From the album 'True Colours', 'I Got You' is a powerpop delight - slow burning intro with a killer chorus that you can shout out at the top of your voice if you want, and it leaves you with a smile on your face. Check out that groovy organ sound! It got to No.12 in the UK singles charts in August 1980. I loved it as a kid and I love it now. Please - enjoy.
Being ubiquitous, Michael Jackson even managed to infiltrate the UK comics scene in the 1980s. It's true - here he is in issue 391 of the (then) newly merged Eagle and Battle comic (February 1988).
That's Bad. Meaning Good.
I take no credit for the original scan - I am grateful to the rather nice blog below for that;
http://ukcomicsarefun.blogspot.com/
Well, I am not sure if anyone out there in the blogosphere has done this before, so here it is, the first installment of The Tower King, a magnificent post-apocalyptic romp that appeared in the first few issues of the relaunched Eagle comic of 1982. Written by Alan Hebden, who also wrote 'Angry Planet' for Tornado comic, and illustrated by the Spanish artist Ortiz, this gem ran for the first 24 issues of the Eagle comic mark II. I have written before about The Tower King - see here, but in that post I publish the final chapter of the story, so probably best to read this first!
What I love about this, re-reading it again, is the economy of the writing and furious pacing - we quickly learn about why the Earth is plunged into chaos, and see the horror of the immediate aftermath in Britain. We are then introduced to the impressive Mick Tempest, decked out in chain mail (Society had been plunged into a Middle-Ages style existence following the complete absence of Electricity, and that is the only explanation for the look and feel of the art, and that is good enough for me - on with the action!) surveying a shattered London from his vantage point. We quickly get introduced to some fiendish mutants known as the tube rats, because they live underground (the London Underground, aka the Tube) and they look like Rats. Tempest then shows his prowess by engaging in combat with these terrors, and the issue ends with a magnificent Mad Max style cliffhanger, with a customised Battle Steam Engine (how Steam Punk is that?) approaching, just like Papagella and his fuel-hungry hordes approached the refinery in Mad Max 2. You can only imagine what hostil intent this old Steam Engine brings, a neat perversion on the established wisdom that this mode of transport is generally benign. To be honest, you will find out as I plan to show the second installment soon. Enjoy - The Tower King, part One.
My picks for this week;
BATMAN AND ROBIN #2 DC COMICS
BOYS #32 DYNAMIC FORCES
DEAD RUN #2 BOOM ENTERTAINMENT
DEADPOOL MERC WITH A MOUTH #1 MARVEL COMICS
DESTROYER #4 MARVEL COMICS
The second issue of the new Batman and Robin
is out this week. The first issue was brilliant, a truly great opener, and I reckon the second issue will fulfill fans expectations again. Solicit reads;
"Batman Reborn" continues with the reteaming of Grant Morrison and Frank Quitely (ALL-STAR SUPERMAN, WE3, New X-Men)! In a blazing Gotham City police department, the new Batman and Robin face the bizarre, fighting freakshow that is the Circus of Strange and find that they don't make as good a team as Batman had hoped! Meanwhile, the mysterious Sasha escapes from Professor Pyg and vows vengeance on the people who killed her father. Preview of Batman and Robin #2 here - http://comics.ign.com/articles/997/997159p1.html
Dead Run #2 continues its B-Movie style, journey through a Post-Apocalyptic America. Solicit reads;
"All Speed. No Limits." The end isn't near... it's here. America has become a wasteland, leaving the few cities that remain transformed into impenetrable fortresses. NICK MASTERS a driver, the best there is. If you need something picked-up, delivered, or disposed of, Nick's your man. But when he fails to deliver… all hell breaks loose. Part two of the epic saga that redefines the science fiction action genre. From the writer of HEXED and FALL OF CTHULHU, Michael Alan Nelson, collaborating for the first time with EUREKA creator Andrew Cosby!. To be honest, I thought the first issue was a lot of fun, even if the dialogue was BAAAD, in a Post-Apocalytpic Italian B-Movie of the early 80's kind of way. I expect the second issue to be more of the same, which is no bad thing at all.
The Boys #32 continues with the hugely entertaining 'Self Preservation Society' arc. Worryingly, the solicit kicks off with the ominous words;
'With the Female gone and the survivors left reeling,'
which does not sound good at all, but after the monumental scrap she had last time, could she really be dead? Anyway, the rest of the solicit reads;
'...the Boys find out who's after them the hard way- walking straight into a nightmarish trap. Pulping teenage supes is one thing, but how will our heroes fair against a front-rank supe team of unimaginable power? Blood flies and bones shatter, as Butcher decides to meet fire with fire... in The Self-Preservation Society, part two.'
