of stuff we don't get to see, and a Dredd cover of 2000AD that details the 'Burger War');

Review - Sweet Tooth #3 (Vertigo, 2009)

noreply@blogger.com (those we left behind) — Thu, 05 Nov 2009 10:34:00 +0000

Another fantastic installment of Jeff Lemires post-apocalyptic fairytale. Sweet Tooth is an intimate, gripping, and, yes, sweet tale of common human decency managing to flourish in a world gone very wrong indeed.

We see Gus and Jepperd move out beyond the 'sanctuary' that had kept Gus safe for so long - and he quickly comes to face to face with the horrors that the cataclysm wrought on the human race. The way Lemire portrays this can be subtle and heartbreaking, or devastating in its scope - no spoilers from me here, as you really need to experience it for yourself. Gus' introduction to a wider world, as an innocent, sheltered from civilisation up to the point when it has already faded into memory, is reminiscent of the boy in McCarthys 'The Road', but that is not to say the comparison is a criticsm of Lemires work. Rather, I find the way Gus' journey is being realised is touching and (within this fictional environment) totally honest and believable.

Jepperd, as surrogate father figure, protector and action hero reminiscent of a very grizzled Clint Eastwood, balances out the naivety of Gus, and brings a weary counterbalance to proceedings.

The pacing is terrific, a mix of action, pathos, tragedy, a nightmarish dream sequence and a great ending, where possibilities really open for this small cast of characters. I have said it before and I will say it again - 'Sweet Tooth' is a brilliant read, one of the highlights of '09 and another classic title from Veritgo. If you haven't got into it yet, it's not too late! This is one of those titles where the 'singles or trade' debate is null and void in my opinion, as I need a fix of 'Sweet Tooth' every month. Your mileage may vary, but one way or another, single or trade, this demands your attention.

Dreamcast 10 Years on - the VM (1999)

noreply@blogger.com (those we left behind) — Fri, 30 Oct 2009 21:52:00 +0000

Ridiculous, brave, innovative. Dreamcast had a memory card, but it was not just any memory card - it was the VM (visual memory). Although at its most basic it was a peripheral storahe unit / memory card for the Dreamcast, it was more than that. With its LED screen, some games utilised that functionality and there were mini-games that could be played on the tiny LED screen. I remember one for Sonic Adventure, but it was pretty unplayable, and pretty boring. A noble failure - here is a youtube vid of its history, both official and homebrew;

The most electrifying movie scenes I have ever seen part one - the Rocky / Apollo rematch in Rocky II (1979)

noreply@blogger.com (those we left behind) — Fri, 30 Oct 2009 21:25:00 +0000

Rocky 2 is one of the best sequels in US cinema history. The way the original Rocky film was concluded, and that films massive critical and commercial success, naturally dictated that a follow-up had to be made. Luckily for the viewer, the second film is a logical progression from the first film, a perfect companion piece to it and a fine film in its own right. It also hosts the finest boxing fight in cinematic history, in my opinion.

This film is great, and that is as much as a review you are going to get from me on the subject, but it is essentially a lead-in to a mesmerising, titanic boxing match - a re-match, in fact - between reigning champion Apollo Creed and challenger Rocky Balboa.

I remember watching this on Christmas Eve, 1982, on VHS, with the excitement of Christmas relegated to the periphery as I sat, Findus French Bread Pizza in a sweaty hand, gripped with excitement as this fight ebbed and flowed. The final seconds of the fight had me breathless (literally) and feeling like an electrical charge was running through me. What follows is a movie scene that is pure cinematic pleasure, a thorough justification of the medium as entertainment, and a scene that age does not dim, dilute or lessen in its impact.

Ladies & Gentlemen - the climax of Rocky II, Creed vs. Balboa (needless to say SPOILERS);

Review - Unknown Soldier #13 (Vertigo, 2009)

noreply@blogger.com (those we left behind) — Thu, 29 Oct 2009 19:33:00 +0000

'The Way Home' is the new arc in this terrific series, taking us back to the heart of this title, with the Unknown Soldier coming to the aid of Paul, a child taken by the rebels and forced into their army. His story, told through his own words and drawings, is harrowing, but all the more disturbing for the fact that you know that this is a very real scenario endured by many. Having escaped the GUSCO camp (aimed at rehabilitating child soldiers), having escaped the hellish conditions of forced conscription into the LRA, Paul is now desperate to get to his family in an IDP camp. Moses, initially reluctant, agrees to help this tragic child.

