First hardcover edition of BILLI 99 coming from Clover Press

Clover Press Presents The First Hardcover Edition of BILLI 99, an Early Creator Owned Comic Drawn by Tim Sale, Now Coloured by José Villarrubia

Tim Sale was one of the most celebrated and beloved comic book artists of his generation. Frequently collaborating with writer Jeph Loeb, Tim illustrated seminal stories featuring Batman, Catwoman, Superman, Spider-Man, Captain America, Hulk, and Daredevil as well as the cult favorite TV series Heroes. Now Clover Press is publishing the first-ever hardcover edition of Sale’s first full-length comic book work, the Eisner Award-nominated BILLI 99, written by Sarah Byam. This new edition, which is being crowdfunded on Kickstarter, features glorious colors by the award-winning and fan-favorite color artist José Villarrubia.  

First published by Dark Horse in 1991 as a four-part mini-series, BILLI 99 is a cautionary tale about corporate greed and a corrupt government. It asks: what is power when everything has been taken away? The book contains 196 pages of breathtaking, lovingly painted, duo-shade art, and the hand lettering that would become Tim Sale’s signature font. The story introduces the teen vigilante hero. Billi Chadam takes up her late father’s sword to bring down the powers of oppression and give the people of her city back their lives. BILLI 99 is a story of hope and inspiration.

“A few years before Tim passed, he, editor Patty Jeres, and I tried to finance a hardcover, color version of BILLI 99 and were repeatedly frustrated, but the idea of printing a definitive version of the book remained steadfast,” said writer and co-creator Sarah Byam. “BILLI 99 was a favorite of Tim's and it's important to us to do it justice, as we introduce this early and important work to a whole new audience.”

“Sarah Byam’s BILLI 99 is a unique perspective on the comic book hero,” writes Tim Sale’s widow, Susan Bailey in her new essay for the book. “It’s as fresh today as it was in 1991 when it was first published. You’ll see why Tim was proud to be part of the telling of this twist on the typical comic book hero, especially if you knew him personally, after reading the book. I hope you enjoy it as much as I did when Tim first introduced me to Billi.”

"Along with everyone else who knew him, worked with him or simply enjoyed his work, I was very saddened by the passing of Tim Sale,” said José Villarrubia. “ I had admired his work for years and had had the opportunity to work with him several times, including in Superman for All Seasons, SOLO, and Batman/Catwoman: The Wedding Album. I missed BILLI 99 when it was first published in black and white. I am very thankful to Sarah for bringing me into this project. I think that readers are going to be very surprised by it. For me, this is a splendid opportunity to rend homage to a great comics artist."

“Tim and Sarah felt like there never was a version of BILLI 99 that fully reflected their final vision,” said Clover Press Publisher Hank Kanalz. “It is a great honour for Clover Press to publish the definitive edition of BILLI 99.”

The Clover Press Edition of BILLI 99 includes multiple extras, including a portrait tribute of Tim Sale by legendary artist Bill Sienkiewicz, an essay by Susan Bailey, and pin-ups by Matt Wagner, Rick Hoberg, Andy Kuhn, and Tomm Coker.

Praise for BILLI 99:

“BILLI 99 is a compelling graphic journey; with a must-read story by Sarah Byam and stunning must-see artwork by the late great Tim Sale. In short, this is a must-have collection. Period.”— Bill Sienkiewicz (Stray Toasters, Elektra Assassin)

“Before I found my way into the glory of Tim Sale's artwork, an equally talented writer named Sarah Byam had the good fortune of finding Tim. This is the story that launched him into the public eye. Part Zorro, part great female hero, and all incredibly original, BILLI 99 is finally collected here with stunning colors by Jose Villarrubia.  Tim is gone now, but his legacy lives on through his talent and BILLI 99 is a must have for your collection.” 

—Jeph Loeb (Batman: The Long Halloween, Spider-Man Blue)

“In BILLI 99, Tim Sale showed the world the sort of epic comics artist for which he would become so renowned, while Sarah Byam delivers a strong, believable and utterly compelling female adventure character. BILLI 99 is at once an irresistible mixture of power and rage, sympathy and grace.”— Matt Wagner, (Grendel, Dracula: The Impaler)

“Atmospheric visuals and a compelling narrative — an inspired vision of America’s future that feels like an observed reality.”—Dave Gibbons (Watchmen, The Originals)

To support the project, visit the Kickstarter here. For updates, follow Clover Press on Instagram, X and Facebook. You can subscribe to the Clover Press newsletter here. 

The Fox Sci-Fi Universe - Julian Darius

Fox owns several venerable sci-fi franchises, most of which have struggled to one extent or another. Fox’s attempt to combine Predator and Aliens produced a couple lackluster movies, which were then contradicted by Ridley Scott’s Alien prequels. In sum, these properties are mostly languishing (to one degree or another), while Fox had problems managing continuity within franchises, let alone in its one attempt to combine two franchises.