Deadpool Merc With a Mouth #1. Marvel seem pretty keen to make Deadpool the new Wolverine, with countless iterations of the character in various titles, running alongside each other. Here is another...the solicit reads;
“HEAD TRIP,” Part 1 of 6 It’s the Merc with two mouths! Deadpool travels to the Savage Land to retrieve what might be the deadliest bio-weapon the universe has ever seen. What is this deadly object? Well, Deadpool's employer is being a little vague about that. Let’s just say when the secret is finally revealed, it's enough to throw even the Merc with two Mouths for a loop…Oh hell, we can’t keep a secret, it’s the severed-but-still-hungry head of the Marvel Zombies Deadpool! To save the universe, Deadpool must team up with himself to dodge Hydra operatives, dinosaurs, cavemen and zombie cavemen as he attempts to take his not-so-precious cargo back where it came from: the Marvel Zombies Universe. Plus, a bonus reprinting of the first apperanace of Deadpool from New Mutants #98!
It has a great Sudyam cover, and Deadpool titles are generally entertaining, so expect something good. The Zombie-Deadpool has been the best thing about Marvel Zombies 4, so it is reasonable to expect Marvel were going to get some more mileage out of that character. http://www.comicbookresources.com/?page=preview&id=2932&disp=table - Deadpool MWAM #1 preview
Destroyer #4 has come around pretty quick - only been 2 weeks since the last issue. This time Destroyer at long last comes face to face with the legions of HORDE, and buried deep within their secret base lays a threat like none Destroyer has ever faced before. This issue, the violence gets turned up to 'awesome', apparently, so this should be something pretty unique as last time around the whole issue was soaked in blood and gore (and not a lot else to be honest). http://www.comicbookresources.com/?page=preview&id=2933&disp=table - Destroyer 4 preview
This is not only a truly great song, a standout of any artists career - and in amongst the rich and varied Elvis Costello song catalogue, that is high praise - but this track also boasts a classic and distinctive video. Created by Rocky Morton and Annabel Jankel, who also produced the video for 'Genius of Love' for Tom Tom Club, and gave the world Max Headroom, the video for 'Accidents will Happen' is a fascinating piece of animation, a period piece, but entertaining and full of charm. Here it is;
The song itself came off the 'Armed Forces' album, that Elvis Costello and The Attractions released in January of 1979. The single, their follow up to the UK number 1 'Oliver's Army', was released in the Spring of that year and got into the UK top 30, getting to number 28 in May. In a cool reference to the title of the song, the vinyl singles cover was printed inside out, with the artwork (see top of the post) on the inside, and plain cardboard on display. Pure powerpop - short, punchy, killer chorus - this song has always been a favourite of mine. Enjoy.
Credit to NotoriousHEB
for uploading this video on youtube - the quality is excellent.
It is in the little details - the chalk line around the removed corpse, along side the comment that the head was found some way from the body. Then you look again at the chalk mark that was made around the murder victim and then it registers that this was a decapitation. The comment that The Hands foot soldiers turn to ash when they are killed. Like I said - Little things, those tiny details that keep this title a rich and endlessly interesting one. It mixes the 'normal' life of Matt Murdock (which has completely crumbled into chaos) and the extraordinary life of Daredevil adeptly. You cannot see the join, there is no jarring of styles. The whole title is swathed in dim light, a grainy haze where the good get 'got' with depressing regularity, and the bad survive and thrive. Against this, Daredevil (and in the periphery, the likes of Frank Castle (aka Punisher)) pursue their agendas, vendettas and/or fight for right.
In this issue, as we near the end of the 'Return of the King arc, new alliances are forged while others crumble away, and it is this latter development that poses a threat, unknown to those who believe to be working with others for a greater good. What I am trying to say is that Daredevil adopted a high risk strategy in deciding to ally himself with his greatest enemy. On top of that, all whom he loves are in very real danger. So its high tension time, each scenario right on the edge of blowing up. Then the issue ends, with the promise of issue 500. If I had to review this issue purely on its own merits, I would say that the come-on (in this case, the cover depicting a Lady Bullseye / Kingpin face-off) was a lot more exciting than the actual experience, but the quality of the title is so strong that you are completely immersed anyway.
As you probably know, issue 500 marks the end of the Brubaker / Lark involvement in the title, which is a real shame as he has made Daredevil vital and I know that there are comparisons with the Miller era, but they are valid. They have been on the title for over 3 years and will be missed, though I am sure Andy Diggle is going to surprise a lot of people and carry on with the high quality we have come to expect.
Anyway, while we are on the subject, check out the amazing cover for #500 (Daredevil is returning to its original issue numbering from now on...);
Japanese Theatrical Poster
US Theatrical Poster for The Road Warrior (aka Mad Max 2)
German Theatrical Poster
This issue is mainly about Jack Lee Howl, the CIA operative 'lost' in Africa, both physically and spiritually, and up to his aging neck in trouble, mired in bluff, double-cross and more bluff. Caught up in an intrigue with militants trying to highlight the plight of Sudan, he becomes a pawn in a plan to kill a high profile American actress. Howl is offered the chance to find the Unknown Soldier, who the militants aim to convince to help them in their cause.