That summarises the issue, but does not do justice to the contents. The writing, as ever, is brutally honest in its depiction of a war in Africa where the most vulnerable are the most exploited and the casualties of war are predominantly the innocent. While Dysart is keen to emphasise the suffering - and this he does with subtlety, power and honesty - he can also weave a terrific and involving story around these bald and terrible facts.

This issue sees a change of artist, as Ponticelli takes a break. The replacement artist is DRC illustrator Pat Masioni. I am a huge fan of Ponticellis work, but Masioni ably takes up the art duties and makes this issue his own. His art, like Ponticellis, lays bare the brutality of war, the grief of suffering and the evil that men can do - witness his drawing of a child being ripped from his mothers arms, her pleading, the hostility and threat of the rebel soldiers - and does it with an energy and anger that drives the story, engaging the reader.

Unknown Soldier #13 is a change of pace from the high octane thriller energy of the 'Easy Kill' arc. It is more contemplative, more terrifying, more heart-rending. The focus is back on the victims of the wars and internecine struggles in Africa. There is no greater tribute to this title than this - Dysart and his supremely gifted artists sear these terrible events into your conscious. A lot of the images and words are not easy to forget. and nor should they be. Unknown Soldier is the most important comic book on the market right now, it is political, righteous, angry, engaging and gripping - no other title manages this feat.

Review - Die Hard Year One #2 (Boom! Studios, 2009)

noreply@blogger.com (those we left behind) — Tue, 27 Oct 2009 19:04:00 +0000

A John McClane 'Origins' / 'Year One' book, exploring his life as a cop prior to the Nakatomi Plaza hostage crisis. Sounds like a great idea, and actually lives up to its promise. A greasy, corrupt New York is laid bare, with McClane as the rookie cop, fresh from the Marines, dealing with flashers and amorous older women, all the time biting his tongue until he has 'grooves worn in' as he regularly gets his balls busted by his training officer, Ken Bingham.

Elsewhere Rosie Haskell, a pretty Blonde girl from a small town, is really having a day to forget, as a 'New York minute' places her in the wrong place at the wrong time, on the Island of Manhattan. She sees 2 cops - Peter Noonan and Russ Ciardello - in a comprimising situation with a body in an alley. That is not the problem - the problem is when they see her, watching them....

McClane and Haskell are going to cross paths soon - but that is not for this issue. The scene is being set up for that encounter, as killer corrupt cops are ready to pounce on Haskell as soon as she breaks cover.

Written by Howard Chaykin, the series is really capturing the spirit of the McClane character, with his quick wit and regular-guy attitude. The art by Stephen Thompson effortlessly captures the flavours of day to day New York hustle and bustle, and also manages to convince with a good portrayal of a younger McClane. The language is authentic, the scenario gripping and the issues skips along with little drag. A good ten to fifteen minutes of your time well spent - and what more justification do you need for investing in a comic book?

Finally, a quick nod to UK artist Jock (2000AD / Vertigo's 'The Losers') who does the 'b' cover - and what a treat it is - McClane remodelled as a shaggy haired Dirty Harry with a New York sunset in the background. Love it!

'Die Hard Year One' #2 is out tomorrow (28th October) from Boom!

Boom! Studios kindly provided a digital copy of this issue for review.

Review - Resurrection #4 (Onipress, 2009)

noreply@blogger.com (those we left behind) — Sat, 24 Oct 2009 19:47:00 +0000

Back in June I reviewed issue 1 of 'Chapter 2' / reboot of Resurrection. To be honest I was not that impressed with it - I thought Greenwoods art lacked something, that it was too 'cartoony' for the subject matter, and the characters left me unmoved. Overall I felt uninvolved. One highlight was the start of the issue, featuring Bill Clinton, as the President of The United States, addressing his nation about the Alien invasion.

