Tag Archives: Scream!

Scream! and Misty: Review

Hooray! Another fruit of the IPC copyright purchase has hit the shops – now alongside the reprinting of classic stories from the IPC years, we are also seeing new stories written and drawn by current creators, inspired by those glory days and revisiting old setups and characters. “Scream! and Misty” (also available in a variant cover entitled “Misty and Scream!”) is out now. What’s in it? And – the bigger question – is it any good?

  • Cover: Henry Flint
  • The Thirteenth Floor (artists John Stokes / Frazer Irving, writer Guy Adams)
  • The Dracula File (artist Tristan Jones, writer Grainne McEntee)
  • Death-Man: The Gathering (artist Henry Flint, writer Feek)
  • Return of Black Max: Blood Moon (artist Simon Coleby, writer Kek-W)
  • The Return of the Sentinels (artist Ben Willsher, writer Hannah Berry)
  • Fate of the Fairy Hunter (artist Dani, writer Alec Worley)

First of all, rightly or wrongly, this is more 2000AD than it is Misty (or Scream!, as far as I can tell, though I am not an expert on that title). The art and the story telling is generally much more focused on current styles than traditional ones – and when you flick through this 52-page special it’s noticeable what a variety of styles is included within, much more so than in the 32 pages of Misty. There are traditional elements: John Stokes starts off the issue in the story revisiting “The Thirteenth Floor”: Max the psychotic computer who runs the decrepit building gets us off to a great start, though the ending to the first story is a little clumsily handled. This story is split between the black and white traditional art that Stokes provides and a colourful interlude drawn by Fraser Irving, which is very definitely 2000AD. The combination works well it itself, but I’m left slightly unsure as to what Rebellion are trying to do here – attract an audience for the reprint titles (blurbed as a whole-page advert on the following page), pull their 2000AD audience over to a new title with a different sort of inspiration, or what?

“The Dracula Files”, likewise, is more 2000AD than anything else – and is the most scrappily-drawn of the offerings to boot, I think. It’s quite well-written but some of the visual story-telling is hard to follow, and below in the last panel you can see an example of a very awkwardly-drawn hand, which looks like the artist changed their mind about part-way through.

“Deathman: The Gathering” makes it clear that this is a remix and reworking of the traditional characters. Characters from all sorts of IPC titles, not just Scream!, make it into this one – even alien shape-shifter Paddy McGinty’s Goat does! It’s readable and fun – how often do you get to see the Leopard of Lime Street mixing it up with Blake Edmonds from Death Wish? This is very far from a complete story though, and again I am not quite sure where Rebellion are planning on taking this from here on in. Are Rebellion going to launch a separate line or something? This feels somewhat similar to some of the Vertigo comics from back in the day, when that is what DC did to free themselves from the constraints of their mainstream universe.

“Return of Black Max: Blood Moon” is one of the most successful combinations of tradition and modern styles, it feels to me. The art is bang up to date but the panel sizing, story telling, and even the story themes are just like what you would get in the old girls comics at least. It leads off with a disturbing dream that Maxine Newland is recounting to her schoolfriends the next day – and continues with detention, an absent parent, a spooky item from the past, and an inadvertent trip to another dimension. Maxine even ends the story asking herself, troubled: “He said I wasn’t a girl. That I was a…thing. W-what if he was right?” That self-doubt could have come straight out of a girls weekly comic!

There are only two Misty-inspired stories. The second one (“Fate of the Fairy Hunter”) is a short, complete story that has a lot of similarities to the horror shorts included in that title; less gore though. There’s a twist in the tale but I have to say that the Misty versions would have ended a lot less happily for the female lead – a bit of a shame to have missed out that disinhibited proper horror element.

“The Return of the Sentinels” is the big ticket item for many of the people reading this post, I suspect. It didn’t disappoint me – I loved it. It’s tightly written and the art is great. I can’t give away much about it because I know lots of people will want to read it unspoiled – suffice to say that it doesn’t explain anything about how the Sentinels work or what happened to the characters in the original story, but it compresses the spooky feeling of wandering into a parallel world that is very definitely not right into only a few pages. It’s not clear that there is a chance of writer Hannah Berry developing this modern-day story further, but if that was an option then I can tell you that I’d be there in a flash.

So, yes. Much of this is 2000AD-has-fun: almost a fanfiction reworking of those original characters and stories (and nothing wrong with that, let me clarify). “Black Max” and “Sentinels” feel like they could be the start of something new and great on their own terms, which I’d love to see. Some other bits miss the target to a greater or lesser extent: in addition to the scrappy drawing in the Dracula Files, Henry Flint’s front cover is great on the creepy ghouls (I love Ghastly McNasty holding a selfie stick!) but much less great when depicting Misty herself (who looks like a plastic doll with a blank expression rather than a mysterious one). Overall: a definite ‘yes’, especially as tastes inevitably vary and that is the particular strength of the anthology title.