The art and story are, yet again, wonderful in a brutal and uncompromising way - if that sounds like a bizarre thing to say, then let me explain. The Unknown Soldier does not attempt to hide the truths of armed struggle in Africa. For example, it highlights the use of child soldiers. Does this title shy away from showing those children being slaughtered? No. Does it shy away from the protagonist killing these child soldiers? No. what it does do, is portray these terrible things in a graceful and intelligent manner. There is no treacly sentiment, or bludgeoning home a particular agenda. It shows things as they are, in a compelling and articulate way.
This is why The Unknown Soldier is such an important title of this medium. Graphically compelling, with a rich context to explore and gripping story lines. It demands your attention.
Mad Max...
Plus Robocop...
Equals R.O.T.O.R!
Links
http://en.wikipedia.org/wiki/R.O.T.O.R. Wiki entry for R.O.T.O.R.
http://www.imdb.com/title/tt0098156/ IMDB entry for R.O.T.O.R.
R.O.T.O.R. was a pretty awful - no, actually it was just plain awful - 1989 action flick 'inspired' by Robocop and Terminator'. No redeeming features whatsoever - but if you are feeling brutal, you could try and sit through it, as someone has posted it on youtube in its entirety. Here is part one;
'The Tiger Who Came To Tea' is a charming and quirky children's book written by Judith Kerr, who also wrote the successful series of Mog books. It tells the story of Sophie, a little girl, who along with her Mummy, have their daytime routine interrupted by a large Tiger knocking on their door asking if he can come in for something to eat. He joins them for tea and proceeds to eat and drink everyting that is available, until there is nothing left in the house, including Daddy's supper and all of Daddy's beer. When Daddy returns and the situation explained to him, he suggests they all go to a cafe, where they enjoy a lovely meal (including ice cream).
I love it, but the reason I write is that I have noticed a similarity between 'Daddy', from 'The Tiger Who Came To Tea', and Don Draper, the Creative Director at the Sterling Cooper advertising agency, from the AMC series, 'Mad Men'. Maybe it is the dashing style of both men that draws comparison, or a similar sadness in their faces - if you look closely enough maybe you can see that quiet air of melancholy too. Maybe Daddy is a bit low because he gets told a giant Tiger has come in and eaten all of his tea. Why didn't Mummy just admit she couldn't be bothered, instead of roping Sophie in on an elaborate tale involving large Cats? Daddy doesn't realise a Tiger did visit. Maybe he should read the book as well. Don Draper has a lot of reasons to be melancholy - his unloved and hinted-at abusive childhood, his experiences in the Korean war, his conflicted personality (Dick Whitman vs Don Draper).
There is no real point I am trying to make here. It's just that nowadays, every time I read The Tiger Who Came To Tea to my Son, Don Draper gets transplanted into the story. I just need to share that with anyone / someone.
If you are interested, then the marvelous original illustrations for the book can be seen at Seven Stories in the near future - see here.
Links
http://www.sueeves.com/2008/06/judith-kerr-and-tiger-who-came-to-tea.html
http://www.lrb.co.uk/blog/2009/05/20/christopher-tayler/then-daddy-came-home/ - An interesting interpretation of what the story is all about - if you want your childhood tarnished a little, anyway.
http://www.guardian.co.uk/books/2008/nov/29/judith-kerr-tiger-came-tea Guardian interview with Judith Kerr
Two great titles, and one I am curious about this week. Here they are;
DAREDEVIL #119 MARVEL COMICS
RAPTURE #2 DARK HORSE COMICS
UNKNOWN SOLDIER #9 DC COMICS
Daredevil is coning to the end of its Brubaker run, but with the return of Kingpin, this is a good way to bow out. Lady Bullseye makes a lethal appearance this issue, so things should get really exciting. Unknown Soldier #9 continues its audacious 'Easy Kill' storyline, and Rapture - well, it just looks fairly original. solicitations below;
Daredevil #119
It's the penultimate chapter of the riveting RETURN OF THE KING arc! Kingpin's true agenda is revealed, as Lady Bullseye and her minions come out of hiding to begin the final confrontation in Hell's Kitchen.
Rapture #2
Writer: Michael Avon Oeming, Taki Soma
Artist: Michael Avon Oeming
Colorist: Val Staples
Cover Artist: Taki Soma
Genre: Action/Adventure
Evelyn Town never asked to be a champion. All she wanted was to be reunited with her boyfriend, Gil. But after the rapture-like disappearance of the world's heroes left the planet in ruins, she had little choice if she wanted to survive. Now, only "the damned" remain, struggling for survival against the vicious religious cannibals who prey upon them. Using a powerful spear given to her by a strange entity called The Word, Evelyn defends those who can't defend themselves. Branded a returned champion, Evelyn's newfound power may cost her innocence. But is her sacrifice in vain? Has her lover Gil moved on?