I nearly gave up after issues 2 & 3 to be honest. But this issue just about has the start of something interesting. Without giving away the ending, it is fair to say that what Guggenheim began with at the start of 'chapter 2', he carries over into the end of issue with some style. Oh, and there is some 'Dawn of the Dead' type shenanigans with the Road Agents trying to break through into Red Lion. Being British, everytime I read 'Red Lion' I think of an old-school English pub, with nictine stained walls and a fruit machine blinking in the corner of a dimly light room. So let's forget the fact that 'Red Lion' is a plain daft name for a sanctuary, and grab what positives we can from this - Resurrection #4 turns a corner - it actually works on a basic level (to entertain), though a lot of the problems I have with the series - the art, the lack of character in the characters - remain.

Still, it stays on my pull list for now. A resurrection of sorts, for Resurrection.

5 page Preview - Do Androids Dream of Electric Sheep? #5 (Boom! Studios, 2009)

noreply@blogger.com (those we left behind) — Fri, 23 Oct 2009 12:56:00 +0000

DO ANDROIDS DREAM OF ELECTRIC SHEEP? #5 (A)
DO ANDROIDS DREAM OF ELECTRIC SHEEP? #5 (B)
Written by Philip K. Dick
Drawn by Tony Parker
SC, 32 pgs, FC, (5 of 24), SRP: $3.99
COVER A: Moritat
COVER B: Brett Weldele
Diamond Code: AUG090721

The book that inspired BLADE RUNNER continues! The world has survived war… but is it ready for mass empathy? Everyday, the thousands left on Earth immerse themselves within the plight of Wilbur Mercer. They suffer as he does, making a never-ending climb through a Hellish terrain. Welcome to the world of Rick Deckard, the world of Do Androids Dream of Electric Sheep?

5 page preview of 'Do Androids Dream of Electric Sheep?' #5, which is due to be released on October 28th, 2009;

5 Page Preview - Die Hard Year One #2 (Boom! Studios, 2009)

noreply@blogger.com (those we left behind) — Fri, 23 Oct 2009 12:30:00 +0000

5 page preview of Boom! Studios 'Die Hard Year One' #2, on sale October 28th, 2009;

Cover A

DIE HARD: YEAR ONE #2 (A)
DIE HARD: YEAR ONE #2 (B)
Written by Howard Chaykin
Drawn by Stephen Thompson
24pgs, FC, SRP: $3.99
COVER A: Dave Johnson
COVER B: Jock
Diamond Code: JUL090749
Preview Pack : Covers + First 5 pages

BOOM! Studios continues to present America’s greatest action hero translated into the sequential art form for the first time! Drunks, pimps, freaks and the debauched rich. It’s all in a night’s work for NYPD rookie John McClane. But what happens when 1976’s toughest kid on the street runs into a dark conspiracy involving a blonde on the run? With McClane, it means the fun’s just starting. Join legendary industry creator Howard Chaykin on a thrill ride that’s rung up over $1 billion in box office worldwide and become the gold standard for classic action! Yippee Ki Yay!

Cover B

Preview of Die Hard Year One #2;

Solicitation for Unknown Soldier #16 (Vertigo, 2010)

noreply@blogger.com (those we left behind) — Fri, 23 Oct 2009 12:26:00 +0000

Another classic Vertigo title, probably the next best thing to The Walking Dead in my opinion;

UNKNOWN SOLDIER #16
Written by Joshua Dysart
Art by Alberto Ponticelli
Cover by Dave Johnson
Moses, descending deeper into the mystery of who murdered the IDP camp doctor, begins to stir the nest of hornets that is the criminal underworld of refugee camp life. He suspects everyone – and everyone suspects him. It’s nothing short of hard-boiled detective fiction, East African style.
On sale January 27 • 32 pg, FC, $2.99 US • MATURE READERS

Solicitation for Sweet Tooth #5 (Vertigo, 2010)

noreply@blogger.com (those we left behind) — Fri, 23 Oct 2009 12:23:00 +0000

One of the highlights of this comic year, good to see it will be with us in 2010;

SWEET TOOTH #5
Written by Jeff Lemire
Art and cover by Jeff Lemire

“The new ‘must read’ book.” – Geoff Johns
“Dark, moving and intriguing.” – Frank Quitely

Surprises abound in this conclusion to the first arc of the red-hot Vertigo series that’s so compelling you’re not going to want to wait for the trade. On the dangerous road to a rumored safe haven, Gus and Jeppard come to a raw moment of truth.
On sale January 6 • 32 pg, FC, $2.99 US • MATURE READERS

Solicitation for The Walking Dead #69 (Image, 2010)

noreply@blogger.com (those we left behind) — Fri, 23 Oct 2009 12:11:00 +0000

THE WALKING DEAD #69
Written by Robert Kirkman,
art and cover by Charlie Adlard and Cliff Rathburn.
At long last... they arrive. But will things get better... or worse?
32 pages, black and white, $2.99, in stores on Jan. 13.