The “Fox Sci-Fi Universe”, listed below, is an attempt to combine these Fox franchises anew, along with other Fox material. Fox has an extensive catalogue of classic films and series which would fit well, many of which haven’t gotten the attention they deserve. I think ,erging them into a single continuity would reinvigorate each film or property, making it part of a tapestry that encourages fans to draw connections and to explore material they otherwise might not.

In addition, Disney’s acquisition of Fox would permit Disney to merge some of its own sci-fi films, including franchises that have struggled on their own. Tron might not be successful on its own, but it could now be an interesting segment of a larger universe, with its world and technology available to characters from other stories.

Key to this strategy is to merge as much compatible material as possible, with special attention to quality material and material produced from the 1980s onward (which looks modern enough). Some quality movies are incompatible, for one reason or another. We can reject any movie we want, and the below list is subject to change. But in general, we don’t want to be purists, only incorporating the very best. We want to incorporate the best works, but we also want to be as all-encompassing as possible, so as to produce a grand tapestry spanning centuries of history.

An impressive body of work containing multiple beloved series and characters, the Fox Sci-Fi Universe contains material directed by Steven Spielberg, Joss Whedon, Ridley Scott, James Cameron, David Cronenberg, Guillermo del Toro, and David Fincher.

One key franchise here might not be obvious: The X-Files, which retains a certain cache and which is perfect for such an expansive sci-fi universe because of its expansive scope. If you think about it, there’s no reason why Mulder and Scully couldn’t have investigated the VR world of Tron, the teleportation technology of The Fly, or reports of the murderous alien from Predator.

Chronologically prior to The X-Files, the Indiana Jones franchise fits well. Like The X-Files, it’s episodic and less concerned with a single, coherent version of the supernatural or of extraterrestrials than creating an exciting, all-encompassing world in which fantastic stories can be set.

Moving chronologically into the future, the dominant franchise is Aliens, which has the benefit of rarely depicting Earth, permitting us more freedom in terms of a consistent depiction humanity’s future. Beyond Aliens lies Firefly, which is also largely vague about Earth.

Moving forward, material set in the Fox Sci-Fi Universe can incorporate characters and ideas from other properties. Companies should be connected to one another; for example, Bartok Science Industries (from The Fly) could be purchased by Weyland Corporation (from Aliens), and we could learn that the Bartok teleportation technology was an important predecessors to Weyland’s own technology. Similarly, various government agents can be retroactively seen as predecessors or successors to the X-Files program.

The following is a timeline of the Fox Si-Fi Universe. As previously stated, it’s subject to change; movies can be added or removed relatively freely, at least until new installments explicitly place them in continuity. To help set them apart, TV series appear in red.

Era 1: Indiana Jones (1908-1962)

This era essentially contains all material set in the past, relative to its actual date of production.

1908-1920: The Young Indiana Jones Chronicles (28 episodes across 2 seasons, 1992-1993)

1935: Indiana Jones and the Temple of Doom (1984)

1936: Raiders of the Lost Ark (1981)

1938: Indiana Jones and the Last Crusade (1989)

1938: The Rocketeer (1991) – assuming Disney owns the film rights in perpetuity

1957: Indiana Jones and the Kingdom of the Crystal Skull (2008)

1962: The Shape of Water (2017)

Era 2: The X-Files (1982-2018)

This era contains all material set in the present, relative to its actual date of production.

1982: Tron (1982)

1986: The Fly (1986) – features Bartok Science Industries, which funds Brundle’s research

1987: The Fly II (1989) – set about nine months after the first film, we might want to eliminate this film in favor of an alternate sequel (such as one directed by Cronenberg, which has been discussed over the years and which could now reference other material from this shared universe)

1987: Predator (1987)

1989: The Abyss (1989)

1993-1994: The X-Files, season 1 (24 episodes, 1993-1994)

1994-1995: The X-Files, season 2 (25 episodes, 1994-1995)

1995-1996: The X-Files, season 3 (24 episodes, 1995-1996)

1996-1997: The X-Files, season 4 (24 episodes, 1996-1997) and Millennium, season 1 (22 episodes, 1996-1997)

1997-1998: The X-Files, season 5 (20 episodes, 1997-1998) and Millennium, season 2 (23 episodes, 1997-1998)

1998: The X-Files: Fight the Future (1998) – the first X-Files movie (sometimes simply called The X-Files), set between seasons 5 and 6

1998-1999: The X-Files, season 6 (22 episodes, 1998-1999) and Millennium, season 3 (22 episodes, 1998-1999)