From the co-creator of Powers and Mice Templar
Unknown Soldier #9
Written by Joshua Dysart; Art by Alberto Ponticelli; Cover by Dave Johnson
The life and times of rogue CIA agent Jack Lee Howl. How is it that a man who just wants to be left alone can find the time to be coerced, kidnapped, lied to and beheaded all in one day? Charming, deceitful and – in the end – always out of luck. That's our Jack.
Links
http://www.comicbookresources.com/?page=preview&id=%202871&disp=table Daredevil #119 preview
Nomad Riders is a Mad Max rip-off, okay? You can tell just by looking at the cover art that we are dealing with a clone of Road Warrior / Mad Max. The story confirms it - One man hunting down the killers of his family. That in itself is not unusual, as there were plenty of rip offs of its sequel, Mad Max 2, throughout the Eighties. I should know, I watched them all! However, what makes Nomad Riders stand out a little is the name of its hero;
Steve Thrust
Yes, you heard it right.
Steve Thrust
Anyway, you can watch some of this low budget Steve Thrust nonsense here;
Find out more about Nomad Riders (if you must) here;
http://www.imdb.com/title/tt0395225/
Very excited because the wonderful exploitation film site I Spit On Your Taste is running a series of posts on one of my favourite films of the Eighties Post-Apocalypse genre - 'The New Barbarians'. Have a look see;
http://spitonyourtaste.blogspot.com/2009/06/who-hell.html
This post also gives me an excuse to post the impossibly brilliant cover image for the VHS release of Warriors of the Wasteland (aka The New Barbarians) that I have only now (ie today) discovered existed thanks to I Spit On Your Taste.
Thanks, Nigel M.
This is Kirkman without the human relationships angle that he employs to great effect with the Walking Dead, and a lesser extent Invincible, but look! Destroyer has lots of blood and fighting, made pretty by the clean lines of Cory Walker! This issue (the third of five) is just one big fight scene for Destroyer, and the big showdown with Scar, with Marlowes (aka Destroyer) Daughter kidnapped and in peril to add spice to the proceedings. There is a ton of blood and guts and smashing fists and pulverized bodies and heads. It ends up as a cross between the Sin City series 'That Yellow Bastard' and something Peter Jackson would have done in his pre-Lord of the Rings days. It's fairly mindless and fairly entertaining, and very violent and very, very gory. Oh, and there is a big explosion because that gives them an opportunity to do the 'KA-BOOM' lettering all pretty like what they do in Invincible - you know, like this sort of lettering;
Hey, you probably know if you like this sort of thing. Minimal exposition, minimal dialogue, just lots of fighting that degenerates into a bloodbath, all pretty much done with super-powered fists. The premise, as you may know, is about an old superhero from the Golden Age, called Destroyer, who is dying and so he feels obliged to take out as many bad guys as he can before he dies. That's it. It is no frills, lean, mean storytelling. A high concept committed to the comic book medium. I like it, but I don't love it. Its not bad, its just not really good - it doesn't really draw me in to Marlowe's world and make me want him to succeed. It will just about justify its 5 issue run. That is no bad thing in itself, but maybe I was expecting this to be more than the sum of its parts. But not everything can be as good as The Walking Dead, can it?
It’s called ‘Get That Feeling’ by Curtis Knight & The Squires, and features Jimi Hendrix on guitar. Hendrix played in Knights band prior to finding success (now there is an understatement) with Noel Redding and Mitch Mitchell.
Gosh, that just feels like a massive weight lifted off my shoulders.
Funnily enough, Curtis Knight was a Table Tennis player of some reputation in New York.
Find out more about 'Get That Feeling' here
The finest thing on Television this year. I am quite confident that nothing will better this. A drama, written by Peter Bowker, that essentially covers the timeline of the US / UK led Irag war and its devastating aftermath on that Country, and, to a lesser extent, the United Kingdom, was an emotional, gripping and powerful validation of what the BBC can still produce in terms of Quality Drama.
Occupation follows three central characters, Colour Sergeant Mike Swift (James Nesbitt), Corporal Danny Peterson (Stephen Graham) and Lance Corporal Lee Hibbs (Warren Brown), as they fight the war in Iraq, and how they are unable to move on from the conflict afterwards, because the conflict seems to have no end. Some, like Peterson, try and profit from the situation, which seems perfectly reasonable when you consider the recompense they get for serving their country in war-time. Others fall in love, like Hibbs and Swift, and their emotions ultimately lead to heartbreak for them. Occupation is both a love story, a war story and a thriller, and its ease of transition between these different scenarios is effortless. Shown over three consecutive nights on BBC1, on June 16th through to 18th, this format allowed for a more intense viewing experience, and was the right viewing format to go with. Congratulations to the BBC for making that choice.
The central performances were superb. James Nesbitt, as the man torn by love and duty, to both his country and his family and the woman he loves, was excellent as the caring and emotional medic. One scene, where he sits on his bed in the soldiers quarters, his back to camera, breaking down with the futility of his situation, in love but with impossible odds of ever finding happiness with her, the only indication we have of his despair is his slumped, shaking shoulders. This simple scene is both subtle and more powerful for its framing. His story, arguably the most tragic, culminates in him losing too much. As a dramatic device, these final, climactic scenes in the drama were incredibly depressing and powerful, if a little contrived.