So, they finally get to DC, and they finally get to use that brilliant cover that has been knocking about for over a year now....

DC looks pretty deserted though, doesn't it? Maybe they knew what was coming and had evacuation plans in place? Maybe the lack of people suggests forewarning, which suggests conspiracy, which suggests that maybe Eugene does know what caused the Zombie plague, and therefore he actually may know how to do something about it...........maybe....

Dreamcast 10 years on - Japanese Dreamcast Game Cover Art (1999 - 2001)

noreply@blogger.com (those we left behind) — Thu, 22 Oct 2009 21:01:00 +0000

Not a lot needs to be said about this, other than;

if you were in the UK, near a Gamestation shop or numerous other indie gaming parlours in the late nineties, Japanese imports were the epitome of gaming coolness. Not only, if you had an import Dreamcast, could you play games months before your friends and colleagues, but also everyone outside of Europe has an Orange Dreamcast symbol, as opposed to the Blue one we had. It just looked cooler. Also, lots of Japanese writing down the side of the covers!

Here we are, in order - Biohazard 2 Value Plus, Typing of the Dead, Power Stone 2, Vampire Chronicle, Sengokuturb, Carrier, Illbleed, Zombie Revenge;

Review - Swordsmith Assassin #3 (Boom!, 2009)

noreply@blogger.com (those we left behind) — Tue, 20 Oct 2009 16:32:00 +0000

A Japanese revenge tale, as told by Americans? Set in Feudal Japan?

Should Americans be writing about Feudal Japan?

Based on 'Swordsmith Assassin', the answer is a 'yes'. It is not an unequivocal 'yes', for I do not believe that 'Swordsmith Assassin' actually adds much to the genre other than celebrate the likes of 'Lady Snowblood' and 'Lone Wolf & Cub' - and that is probably the point.

The plot is classic revenge material, with Toshiro Ono - the titular 'Swordsmith Assassin' - the focus of the drama. He is a master Swordsmith, who has spent his life making the best swords that have ever been forged and selling them to the highest bidder. But it is this lack of scruples that seals his fate, as his family are killed by a blade of his own making. In the aftermath of his loss, Toshiro realises he must make sure none of his swords ever kill again. To do this, he must track down every sword he has made.

I dived into issue 3 without the benefit of reading 1 & 2. I found the story accessible, though only realised late on in this issue that Ono was relaying his story to a Prussian General, who has the last of his swords. The issue is crammed with subterfuge, love and betrayal, and some great action sequences. The plot moves along quickly, and the issue as a whole was entertaining and made me want to know more about Ono.

As a limited series (4 issues), it is quite difficult to appraise a single issue towards the end of the series, without the benefit of reading the previous issues. However, I recommend Swordsmith Assassin to those who enjoy Japanese Historical drama and those who enjoy revenge tales. In basic terms, if you liked Lone Wolf & Cub, you will find something in this to your taste.

By the way, I love that cover......

'Swordsmith Assassin' #3 is out tomorrow (21st October) from Boom!

Boom! Studios kindly provided a digital copy of this issue for review.

Dreamcast 10 years on - The Official Dreamcast Magazine (1999 - 2001)

noreply@blogger.com (those we left behind) — Mon, 19 Oct 2009 13:03:00 +0000

The Dreamcast had an 'official' magazine, much like the Playstation had an 'official' magazine - a mouthpiece for the brand, generally positive about the games reviewed, lots of PR about the hardwares place in the market etc....

One thing the Dreamcast had in common with the Playstation magazine was the use of cover mounted disks to preview forthcoming games - some were videos, others had playable sections. The fact you could play briefly on Jet Set Radio, Space Channel 5 or Virtua Tennis made the Magazine more attractive for the electronic content rather than the printed page. The problem with the magazine was that there was a dearth of games being released and in development, meaning that unlike the equivalent Playstation magazines or multi format magazines (like C&VG), there was a relative lack of exciting content.