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It’s Ghastly! – review

its-ghastly-cover

I have just received a copy of “It’s Ghastly” – Hibernia Comics’ latest addition to their Comic Archive. This 64-page publication spells out the reasons for the demise of IPC’s short-lived horror title Scream! and exhumes lost material intended for the abandoned weekly issues.

It’s a handsome glossy publication, mostly in black and white but with a handful of colour pages in the middle. My particular interest wasn’t so much in the information about Scream! itself (as I never read that title) as about what it might reveal about comics publishing of the time, or any as-yet-unknown information about who did what.

It features a lot of interviews and information from people involved in creating the title: Barrie Tomlinson (Group Editor at the time), Gil Page (Managing Editor of the title), Ian Rimmer (editor), Simon Furman (sub-editor). Some of them are reprints of interviews originally published some years previously, but bringing them together in one magazine is a definite service to fans of the title and those interested in this slice of history.

I was interested to note how the various memories of what happened at that time were all slightly different: David McDonald was clearly trying to get an answer to the key question of why Scream! folded so quickly. Barrie Tomlinson had a number of possible answers – the strike, the content, the sales figures… while Gil Page put the blame fairly squarely on the overall sales figures. Ian Rimmer puts it down to a staffing problem and to management interference and second-guessing, which put a real crimp in the process of just getting on with creating as good a title as possible. He ultimately blames management timidity. So even from people who were there at the time, it’s possible to get as many answers as there are people answering – at least for the tricky questions. Something for any of us interviewers or comics historians to be aware of in terms of the dangers of drawing firm conclusions!

As with MacManus’ “The Mighty One”, I was struck once again by the sheer amount of writing that was done in house. There is also a lot of interesting discussion about artwork: not so much the process of creating it or how much was done by the art editor, but about how it was reused in subsequent publications, even if that meant cutting up a page of art or reusing some cover artwork by José Casanovas in a Holiday Special – but removing the central human character which was part of the whole point of the original story.

There’s lots of solid material in here – interviews, re-creations of three unused covers that could have been printed in issues 16, 17, and 18 (the title stopped at 15), scripts, and a whole unpublished story of “The Nightcomers”! The artwork is the original from the time, but as it was unlettered and only half the script could be found, the other half was rescripted by Simon Furman, who was the original writer. Those of us who are fans of other titles can only feel a mixture of jealousy that David was able to come across this treasure trove, and hopefulness that maybe such a miracle could happen to our own favourite title some day.

“It’s Ghastly”; Hibernia, 2016: available on Comicsy for £7.50 plus postage

Last Tammy Ever Published: 23 June 1984

Tammy cover 23 June 1984

  • Bella (artist John Armstrong, writer Primrose Cumming)
  • No Use to Anyone! (Eduardo Feito)
  • Sadie in Waiting (artist Joe Collins)
  • The Forbidden Garden (artist Jim Baikie)
  • Secret Sisters – first episode (artist Maria Dembilio)
  • A Walk in the Country – feature
  • Pam of Pond Hill (artist Bob Harvey, writer Jay Over)
  • Jemima and the Arabian – a Pony Tale (artist Veronica Weir)
  • Top Girls! – Feature (Mari L’Anson)
  • I’m Her – She’s Me! (artist Phil Gascoine)
  • Cora Can’t Lose (artist Juliana Buch)

This is the last issue of Tammy ever published – for the wrong reason in that Tammy simply disappeared after this, leaving all the stories inside unfinished. In particular, former readers are still frustrated to be left dangling on the penultimate episode of “Cora Can’t Lose”. The final episode was set for the next issue, but there never was a next issue. Only a few months later did Tammy reappear, but in logo only, which appeared on a few issues of Girl.

What happened? From what another Tammy enthusiast, Marionette, has pieced together from former IPC, Tammy was due for cancellation anyway, but not until August. Presumably, Tammy was then to merge with Girl. Then, after this issue was published, there was a strike that took many weeks to settle. By the time it was, the Tammy editors decided not to pick up where they left off, because it would have taken even longer to finish the stories. So everything here was dropped and left unfinished.

Tammy was not the only title to disappear because of the strike. The same went for “Scream!”, which was only on its 15th issue when the disaster struck. (Despite this, “Scream!” has become a cult favourite and its issues can command high prices.) But unlike Tammy, “Scream!” was allowed to continue in Eagle and finish things off. Presumably Girl did not have the room to complete Tammy’s stories, because she was nearly all a photo-story comic. But IPC still had a duty to the Tammy fans to let them know how the stories ended, which they did not meet. Unlike “Scream!”, there is no evidence of the unpublished material appearing in Tammy’s holiday specials. Tammy’s remaining annuals did not take the opportunity to publish any of the material either, except perhaps the Button Box stories; instead, they went for reprints. Another possibility could have been a special final issue that included the last episode of Cora and potted summaries for the other stories, but that wasn’t done either.