1999-2000: The X-Files, season 7 (22 episodes, 1999-2000) – includes “Millennium,” wrapping up Millennium

2000-2001: The X-Files, season 8 (21 episodes, 2000-2001) and The Lone Gunmen (13 episodes, 2001)

2001-2002: The X-Files, season 9 (20 episodes, 2001-2002) – includes “Jump the Shark,” wrapping up The Lone Gunmen

Uncertain: Tron: Uprising (19 half-hour animated episodes, 2012-2013) – set before Tron: Legacy

2008: The X-Files: I Want to Believe (2008)

2010: Predators (2010) – features a group of humans on a Predator hunting planet and ends with them still stuck there; connected material also includes two 2010 short films, “Moments of Extraction” and “Crucified”

2010: Tron: Legacy (2010)

2016: The X-Files, season 10 (6 episodes, 2016)

2018: The X-Files, season 11 (10 episodes, 2016)

2018: The Predator (2018) – features a battle with Predators in American suburbia

Era 3: Aliens (2023-2381)

This era takes place in the future, from the late 21st century to the 24th century.

2023: “The Peter Weyland Files: TED Conference, 2023” (2012) – a 7-minute short film in which a young Peter Weyland gives a TED Talk

2079: “The Peter Weyland Files: Happy Birthday, David” (2012) – a 3-minute short film in which David explains what he thinks about and what makes him sad

2089: portions of Prometheus (2012) are set here; specifically, after the opening sequence (in which the Engineers seed life on Earth), archaeologists Elizabeth Shaw and Charlie Holloway discover a star map in Scotland that matches others from several unconnected ancient cultures, which they interpret as an invitation from humanity's forerunners, the "Engineers"; Peter Weyland, the elderly CEO of Weyland Corporation, funds an expedition, aboard the scientific vessel Prometheus, to follow the map to the distant moon LV-223

2089: “The Peter Weyland Files: Quiet Eye, Elizabeth Shaw” (2012) – a 3-minute short film consisting of a video call from Shaw to Weyland, introducing herself and her findings

2091: “The Peter Weyland Files: 'Prometheus' Transmission” (2012) – a 7-minute short collection of pre-mission interviews with the Prometheus crew

Dec 2093: most of Prometheus (2012) takes place here, when the ship arrives at its destination

2094: “Alien: Covenant – Prologue: The Crossing” (2017) – a 3-minute short film in which Dr. Elizabeth Shaw (after the events of  Prometheus) repairs David on the abandoned Engineer vessel, as she searches for humanity’s creators

Uncertain: “Alien: Covenant – Meet Walter” (2017) – an in-universe advertisement for Walter, the android from Covenent (and the successor to David from Prometheus); although its place in continuity isn’t clear, it makes sense as an introduction to Walter, and thus should go here

2103: “Alien: Covenant – Phobos” (2017) – a 9-minute short film in which a computer program tests the feelings and reactions of the Covenant crew

2104: “Alien: Covenant – Prologue: Last Supper” (2017) – a 5-minute short film in which the Covenant crew and its android Walter enjoys a final meal before cryosleep on the way to their destination

2104: Alien: Covenant (2017) – sequel to Prometheus

2104: “Alien: Covenant – Advent” (2017) – a 7-minute short film in which David, after the events of Covenant, sends a transmission from the Covenant to Weyland-Yutani on Earth, elaborating upon the genetic experimentation he has been conducting on Planet 4.

Uncertain: “David’s Lab: Last Signs of Life” (2019) – a 12-minute short film, produced for Alien’s 40th anniversary, and set sometime after Alien: Covenant, in which an astronaut examines David’s lab and is attacked by a facehugger

2122: Alien (1979) – the main Alien sequence begins

Unknown: “Alien: Alone” (2019) – a 12-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Containment” (2019) – a 10-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Harvest” (2019) – a 9-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Night Shift” (2019) – a 9-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Ore” (2019) – an 11-minute short film, produced for Alien’s 40th anniversary

Unknown: “Alien: Specimen” (2019) – a 10-minute short film, produced for Alien’s 40th anniversary

2137: Alien: Isolation (7 episodes, 2019) – a mini-series, set 15 years after Alien, starring Ripley’s daughter Amanda and based on the video game of the same name; episodes were 8-14 minutes long

2179: Aliens (1986) – Ripley is revived after 57 years in status on one of the Nostromo’s escape shuttles

2179: Alien 3 (1992) – begins shortly after Aliens and ends with Ripley’s death

Unclear: Black Hole (1979) – this classic Disney film features no date and is difficult to fit into our timeline, since it features a space station monitoring a black hole, something arguably too advanced for the Alien franchise, yet also features robots less advanced than those in the Alien franchise

2381: Alien Resurrection (1997) – stars a clone of Ellen Ripley, more than 200 years after her death; ends with the clone arriving at Earth

Era 4: Firefly (2517)

This era takes place further in the future – specifically, in the 26th century.