You can get the first issue of the Dreamcast official magazine here in PDF format;

http://www.racketboy.com/retro/2006/10/pdf-official-dreamcast-magazine-issue.html

Someone called 'Dreamcast Museum' on youtube has posted the first CD-ROM that came with the launch issue - lots of demos of launch games here (its broken up into 4 parts);

Here is a short wiki entry on the magazine;

http://en.wikipedia.org/wiki/Official_Dreamcast_Magazine_%28UK%29

There was an independent Dreamcast magazine for the UK market - look!

http://www.flickr.com/photos/8161961@N07/775800555

and the same guy has posted his complete Dreamcast collection on Flickr here;

http://www.flickr.com/photos/8161961@N07/sets/72157607695718874/

Review - The Walking Dead #66 (Image, 2009)

noreply@blogger.com (those we left behind) — Thu, 15 Oct 2009 19:19:00 +0000

Warning - mild spoilers.

"What we've done to survive....sometimes I feel like we're no better than the dead ones"
Rick Grimes, Walking Dead #66

Walking Dead week is a great week. I get to read one of the best pieces of contemporary fiction but I also get to write a little review on my little blog and it is a real highlight of the month for me. It's the little things....Since Kirkman laid down his manifesto for '09 - to get his titles out on time, every month - I have been even happier. Walking Dead has made its shipping date every time this year, without any sign of fatigue or quality control issues. In fact, looking back on this concluding issue of 'Fear the Hunters', and looking back over the arc as a whole, I can now say I was wrong if I ever doubted what Kirkman was doing with this storyline. I just didn't understand. I take it all back, as issue 66 actually sits up at the top as one of the best, if not the best, of the series so far, and the arc......well, more on that later.

First up, issue 66.

So much happens, yet so much of it is not what you would expect. Understated, moving, tense - this issue has all of these qualities. The Hunters confrontation is not what you would expect - it is a testament to Adlards creativity and confidence that he would produce so many splash pages, double page spreads and quick fire panels that deal with violence without actually showing any of the acts that were perpetrated. He does not have to show the explicit details - this is an artist so in tune with his subject matter and characters that all he needs to do is show the anger or despair in the characters faces, accompanied by a few stark images of the aftermath. It is excellent.

The art really distinguishes a lot of the Walking Dead, and here it is again on a par with Kirkmans plotting and dialogue in creating a fully rounded piece of art. I have just been re-reading a scene with Dale and Rick, where Dale is lying on a bed, close to death. The art captures the man as a broken old man, his stubble resting on his double chin, his eyes weary of the fights, but Adlard also manages to infuse a nobility about him, which, when coupled with Kirkmans redemptive dialogue, provides a highlight of this issue. But I could go on, as there are so many highs - like the father / son reunion, Abraham about to go psycho on the reverend, Ricks cold killer stare, completely devoid of feelings - and the final panels between Rick and Carl which are absolutely stunning - between them, Kirkman and Adlard manage to portray a dam-burst of emotion with a few well chosen panels and few words. Adlard can draw a child quivering on the edge of tears like no other artist. Stunning.

So, what of the arc overall? Well, I had my reservations up to last issue, but the fact is that this arc is probably better enjoyed as a trade - the pieces fit together in a way that is quite remarkable, whereas those of us who buy the singles maybe don't get the bigger picture with the piecemeal offerings. Whatever - the 'Hunters' arc was not going to be another 'No-one is safe', and is all the better for it. 'Fear the Hunters' opens up so many possibilities beyond issue 66, with new revelations, a new mindset amongst some of the group, and an overall sense of urgency brought about by dwindling food supplies. There was no whole scale clear out of the cast, and again, the title retains its integrity and quality by constantly managing to sidestep what the readers expectations are, and give them something so much better. The 'fear' in the arc title retains a lot of power throughout this arc - 'fear' of the future, 'fear' of what the individuals are becoming, the fear of loss and losing loved ones (and for a while there was a fear of the Hunters - and subsequently who are the Hunters? etc).

My Walking Dead week is nearing its end. I would like to thank Kirkman, Adlard, Rathburn, Image Comics and whoever else is responsible for producing this shining light of a comic every month. It gives me immense pleasure to read it, to write about it, to speculate on it. Thank you.