Stephen Graham, as the entreprenurial Peterson, is superb (as always, as his turn in Shane Meadows' 'This Is England' proved) with his mix of vulnerability and menace. He is at his best when showing the debilitating effects of war - the post combat stress and boredom of being dumped back in to civilian life with no checks or measures to ensure that you are able to cope with the sudden depressurisation that follows release from combat. The one scene I thought particularly stood out was when Peterson, back in England, confined to a bedroom furnished more to the taste of an old woman, takes some speed and ends up getting more and more agitated and restless, frustrated and impotent, unable to find an outlet for his energy, until finally ending up hanging off his balcony several floors up. The staccato rhythm of the edit in this scene and the increasing agitation and menace that Graham brings to the character of Peterson is a real highlight of the series.
Completing the trio, Warren Brown as Hibbs brings a naivity and vulnerability to the Soldiers experience in Iraq. His (platonic?) love of Yunis, the Iraqi translator who works with the Pacific Solutions contractor business set up by Peterson, and of which Hibbs is part of, is touching and childlike. Yunis' shocking and unneccesary death (for 'collaboration' with the British) is the catalyst for Hibbs plunging into profound despair. Plagued by his friends death, he tries to make amends by tracking down Yunis' family, and handing over big bundles of contractors cash as recompense. This decision leads him to being kidnapped by a militia group (a plain clothes Englishman in the heart of Basra sticks out like a sore thumb and is obviously going to attract attention). Kidnapped, bound and with a hood covering his head, he is scared and confused, beaten and broken. What happens next is some of the most heart stopping television of recent memroy. Evoking the grim memories of the kidnappings of Western contractors and military personnel, such as Nick Berg and Kenneth Bigley, a padlocked trunk in a basement is unlocked, and a machete, videocamera and tripod, a flag and orange overalls are slowly unpacked. These are now potent symbols in the post 9/11 world, seared into our mind from snatches of grainy video broadcasts that news agencies broadcast to accompany the news of Westerners Kidnappings in Iraq. In the scene in Occupation, Hibbs is lifted up, undressed and then made to dress in the jumpsuit. The black flag, inscribed with arabic, is fixed against a wall. The camera is set up. The machete is wielded. Hibbs, who is sat down in a white garden chair that is ominously (but also almost casually) stained with blood, is forced to read a statement stating that he is a private contractor and he, the US and the British military should not be in Iraq. Again, he states "I Should Not Be Here". These words, again almost childlike in their despair, confusion and protest, are heartbreaking. They are addressed to the World and to himself.
However, these performances are not the only ones of note. Adam Beresford, as Richard Swift, Mike's Son, is brilliant in the space he is given, going from a teenage son of a soldier, largely in the background, insignificant, to a frightened recruit, an occupier in the war zone, an enemy to many. Paralyzed by the hostile and unforgiving environment in Basra, he breaks down to his Father, who tries to reassure him that all Soldiers feel scared, but they have to get on with it. It is a typical Father / Son exchange. However, when he is caught up in an insurgency, he struggles to stay calm and sane, frantically trying to call his Dad on his mobile, a naive and touching belief that his Dad can somehow fix the mess he is in, is another profoundly moving moment in this production. Also, Monica Dolan, as Mikes Wife, Nicky, has strength and dignity in her heartbreak, her timing devastating when she asks Mike the question he knew must have been coming, but somehow forgot to prepare for it. His love of the Iraqi Doctor Aliya is probably doomed. I will not spoil it for you, but the longing and frustration of these lovers, divided by cultures, geography and war, is tangible.
A brilliant exploration of this war - it effectively shows the misery of the Iraqis who were freed from the grip of the Saddam Hussein dictatorship, only to enter a terrible and unforgiving power vacuum where death and destruction was (and to a lesser extent, still is) commonplace. The British Soldiers who are central to this story are fictional, but what is ever present in the mind is that the chaotic and desperate scenes in the rundown and struggling Hospitals are real, that the grief of the widowed, of those parents who lose their children, are all too real. These are not easy things to forget, and we should not do so.
This just makes me sad. There are only a couple of issues to go and now it seems as if we are going to get some sort of resolution when it feels like there is no good way of wrapping this up now. This time round we get the back story of Joanie and her half-brother Ronald, and their sandwich shop in Freedom. Then the Brown Bag corporation turn up, and if you read the title, or have even a basic grasp of modern commerce, then you'll know it ends badly for the little guy. Its another fascinating peek into the murky and convoluted world of the 'young liars', including an appearance from 'Loreli Sweetwater'...but with so little time left before the series ends, did we really need this? I just do not know how this is going to be resolved. I hope it gets some sort of closure. I feel for David Lapham and his dilemma in getting this wrapped up. In his own words;
Got word yesterday. 18 will be the last. There will be plenty of mind blowing shit in every issue till the last. I’m not going to try and force my “ultimate” ending in there but we will have an end, and as this is a series of endings, I can hold out hope that one day I may see it through to the end I had intended be the end, end..