2517: Firefly (14 episodes, 2002)

2517: Serenity (2005) – a continuation of Firefly

Stuff that Doesn’t Fit

The two Alien Vs. Predator movies (2004 and 2007) aren’t very good and are incompatible with the Alien prequel movies.

Predator 2 (1990) has been excluded for a few reasons. First, it is set in 1997 and guesses at future technology in a way that’s incompatible with the real world. Second, it features a Predator in Los Angeles and doesn’t limit those who are aware of its alien origins. Third, it briefly features an Alien skull on board a Predator ship, which is incompatible with the origin of the Alien species in the Alien prequel movies. Finally, Predator 2 isn’t great and is widely regarded as a weak film.

Material depicting public encounters with extraterrestrials in the (then) present must be excluded as incompatible with the rest of our material. This excludes material such as The Day the Earth Stood Still (1951) and Independence Day (1996). Although a closer call, Flight of the Navigator (1986) has been excluded for the same reason.

Other material is excluded because it presents a future that is incompatible with that of Alien. For example, Planet of the Apes could not be included for this reason (even if that franchise did not include copious incompatible material set in the present day). Post-apocalyptic material such as Zardoz (1974) must similarly be excluded (even if we were inclined to ignore that film’s tonal inconsistencies).

Other material is excluded because it’s incompatible with the rest of the material’s depiction of Earth’s state of technology. This is a subjective criterion, because The X-Files has plenty of technology and knowledge that isn’t referenced later, and this can be used to justify the inclusion of material such as Tron (1982) or The Fly (1986). However, it would be hard to reconcile the miniaturization technology in Fantastic Voyage (1966) with the rest of our timeline. Similarly, Tomorrowland (2015) features advanced androids that are incompatible with later development of androids as depicted in the Alien prequels.

Other material is excluded due to incompatible tone, another admittedly subjective criterion. It’s one thing to include The X-Files in the same universe as Alien, but it’s another to include Buckaroo Banzai (1984) or Idiocracy (2006). While Indiana Jones and The X-Files contain supernatural elements, the tone of Buffy the Vampire Slayer makes it incompatible, in my view. Similarly, the Kingsman franchise feels incompatible with the tone of The X-Files. The exclusion of some older films, such as 20,000 Leagues Under the Sea (1954) or the original The Fly (1958), may also be attributed to their tone.

Some material isn’t included but might be. For example, I’m not sure if James Cameron’s company doesn’t co-own Avatar (2009), and its sequels (in production) might contradict our timeline. Were Avatar to be cleared for inclusion, it would be set between Alien and Aliens. Similarly, because The Martian (2015) is an adaptation of a novel, it’s not clear that Fox retains all rights in perpetuity.

Five most underrated Sequels:

Some films are so good and so iconic that any sequels that come after struggles to get out of the shadow of the original. This usually means that any sequels are tarred with a notion that they are inferior or just plain bad. In many cases, this is a fair assessment. However, there are examples of sequels that stand out as something special and should be revisited as excellent films in their own right. I should state, I’m not saying these films are superior to the originals, only that they are very good and should be reconsidered.

1.      Exorcist 3: Legion (1990) – Exorcist 2 is a shambles. It’s incoherent and badly made. It was never going to damage the reputation of the original 1974 classic, but it looked like the end of the road for any possible future sequels. That was until the author of the original Novel, William Peter Blatty, wrote his own sequel novel, Legion. The book was a success and Blatty was given the green light to translate it to the screen.

The story is linked to the original through characters alone, leaving the demonic element behind. Detective Kinderman, who investigated the killing of a character in The Exorcist, is investigating a series of murders that are exactly the same as those committed by an executed serial killer from 15 years ago, The Gemini Killer.

As he digs, he finds links to Patient X being held in a local hospital. X has the face of Father Dyer, who had sacrificed his life to save Regan, the possessed girl from 73, but claims to be The Gemini killer.

As Patient X keeps ranting, people are still dying. Is the killer able to possess people and use them to commit new murders, or is Kinderman going mad?

Legion is a dark supernatural thriller with outstanding performances from George C. Scott as Kinderman and Brad Dourif as The Gemini Killer. The dialogue is snappy, pitted with humour and tension. It keeps an almost perfect balance of the two for most of the film, before pushing the viewer into full horror for the finale.

This is one of the best under-seen films ever, and I recommend it to everyone who would listen.

2.      Psycho 2 (1983) – Hitchcock’s Psycho is pretty close to being a perfect movie. It was left alone for 23 years, but then a sequel came along and few knew what to make of it. In 1983, while people were aware of Psycho, I’m not sure many were clamouring for a follow up.