One more thing - is Kirkmans position as an elevated member of the Image board influencing the content of Walking Dead? More and more often, after 'Chew' was previewed in it a few issues back, The Walking Dead now hosts preview pages of upcming titles on a regular basis. Not really a criticism, more an observation, though to be honest, more pages of The Walking Dead itself would be more welcome than bolted on previews.

ABC Warriors - animated trailer! (2009)

noreply@blogger.com (those we left behind) — Wed, 14 Oct 2009 19:48:00 +0000

Rebellion have finally got around to bringing the 2000AD site online again after its revamp. Haven't really had much of a look, but what I have seen looks pleasing to the eye. One thing they link to is this - an ABC Warriors trailer. No other information really, so don't know if it is just a showreel. The only other info of any worth on Firestep films is here;

http://ftvdb.bfi.org.uk/sift/organisation/217477

Anyway, here is the trailer. Looks good (though could have done with more ABC Warriors...);

2000AD ABC Warriors from Firestep Films on Vimeo.

Jam, Cereal, Chocolate, Sweets.....TV Action food advertising in the 70's! (1970s)

noreply@blogger.com (those we left behind) — Tue, 13 Oct 2009 07:54:00 +0000

TV Action (published by Polystyle Publications) was a comic that ran in the early to mid 70s, publishing comic strips of popular TV shows of the day (and was the successor to Countdown). But all I am interested in today is showing you these wonderful adverts for food, treats and sweets that generally graced the back pages in glorious inky colour!

I love Jigsaws........really (2009)

noreply@blogger.com (those we left behind) — Mon, 12 Oct 2009 12:51:00 +0000

........and this is the reason - Dutch Supermarket giant Albert Heijn have been giving away little books containing 6 pieces of a 144 piece puzzle for every 10 euros you spend in their shop. It has become a bit of an addiction, so much so that I now want to own a jigsaw roll and actually go out and BUY some bloody jigsaws..is this normal? Should I be worried? Anyway, the puzzle they are giving away is of current Eredvisie players in action in kit from the 1950s and the whole thing looks rather splendid, like a Toffs catalogue come to glorious full colour life;

Albert Heijn, by the way, is by far the biggest supermarket in The Netherlands - it's not like in the UK where you have supermarket wars and also, it is important to note that Albert Heijn primarily sells food and normal supermarket stuff, unlike Tescos & the rest who sell everything.

Anyway, I have identified my next jigsaw;

http://forums.doyouremember.co.uk/food-drink/6152-gibsons-puzzles-sweet-memories.html

Review - The Boys #35 (Dynamite, 2009)

noreply@blogger.com (those we left behind) — Sun, 11 Oct 2009 07:58:00 +0000

For all his bravado and tendency to shock, it is important to remember that Garth Ennis can also show a much more sensitive side. Shock is not his M.O. He is a talented storyteller who will use that aspect of his style to propel the story, but as we see with issue #35 of The Boys, it is when he focuses on real human drama that some of his best work emerges.

Ostensibly a riff on the vogue for 'origin' stories in comics, the 'origin' of Mothers Milk is absorbing, sad, tragic - and with enough shock moments to remind you that you are, after all, reading an Ennis title. You learn of his childhood, his link with Vought, the exploitation of workers, the immorality of Big Business, the best boxing scene since Frank Miller was in charge of Daredevil some 25 years ago or more AND MM's first meeting with Billy Butcher. The Boys have enough reputation now for this sort of origin story to have a real resonance and Ennis does not disappoint.

The art, with Darick Robertson back after Carlos Ezquerra filled in for the last arc, is exemplary - Robertson can portray any aspect of a City with ease, his character drawing is brilliant and his dark humour seeps through when it comes to the more shocking stuff. I say it a lot, but it is still true - The Boys has great quality control. It is never less than brilliant. They even do 'origin' stories that are better than 99% of all other 'origin' stories. Probably. There is that much goodness in the tale of Mothers Milk that it is enough to spread across 2 issues - more to come with issue #36. Eagerly anticipating.......