taken from
http://goodcomics.comicbookresources.com/2009/04/16/young-liars-cancelled/
Verdict. Reading the Young Liars up to now has been a bit like where you wake up after a great dream and think its Monday morning - only to find out it is Saturday morning. It started great, got confusing and disorienting a few issues in, only to come out of the confusion with an energy and vitality, combined with audacious plotting, to make it all worthwhile. I cannot really score this issue because any score on this issue is loaded with the knowledge that there is only 2 more issues to go and I feel unhappy about this. It is probably too late to invest in the single issues now, so get the trades instead.
More debauchery, graphically illustrated, continues unabated at the Herogasm R&R event for the Supes. Everywhere you look are the sights and sounds of unchecked power, the loss of responsible behaviour to the raging thirst of powerful desires. It is a powerful argument as to why The Boys exist. They do not really come into it until the end, but their cameo is worth the price of admission, and sets up the next issue so well its just a pity it could not have been brought into this issue with some of the (literal) excess trimmed. It is a slight gripe, but otherwise the issue is another cracker. The Vought American powerplay moves into gear, with the plan to take out the Boys being pushed to one of the super teams - and it gives some explanation to some of the events in the already released Boys #31.
This issue is drenched in debauchery. Be warned. Especially if you are an older reader and have young kids. Don't leave it lying around, unless you want to answer some awkward questions. So, in summary, NSFW, NSFK (not safe for kids) but bloody good fun. He is a very naughty boy that Garth Ennis, and has a very fertile imagination, especially when it comes to the supes choice of drug consumption (you probably wouldn't be able to guess....but when you find out, you will not be surprised that he (Ennis) thought of it either....) His mate Darick Robertson provides a suitably risque cover, and John McCrea is very adept at illustrating all the SEX and DRUGS that fly around the panels.
I am getting used to a dose of The Boys world every 2 weeks. Can we make this a permanent fixture please?
GOD!!!
Someone please help me - put me out of my misery and tell me who performs this song for the BBC Wimbledon coverage trailer;
http://news.bbc.co.uk/sport2/hi/tennis/8095432.stm
Is it Hendrix? The Dirtbombs? PLEASE SOMEONE HELP ME.
A classic piece of Powerpop from this acclaimed London group. A heartbreak tune propelled by (the soon-to-depart) Jools Holland's keyboard. This reached number 17 in the UK Top 40 during March 1980. You can cry into your beer with this one, just like Gifford and Tilbrook.
Taken from their third album, Argybargy, (released in February 1980, highest position being no.32 in the Album chart) which also includes the single 'Pulling Mussels From The Shell' (which only made it to no.44 in the charts later on in 1980).
Lots of issue #3's this week! My bountiful picks this week are;
BOYS HEROGASM #2 (OF 6) DYNAMIC FORCES
CAPTAIN BRITAIN AND MI 13 #14 MARVEL COMICS
DESTROYER #3 (OF 5) MARVEL COMICS
MARVEL ZOMBIES 4 #3 (OF 4) MARVEL COMICS
PHONOGRAM 2 #3 (OF 7) SINGLES CLUB IMAGE COMICS
YOUNG LIARS #16 DC COMICS
Boys: Herogasm #2
Ennis is on a hot streak with this and the main Boys title, so I expect this to be business as usual, and will expect nothing less than excellence with part 2 of this first Boys spin-off.
Here is the solicit;
Things heat up at the super-retreat, as new heights of hedonism are scaled and Jack From Jupiter introduces A-Train to the depravity of "Forbidden". The Homelander, meanwhile, is indulging in a little peccadillo of his own- one that will have far-reaching consequences for the world's superhuman community. Hughie finds himself talking dirty, Payback get an offer they can't refuse- and the Boys put their own plan into operation...
Captain Britain & MI13 #14
The penultimate episode of 'Vampire State', which is also the penultimate issue *sob*. Solicited as;
The pieces are all in motion. Dracula, Lilith and Captain Fate are heading for Earth with their invasion force, as the Vampire Lord’s deal with Dr. Doom and master plan all come together. MI13 has been taken apart and the world is ripe for the taking.
Gutted that this title is coming to an end, though at least they have given Paul Cornell the opportunity to finish this on a high. Awesome cover.
Dark Reign: Hawkeye #3
This has been a lot of fun so far, dark humour for a Dark Reign tie-in, its twisted and fast paced and stands up on its own merits. Andy Diggle is doing a brilliant job with this one.
Solicited as;
From the pages of DARK AVENGERS! The psychopath formerly known as Bullseye has been painting the town blood-red in the guise of the heroic Hawkeye. But the hero mask is starting to slip--along with his tenuous grip on reality! As the cold blooded killer struggles to cover up his murderous excesses and hide his deteriorating mental state from Norman Osborn, who should he be more afraid of--the killer within or the hero without?