The risk with a Horror sequel, especially one linked to the birth of the slasher during the height of the slasher craze, would be to lean into the gore and have Norman fall back into his killer ways, stacking up the bodies. Luckily, Tom Holland didn’t go down this path. The film follows Norman after he is released and declared sane. He Returns home and tries to lead a quiet life with a job at a local diner while restoring the motel. However, he starts to receive notes and phone calls from his ‘Mother’. The Question is, is Norman crazy or is someone playing him?

The best part of this film is Anthony Perkins. His Norman Bates is a sympathetic victim who is desperately trying to get away from his past. Watching his fear and unravelling is truly tragic. The finale of the film provides a number of twists that keeps the viewer guessing. It is also directed and shot really well. Yes it does ape Hitchcock is several places, the shots could be considered homage or a maintaining of tone, but a couple are a little clumsy

Psycho 2 continues a story that you may not need to know, but is done so well that you will care about it and thrill in the horror. 

3.      Die Hard with a Vengeance (1995) – The first Die Hard changed the action genre. The 80’s were fuelled by muscle bound action stars, but Bruce Willis and Die Hard introduced the everyman action star back into the genre. He was a new kind of one-man army. So much so, that the pitch “Die Hard in a…” became a common phase.

By the third film in the series the it was the right choice to move away from the One-man army, to the buddy cop dynamic. It should also be noted that while Die Hard 1 and 2 were both based on novels, Die Hard 3 is actually a spec script. This is a script that was written (Called “Simon Says”) and then adjusted to fit the Die Hard series.

Die Hard 2 is a simple re-tread of the first film in tone and action, Vengeance however tries for something different. It introduces consequences for the events of the first film and provides a much bigger environment, as John McClane dashes around New York City. This puts the star back in his home turf and in his element.

It also puts him at odds with a partner in the shape of pitch perfect Samuel L Jackson as a citizen pulled into the action. It echoes elements of previous buddy movies but these two have such good chemistry that it feels fresh.

As well as the dynamic, the action is solid with different locations providing escalating incidents; from a gun fight in an elevator to a truck chase in a newly built tunnel, to a car chase through Central Park. This film is top notch, pulse pounding action delivered with a great cast and some spot on action visuals. While Die Hard is the best in the series, Vengeance is definitely the second best in the series.

4.      Blade Runner 2049 (2017) – The original Blade Runner was a cinematic flop. It gradually became a cult hit, with each different version being released. So it’s no surprise that something similar happened with the sequel. Which is tragic as I think 2049 is one of the best sci-fi movies of the last 10 years; this is because of director Denis Villeneuve.

The film is visually stunning it expands on a world that is only hinted at in the first film. Its scope and depth is beautiful. The story is a continuation of the original world, providing more information without taking away any of the mystery or debate over certain areas. It’s one of the few sequels that builds on it without exploiting what has gone before.

In addition to looking great, the cast are spot on. Ryan Gosling has a similar noir air to him that Harrison Ford had in 1982. As he moves through the story and gets more and more of a beating, despite us knowing he’s a replicant, we want to see him succeed and live.

2049 is an example of how a sequel can pick up a baton 30 years later.

5.      Rocky Balboa (2006) – The 1976 Rocky is an Oscar winning classic. It set up Stallone as a bankable star and able to take control of his career going forward. The first raft of sequels all offer something of note. I stand by the notion that the first three films form one of the best modern trilogies. Four is amazing pulp propaganda and 5 is an odd love letter to the characters origins. However, Stallone was not done with Rocky Balboa.

In recent years, everyone talks about the Original, or the spin off Creed films. However, the 2006 middle movie Rocky Balboa often is forgotten. ‘76 Rocky addresses the fear of missing your chance and becoming bitter, or taking an opportunity and going the distance. Rocky Balboa is about remaining relevant and how the past effects the present. It carries a sombre tone, noting everything that has passed since the last film. It asks the question of what happens when you’re over the hill? Could you still cut it with the new crop of stars? Rocky Balboa very much mirrors Stallone’s career at the time, wanting to remain a viable action star. It’s a relevant story of middle age and the changing face of Hollywood.

The cast are also solid and Stallone writes and directs the hell out of this. It has a hugely quotable script and the end match is incredibly well done. I remember when I saw this in the cinema for the first time. By the end of the film my heart was pounding and my fist was pumping. It echoes so much of the original and is a great end for the Rocky saga, before Creed starts. 

Review of Garvey-verse comics

I recently attended the NICE comic convention and had the pleasure of talking with a couple of the Mark Buckingham and I.N.J. Culbard about their comic work. Please check out the main Podcast feed for these interviews.