Review - Sweet Tooth #2 (Vertigo, 2009)

noreply@blogger.com (those we left behind) — Sun, 11 Oct 2009 07:42:00 +0000

I think of all the good stuff that Vertigo have put out over the years - Y the Last Man, Fables, The Losers, Unknown Soldier (I know this only scratches the surface) - and I can safely say that Sweet Tooth is comparable in quality to all of those titles. Issue 2 has the same quiet despair and sadness of the debut, as Gus (aka Sweet Tooth) and his potential saviour (who introduces himself as Jepperd) try to figure each other out, and Jepperd, for whatever reason, tries to coax Gus out from the Woods (where the child believes he is safe and protected) to go to the 'Preserve'. The Preserve is where the mutated children of Earth, free from the sickness that is killing all the rest of the populations, can be safe from the 'HUnters', who want to determine the children's secret for their preservation.

The pacing is relaxed, but the action can be ferocious, and Lemire's art gives the whole thing a primal, but humane quality. Observe the faces of Gus and Jepperd bathed in the shadows cast by an open fire and there is something beautiful, sad and noble in both of them. The Hunters we have seen so far look either pathetic, terrifying or slightly absurd - and sometimes all of those things at once.

The final page is terrific. I want more. This book is a real highlight of the month now - alongside 'Walking Dead', 'Unknown Soldier' and 'The Boys'.

Sweet Tooth demands your attention - there is still time to get in one of the most important and exciting new titles of 2009.

Review - Crossed #7 (Avatar, 2009)

noreply@blogger.com (those we left behind) — Sun, 11 Oct 2009 07:31:00 +0000

In which all vestiges of hope for the future are extinguished.

After what seems months, a new issue of Crossed arrives. In it, the survivors are on the run from the pursuing 'Crossed', led by the very big, really angry 'Horse Cock' man. They cross terrain! We see a Crossed barbecue! There is water action. The whole thing is pretty thrilling, the sense of fear the Crossed instill very much at the forefront of proceedings.

The ending is sad and brutal and pretty shocking and - wait for it - handled with an amount of subtlety that is not always present in this series. Yes it has the trademark 'Crossed' savagery, the expected sharp tongue and brutal choices, but it is done in a particularly sensitive way.

I am trying to say that I enjoyed this issue. Whatever lies ahead, this issue was a turning point, for several reasons - although all hope seems to be gone, at least the Survivors started to show some spirit - there was the beginning of a fight back, of resistance, of turning and confronting fear. With 2 issues left, this series is firmly back on track.

The Road (The Movie) updates (2009)

noreply@blogger.com (those we left behind) — Fri, 02 Oct 2009 09:16:00 +0000

Review from The Guardian from the Venice Film festival screening;

http://www.guardian.co.uk/film/2009/sep/03/the-road-adaptation-cormac-mccarthy

Review from The Quiet Earth site from the Venice Film festival screening;

http://www.quietearth.us/articles/2009/09/12/TIFF-09-We-got-what-youve-all-been-waiting-for-Review-of-THE-ROAD

Here is the trailer;

and FilmStalker have 5 new clips online;

http://www.filmstalker.co.uk/archives/2009/09/the_road_clips_online.html

IMDB entry;

http://www.imdb.com/title/tt0898367/

Review - Unknown Soldier #12 (Vertigo, 2009)

noreply@blogger.com (those we left behind) — Fri, 02 Oct 2009 08:55:00 +0000

The final episode of the 'Easy Kill' arc is as satisfying as the rest, with the cinematic tension built up in the last issue exploding into a bloody climax. I think that this issue is all about the art of Ponticelli, who stages the action with an experienced hand and knowing eye - Moses battles with the terrorist cell are thrilling, brutal set pieces, the hotel rooms and corridors becoming a frame for the bloody ballet as the protagonists race to get to the intended target - the American actress Margaret Wells. To give away more would ruin the surprises, but some characters show their allegiance to the Unknown Soldier as others appear to have walked away from him.

Dysart also delivers with the dialogue, as Wells vents her frustration at her role in life - and finds solace and support in her beliefs. The message is, doing something for justifiable and good reason is never not a good thing. It is a simple truism, and the delivery here is understated, but the point is clearly made.

It will be interesting to see where Dysart and Ponticelli take us from here - you get the feeling that by the end of this issue some of Moses relationships have altered forever - and there may be no positives to take from any of those changes. What is certain is this title continues to deliver. Still a highlight of any week, still one of the top titles around. How long before it gets picked up for the movie option?