Destroyer #3
Destroyer at long last catches up with his most hated enemy -the dreaded SCAR! While Destroyer was hunting down and murdering his villains, Scar set his sights on him! The hunter becomes the hunted! So it goes - personally I found the second issue a bit of an anti climax after the rousing debut, so hoping for better things here.
Marvel Zombies 4 #3
So far so very good for this latest iteration of the franchise - and in this issue we get a toxic cloud that zombifies everything in its way. The Midnight Sons can't enter the deadly mist, so they call in a reserve member who can, so we get the return of another Seventies Horror Superstar - the macabre Man-Thing! Throw the Hood in the mix and this promises to be another crowd pleaser, with Van Lente and Walker at the top of their game.
Phonogram Singles Club #3
Another winner from Image, who are releasing some top quality titles at the minute, with the likes of this, The Walking Dead and The Strange Adventures of HP Lovecraft. Solicited thus;
As the Ice Queen of the Phonogram universe, Emily Aster is only afraid of two things: her past catching up and spending time in dodgy indie venues. In the latest of the seven-stories-in-one-night of the Singles Club, she's having to deal with both. Plus, two complete back-up stories featuring the art of LEIGH GALLAGHER (2000AD, The Witching) and LEE O’CONNOR.
Now that's what I call a title - 'We Share Our Mother's Health'. Lovely, lovely, lovely.
Young Liars #16
How will we cope without this fantastic title? Not long left now (2 more issues after this....)
Solicit reads;
Danny suffers the horrible effects of looking through the hole in the wall, causing a rift between himself and Loreli. Loreli turns to Danny's archrival, Puss-Bag, for comfort which leads to a night of violence and horror. History repeats itself as the spider's plan is revealed and a mysterious phone number brings both help and destruction from the past.
PREVIEWS of several of the titles are below - follow the links;
http://comicbookresources.com/?page=preview&id=2817&disp=table Hawkeye #3 preview
http://comicbookresources.com/?page=preview&id=2820&disp=table Destroyer #3 preview
http://comicbookresources.com/?page=preview&id=2825&disp=table Marvel Zombies 4 #3 preview
http://comicbookresources.com/?page=preview&id=2850&disp=table Phonogram Singles Club #3 preview
Deadpool #11 (Marvel)
The cover (which is cover of the week without a doubt) should give you some idea about the contents, as Deadpool and Hawkeye continue their Battle Royal. Its slapstick with the emphasis on slap, and there are lots of meat cleavers and scenes in abattoirs and a guy who looks like the big bald guy who got in the way of an aeroplane propeller in Raiders of the Lost Ark. As well as all that, you get a glimpse of Deadpool and Hawkeye (aka Bullseye) in their school days, and Wade gets to fulfill a boyhood dream. It's funny and throwaway, like I thought it would be. That is not a bad thing, in case you are wondering. Warning - this comic contains a meat suit. Yes - a meat suit
.
The Strange Adventures of HP Lovecraft #2 (Image)
This is a seriously good read. Lovecraft struggles with the mystery of the murdered seaman, a catatonic Mother, his own frustrated desires and the growing unease at what he may be unleashing. The art is beautiful, the dialogue and script pitch perfect and the the whole package is a real treat. Wonderful, wonderful, wonderful - and spellbinding and creepy. If you have any interest in HP Lovecraft, horror fiction or you just like to be surprised by GREAT comics, then get this, and issue 1. 
Batman 687 (DC)
As a belated companion piece to last weeks rip-roaring debut 'Batman and Robin', and as the epilogue to 'Battle for the Cowl', this works just fine. It really feels like the beginning of a new era, with Dick Grayson finally taking on the massive challenge, and upholding the nature of the Batman. The action is fairly low-key, apart from the new Robin and his headstrong impulses (the tension he brings is interesting and should provide a key element to the new pairing with the new Batman), but the ending is a classic. There is also plenty of room for Alfred, and space for his sadness to really hit home. Excellent stuff, looking forward to how this new era pans out.
Warning - potential spoliers
THE WALKING DEAD #65
story ROBERT KIRKMAN
art & cover CHARLIE ADLARD & CLIFF RATHBURN
SEPTEMBER 16
32 PAGES / BW
$2.99
THE HUNT CONTINUES!
His time is up.
WARNING: MAY NOT BE SUITABLE FOR ALL AGES
Warning - spoilers (discussion of current events in Walking Dead up to issue #62)
Well.........this puts a bit more meat around the bones of what happened at the end of issue 62....so the Hunters are going to keep Dale alive for a while yet. Though he may rather be dead after a few hours with those sadists. Grim. Bad news for Dale, probably good news for the reader, as this looks really tasty. His time is up? Looks like it, doesn't it? Wonder who the Hunters are going to get in the meantime?