In addition to this, I checked out several of the independent comic creators. I will always have a look at the long boxes of comics from the big companies, but I find that some of the most interesting and progressive work is being done by self-publishing writers and artists.

In the next couple of blogs I’m going to talk about some of the books I picked up.

First up is a couple of books from a writer I ended up talking to for ages, Matt Garvey. Matt is a true blue comic fan and it was a joy jaw jacking about the creative process, what inspires him and many other geeky things. No doubt, Matt will be joining me on the Podcast at some point in the not too distant future. Here though I’m going to review three of his books.

All reviews will be as spoiler free as possible as the books contain some twists and reveals that I don’t want to ruin. To find out more about Matt and his work visit www.mattgarvey.co.uk and follow him at @MattGarvey1981 , So let’s jump in with the books:

The Devil in disguise:

I read the collected edition of this story, collecting the 4 issues that make up the first arc. The principle idea is of a satanic powered superhero, half man, half Satan wanting to prove to God he’s not as bad as everyone thinks he is.

The premise is strong and and has the potential to explore the concept of good and evil and how we perceive it in society. This first arc is an origin story and is laced with comedy and horror, unfortunately they never quite get the right balance. There are excellent moments through out the book. Some that between Nate, the protagonist and Satan, that made me really smile. Others are good horror with some gruesome moments and concepts.

I think the issue is the art. While not bad, it never feels like it suits the material. Robert Ahmed’s style is reminiscent of Michael Oeming. It’s dynamic and bold but coloured with the tones of orange it never feels like the story has weight. The concept also raises comparisons with Spawn (Todd McFarlane) and Haunt (Todd McFarlane and Robert Kirkman), but is different enough to stand alone. However, and more suited artist could have made this something more experimental and

I enjoyed this origin and a final twist pushes the book in a potentially different direction. There is enough here to create a solid character and wider world. I look forward to what comes next, just maybe with a different artist.

The Ether:  

I read the first two issues of this series and it is hinted in several points that this exists in the same world as ‘The Devil in disguise’. The premise is a London based; suited and masked vigilante sets out to investigate a series of brutal child kidnappings the police are either unable or reluctant to investigate.

Ether is a suited vigilante in the mode of Rorschach or Moon Knight’s persona Mr Knight. However, the character design is set apart by a great art from Dizevez and the mask. The mask is a map of London, laced with roads and rivers. It’s both feature less and detailed. The Ether is London, a protector of its inhabitants without being a person. It’s a great take that is made better when it is revealed who is under the mask.

I should also highlight that this isn’t an origin story. That’s not to say you don’t learn about the characters motivations. Hints are dropped about past events that have led this person to done the persona of the map-masked vigilante. This is more interesting and leaves the door open for more back-story and a wider world.

The first issue also establishes that Ether has been around for a while and has a relationship with the police. Not a straightforward relationship but one built on necessity and understanding of how far each is able to go to get to the villain.

You are dropped into this world and have to keep up. Its fast paced and frenetic, only stopping to take a breather for short bursts. The energy of the story is accentuated by … painted art. It’s both detailed and dream like infused with rich colour, giving the world texture and depth. There is a panel of a character sitting in a shower that uses detail and depth blur to such great effect that it feels like the image is breaking out the page. It’s a quiet moment given humanity.

Overall The Ether feels like a story that would do really well in 2000AD. It harkens back to the art and story styles I loved from the early 90s, while feeling current and fresh. With two issues in the bag I am definitely on the hook for the rest of the series.

Red Rocket Comet:

Superheroes never get old. Batman has been in his early 30s since 1939. Spider-Man has aged 10 years since 1963. We rarely get to see what life is like for a Superhero that is entering their autumn years. Enter Red Rocket Comet, a hero that has seen better years and is carrying the weight of regret of his shoulders.

A one shot from Garvey that takes a darker look at the consequences of heroics and grief. Red Rocket was a hero in the heady days of youth when bashing bad guys was fun and games, until it stops being a game.

The story cuts between a conversation in the present between former Hero and his Nemesis, in a dark dingy bed-sit, pencilled in black and white. To their adventures of his youth presented in almost Beano like cartoon antics. The events of the two soon collide in a reveal, explaining why he hung up his costume.

The whole book is draped in a sense of grief and bitterness. The art style for the early years is a nice exploration of how we view or youth with rose tinted glasses, remembering the good old days when life was simple and fun. However, as this is interspersed between the conversations in the present, the lightness comes with a sense of dread. A knowing progression that tells the informed reader that the zing and pow fun is heading for a fall.

The twist is fun but not the end. Some stories would use the twist as the stinger, but Red Rocket takes it one-step further and explores what that stinger actually means. How have these events impacted these two people in the intervening years, what are the effects of the trauma.