It is also telling that Tammy has dropped the Princess logo all of a sudden. Princess had only merged with Tammy in April, so dropping the logo of a merging comic in such a short space of time is disturbing. It hints at the direction Tammy was going with her sales and what was in store for her had the strike not intervened.

So just what inside was left dangling? First, Bella finds a coach who offers to get her back into proper gymnastics – on condition that she quit the acrobatics she has done with Benjie. But this will mean letting Benjie down. Bella is left with a tough choice to make, but we never find out what she decides. Ironically, it is virtually 10 years to the day here that Bella started: she first appeared on 22 June 1974.

In “No Use to Anyone!”, Kirsty gets some tips on how to train her puppy, Clumsy. But now the blind Clumsy has been trapped by a herd of cows, and Kirsty is terrified of them too. We never find out how she rescues Clumsy.

“Sadie in Waiting” had come over from Princess, and it brings Grovel, the first villainous butler since Pickering of “Molly Mills”, to Tammy. Grovel is out to win the “Servant of the Year” award in his usual fashion, which does not include working hard or honestly.

Sadie

In Tammy’s reprint of “The Forbidden Garden”, Gladvis has started blackmailing Laika over her water theft. This is about to include forcing Laika to do a dreadful job in the dreaded industrial zone, with water instead of money for wages. Perhaps the reprint of “The Forbidden Garden” had something to do with Princess, which had reprinted several old serials from Tammy and Jinty in her final issues, including “Stefa’s Heart of Stone“, “Horse from the Sea” and “The Dream House”. However, it is a bit surprising that Tammy chose to start reprinting a long serial when she was set for an August cancellation, and it is unlikely that Girl would have had the room to finish the story. So one wonders how the reprint would have been finished off. In the previous issue, the story had a double-up spread, but that is not the case here. Perhaps once Cora was finished, there would have been more double-ups until the merger.

“Secret Sisters” starts in this issue, but sadly never got beyond episode one. Jill Paget is an adopted child who wishes she had siblings. Then she finds out she has three sisters who were adopted separately and wants to find them. Next week is supposed to include a “surprise move”, but we never find out what it is.

In “Pam of Pond Hill”, Pam is set to move on to Tess Bradshaw, the third classmate she is going to stay with while Pam’s family are away. But all of a sudden Tess says she can’t have Pam and even slams the door in her face. The blurb for next week tells us that we are going to find out what is wrong with Tess, but we never do.

(Click thru)

Incidentally, Pam’s various sleepovers with her classmates have developed their characters and home lives in surprising ways. During her stay with Goofy, Pam was surprised to find that Goofy could be extremely determined when he fixed his mind on beating something. The trouble is, that determination could take him to obsessive levels. Pam’s stay with Di (Diana) has changed the life of Diana’s mother for the better. She is going to be less house-proud, just to satisfy the demands of her husband, while he is going to be less demanding of her.

There is no Button Box story in this issue. Instead, we have the last Pony Tale ever published, “Jemima and the Arabian”. The Arabian is proving a bit too spirited for the stablehands until the horse strikes a surprise friendship with a cat called Jemima. Next week we are promised a complete tennis story, but we never get it.

“I’m Her – She’s Me!” is Phil Gascoine’s last, and incomplete, story for Tammy. Nice Paula Holmes and nasty Natalie Peters have somehow switched bodies after a strange lightning strike. Natalie is all set to explore new avenues of nastiness under her new identity while Paula is desperate to get help. She finally does so in this episode, where she manages to convince her ballet teacher of what happened. But then they strike new problems – Natalie has now gone and broken one of the legs in Paula’s body, and then Natalie’s unfit father shows up and is trying to drag Paula, in Natalie’s body, back home, where he has something unpleasant in mind for her. We never find out if the ballet teacher manages to rescue her, how the girls get their bodies back, or, for that matter, just how that bolt of lightning caused them to switch bodies in the first place.

(Click thru)

And now we come to the most frustrating part of Tammy’s sudden disappearance – the penultimate episode of “Cora Can’t Lose” with no final episode ever coming after. When this story came out, it really had me hooked and I was anxious to find out what was going to happen in the final episode. From the sound of comments on the Internet, so were a lot of other readers.

Cora Street has gone on an obsessive sports cup-winning frenzy to win the respect of her parents, who kept sneering at her for not winning sports trophies as they did when they were at school. But this is putting Cora’s life in danger, because she cares more about winning the trophy her mother failed to win than seeking treatment for a head injury that is currently affecting her vision and hearing and will ultimately kill her if left untreated. Not even the identikit issued by the hospital in this episode brings her to her senses. And now the injury is causing another problem: it may have caused Cora to unwittingly spike her main rival during an event. If she’s right, she could face disqualification and be out of the running for the cup.

Final note: The ending of “The Forbidden Garden” is known because it is a Jinty reprint, and a summary of the story can be found on this site. If anyone has any information on how the other unfinished stories would have ended, they are welcome to drop a line here.