So, here we are with the Resurrection reboot. It's the same story, told from the viewpoint of different survivors, and in it is in full colour and will be a monthly title. So far so good. Issue #1 kicks off with an address from Bill Clinton, as the US President, explaining that the Earth is receiving a visitation from Aliens......and then things start to go wrong aboard Air Force One. And to be honest, that is when things start to go wrong with this issue. I just was not engaged at all. The characters left me unmoved, the action was largely uninvolving, though I did like the addition of the 'Burns' (humans who were experimented on by the Aliens aka the 'Bugs') and the 'Road Agents' (human brigands basically, who seem to like attacking with bows and arrows), but the main story left me cold. I didn't care that one of the central characters died, followed by another shortly after. That was it. There was too much going on, and not enough focus on making characters and situations interesting.
One of the main faults is with the art. I don't 'get' Greenwoods art - you get no sense of desolation, of the aftermath of destruction. Its like its been filtered through that old Dreamcast game, 'Jet Set Radio', 
and I get no sense of the despair or anguish, the hurt or suffering of the survivors. Their faces tell me nothing, other than they may have once lived in a videogame.
The end of issue is a bit 'who cares?' for me. Who cares that some guy ends up at a safe zone and one of the armed authority type figures was his wife? So What? That is how it left me. The first volume of this story generally had enough going to keep me involved. I fear that this time round that will not be the case.
To summarise, it is a reboot, so if you read it last time around you will get the central theme. The start, starring Bill Clinton, is great. However, the characters lack character and the art is too 'cartoony' and the colour adds nothing (in fact, and in retrospect, Volume 1 gained a lot of atmosphere and tone with its all Black and White pages). It just leaves me cold, and I wish it wasn't so. I hope it picks up, maybe I will get used to the art, but in a comic book market where we have some outstanding post apocalyptic tales (The Stand and The Walking Dead do this thing to such a high quality, and even Crossed has its strenghts even if it is an acquired taste), this needs to stand out much more to get noticed.
Warning Spoilers
First of all, although this is the first in the 5 part ‘fear the hunters’ arc – the first true arc since the ‘no-one is safe’ prison siege concluded nearly 18 months ago – this is more of a prologue, as the hunters are not revealed until towards the end. Rather, issue 62 is a continuing exploration of the tensions that are ripping apart the very fabric of the current survivors – and we get a lot more besides. Dale becomes ever more disillusioned – he really appears to be at his wits end, following the tragedy that has befallen him recently. Heartbroken, unfocused, scared and distancing himself from the main group, his situation becomes dire by the end of this issue.
Carl, meanwhile, is developing a character that is embittered, yet focused and ultimately pragmatic. Schooled in survival under the most extreme of circumstances, his personality has recently undergone a massive shift in tone. His rapid rise to prominence within the group, his importance to the title, is now unquestioned. He may not be always likeable, as evidenced here, but that does not make him any less fascinating. His development is a testament to the work that writer (Kirkman) and artist (Adlard) can produce. There is a scene where Carl is alone, in the dark, where Kirkman gives the artist a few panels where there is no dialogue, but magnificently, heartbreakingly show the tensions within this troubled young boy. This is a real highlight of the issue.
Michonne finally comes back into focus, having been on the periphery for several issues. She gets one very funny scene that briefly lightens the tone, and then an altogether more awkward one later on, where she confesses to Rick about her feelings. This piece surprised me, as I thought there was room there for a relationship to strike up between her and Rick. I won’t spoil it for you and tell you who the object of her desires is, but there is a tantalizing end to the scene when Rick seems like he is about to reveal something about the person, along the lines of ‘there is something you should know about (that person)’. But this is cut short, and we never get to find out. No doubt we will find out, but when? Intriguing.
More intriguing, and disturbing, is the discovery that Eugene is a voyeur. This opens up a lot of possibilities about his character. If he is a deviant, what else is he capable of? The fact that Abraham and Rosita are aware of his actions (it is them that he is watching), is also worrying. Are they that convinced of his story, and the purpose of getting him to DC that they are blind to his true nature? Then again, ‘needs must’, and in this changed world, what if voyeurism is all you have, a link to intimacy that is now gone with the millions who perished in the apocalypse? In that case, is Eugene to be pitied?
Father Stokes is still around, giving nothing away. I still cannot decide if he is in league with them hunters or not. Maybe he is in the wrong place at the wrong time. Perhaps. We learn he has a dark sense of humour, but not a lot else transpires. He is probably in the firing line to take the blame when the really bad stuff kicks off with the Hunters.
Finally, we get the highly anticipated appearance of the hunters. Well, we only get to see them briefly, and in shadow, but it’s pretty effective, especially when they discuss with each other what they achieve in this issue. Interestingly, early on in the story we get a zombie attack. They seemed to come out of nowhere – were they used by the hunters as means of unsettling the survivors. Is this part of their ‘game’? Things are about to get serious indeed.
This episode is a great scene setter – the cliffhanger is there to plunge us straight into the drama next time. So much going on, so many reveals about characters, and the hunter’s presence gives this brilliant title a deadlier shade then we have probably ever witnessed.