The art throughout is spot on, both Andy Clift (the flashback pages) and Grayham Puttock (the present) do a fantastic job of bringing the emotion out of the story. With some nice panel layouts and use of the black and white by Puttock. This is a superhero EC comic story and I want to know more about this bitter sweet world and other heroes that these characters have known.

5 Comics that would make GREAT TV shows

Mainstream premium TV shows are getting more genre based all the time. More than that they are become weirder, more adult and more ambitious. HBO has been leading the charge with Game of Thrones and West World, but we have had a bevy more. We now live in a world with Shows like Preacher, The Boys, American Gods and Good Omens, and that’s just from Amazon Prime. Throw in The Handmaids tale, Stranger Things, Legion as well shows coming soon like The Witcher, Sandman, Watchmen and His Dark Materials and you have a sea of content that will keep even the most discerning nerd happy. However, there is still so much great source material to be mined that would make great TV shows. 

Here is our top 5 Comics that would make great TV shows:

Transmetropolitan (Writer: Warren Ellis / Primary Artist: Darick Robinson / Running 1997 - 2002). Ellis doesn’t have the most optimistic opinion of the future. He explores where we are and where we’re going as well as almost all of our faults in this 60 issue satire. The story centres around Spider Jerusalem, a future gonzo journalist or Ellis by way of Bill Hicks and Hunter S. Thompson. He’s angry about pretty much everything and he wants to expose the hypocrisy of the world. The overarching story becomes the sage of Spider vs. the person he sees as the embodiment of what is wrong, politician and eventual president, The Smiler. 

The future cyber punk world is brought to life by the excellent art of Darick Robertson. It captures the essence of the zany, dirty, corrupt and relevant world. This is another piece of sci-fi that becomes more relevant as time goes by. The politics of the book are reflective of the time, but the corruption runs deep and I’m sure Spider would role his eyes in a post Trump world, shaking his head at the rhetoric and chest beating on both sides of the isle. 

The world needs a live action Spider Jerusalem. 

Planetary (Writer: Warren Ellis / Primary Artist: John Cassidy / Running 1998 - 2000). Where Transmetropolitan is a dark cynical Ellis, Planetary is his desire to explore the world of conspiracies and secret organisations. It’s centres round a mystery that runs through the ,majority the 27 issues, while many of the issues are actually one and done stories. The first arc introduces a world that is alive with analogues of the Fantastic Four, Godzilla and Doc Savage. It’s loaded with homages and Easter eggs, without ever being pandering or overly referential. 

The titular Planetary, is a secret group that collects information of the weird history of the world. They start as bystanders and observers but become more entwined in the events at the story progresses.

Again Ellis is partnered with the perfect artist for the material, John Cassaday. His detailed, shadow filled art wonderfully fills the world with character and life. His art is measured for each scene. The intimate feels character driven and focused, while his splash pages are awash with crazy details. It’s a feast to enjoy on every page. 

The potential to expand this and explore so many ideas, not just sci-fi but all genres and ideologies, world be amazing. This is an untapped well of potential that could rival the best cutting edge show. 

The Invisibles (Writer: Grant Morrison/ Primary Artists: Steve Yeowell, Chris Western, Philip Bond / Running 1994 - 2000). We’ve recently had Doom Patrol from DC which used many of the ideas from Morrison’s run in the 90s. It’s weird, surreal and challenging while still being an action adventure. We’ve also had Legion which has challenged the reality and mental state of a primary character. These shows challenge the viewer to accept a lot of absurd things. This could be kicked up a gear in a live action take of The Invisibles. A group of reality rejects that are fighting an inter-dimensional war, possibly. It’s twisty, violent and weird in the best possible way. Morrison used this comic as a meta commentary and source of chaos magic for his life (seriously, check out the story of how he caught an illness he had given the character King Mob in the book, only to be cured when he cured King Mob in the comic). 

The art in the book is provided by several artists across the volumes. Each brings something different to the series but all bring Morrison’s world to page, realising some bizarre stuff that has been mimicking to never bettered since. 

This is one of those comics that has been placed on the ‘unfilmable’ pile. However, I’m convinced that the right team could produce something that would challenge viewers with its content, and how we interact with TV shows and it’s story lines. 

Saga (Writer: Brian K Vaughn / Primary Artist: Fiona Staples / Running 2012 - on going) The others on this list are loaded with adventure, violence, intrigue and imagination but Saga brings those and heart. Primarily the story of a couple, warriors from opposing sides in an intergalactic war, and how they struggle to raise their child and settle to start their family. It grows from there to become an epic story spanning planets and years, and doesn’t scrimp of the sci-fi weirdness. 

The expansive story telling is rounded out by Fiona Staples art. Staples has a realistic style which captures emotion and expression perfectly. Many of the characters have human faces and her style captures the nuances of emotions and relationships. However, it also means that when alien and weird elements are introduced they stand out but never feel cartoonish. Vaughn May have thought up the world but Staples realised it. 

This would work excellently on TV as a character driven series. The comic forms a great foundation to work from, however Vaughn and Staples have created such a rich and textured world that more stories could be explored. This could be as complex as Game of Thrones and as much of a sci fi fantasy staple as Star Wars. 

American Vampire (Writer: Scott Snyder / Artist: Rafael Albuquerque / Running 2010 - on going) The stereotype of the classic vampire is Eastern European nobility, usually looking like Bela Lugosi. Scott Snyder decided to examine the idea of what world happen if vampires were more influenced by the country they are from, what would be the American Vampire? The series starts in the old west and progresses through the 20th Century following the lives of several key vampires, providing an alternate take on some key events. However this isn’t a stale history lesson, Snyder brings the horror and the gore in spades. This idea and story is realised on the page with the art of Rafael Albuquerque. His scratchy gothic art style balances the detail and abstract to provide an perfect vision of this horrific under world, just a step away from the norm. 

Being based around an alternate take on real history this story could explore so much. Yes, this would be a kick ass vampire horror tale, but it could also be used as an analogue to comment on modern issues; the immigrant experience, bigotry, mental illness etc. The potential for this show is awesome. 

Advanced Review of the BBC's The City and The City adaptation

I recently had the opportunity to watch the first two episode of the BBC Two adaptation of China Miéville's novel The City And The City which will start on April 6th.

In the last year we have had some amazing high concept sci-fi shows come our way. I’m a big fan of WestWorld, Altered Carbon and Black Mirror. All the American shows have a gloss and sheen but we brits like to have a grimier cynical take, which is why Black Mirror always stands out. This same approach is taken with The City and The City. This is a European noir murder mystery wrapped in a high concept sci-fi world.

The high concept in The City and The City is that two cities, Besźel and Ul Qoma, exist in the same space but in different phases of existence. Citizens of both cities can travel to the other across a heavily guarded boarder. Each city has its own history and social structures, as well as a heated rivalry.

The press release describes the series as:

The body of a foreign student is discovered in the streets of the down at heel city of Besźel. Cases like this are run of the mill for Inspector Tyador Borlú (David Morrissey) of the Extreme Crime Squad - until his investigations uncover evidence that the dead girl had come from another city called Ul Qoma. But the relationship between the two cities defies comprehension and will challenge everything Borlú holds dear.

The show plays with this concept brilliantly in its use of design, colour pallet and cinematography. The city of Besźel is established as a 1980s Eastern European former communist state, all drab concrete and crap cars. The city of Ul Qoma on the other hand is a modern cityscape of steel and glass. Establishing this concept and the world quickly is useful because you are dropped into this world and expected to keep up with what is going on.

The police procedural element is standard enough and easy to follow. Confusion creeps in as you’re escorted around Besźel and its complex political and social structure. While they are talking English for the most part non-English words and phrases are used, to highlight that this is a different world, with little to no explanation. Further to this, the story moves along the dank corrupt corridors of power in the city of Besźel and the viewer needs to keep up to understand who has authority over whom.

Half way through the first episode I was a little lost, however by the end I was so absorbed by the world and the details that were being presented that it didn’t matter. I understood that the show was making me part of the investigation. I didn’t need to know everything at the start because enough information will be parceled out as the story progressed. It’s up to me to be quick enough to pick it up and keep it straight in my head.

This world and story is brought to life by a great cast. David Morrissey brings a gravelly gravitas to the core of the show, which is what I would expect from him. The rest of the cast is led by Mandeep Dhillon as the fun and sweary Besźel Constable Corwi. She and Morrissey are great foils for each other, an anchor for the viewer and representations of a culture that is changing over generations. They are joined in the second episode by Maria Schrader as Senior Detective Dhatt of the Ul Qoma police force. She is more than a match for Morrissey, carrying a level and air of authority with ease. Having German born Schrader representing Ul Qoma is a great move; she brings a modern European sensibility and energy as the story progresses.

What I have seen so far is strong; it pulled me into the mystery and the world. I’m itching to watch the rest of the series. The second episode ends on a cliff hanger that will take the story in a different direction and if it is as textured and well thought out as the start, it’s going to be ace. I have also purchased a copy of China Miéville's novel so I can enjoy the source material as well, but won’t be reading it until I have watched the full series. There is so much depth and detail to this world that I’m expecting to get very different experiences from the different mediums.

In summary, this is a strong show that I really hope finds an audience on the BBC. It will have you talking about it the next day. The concept and the ideas that have been fleshed out deserve discussion and attention. The City and The City showed me that British Sci-fi can compete and I hope you try it out.