Tag Archives: John Aldrich

RT 2: SNATCH FAMILY ROBOT SON

23 Nov

PROG: 147 – DAMIEN, CHILD OF THE FUTURE.

Script: Kelvin Gosnell (as W.Gosmore)

Art: Mike White

Letters: John Aldrich (as Aldrich II)

Plot: While Rolf Harris is happy with his busy career as a ‘top electronics engineer’ his wife Mary pines for them to start a family. Faced with Rolf’s intransigence she pleads for some compromise and, several years later, Mary is overjoyed by the arrival of her baby Damien. Damien grows up a talented but slightly distanced teenager, one focused, like his father, on designing and building electric gadgets. Damien’s distance and cold nature lead to a row with his mother over having taken and melted down her wedding ring. Eventually Rolf intervenes and takes Damien off to dismantle him. Damien is just a robot built by Rolf. As Damien’s head comes of the robot cries out for his parents to stop.

Ending: As the Harris’ sit confronting life without their robot son they are stunned by the head reactivating and informing them that he has improved on his father’s design many times over. A door slides open and simulacra robots of Rolf and Mary appear. The humans realise they are to be dispatched and replaced.  Later, as the robot family settle down, Damien suggests to his robot father that they consider doing something about the neighbours next…..

Thoughts: A very traditional but thoroughly entertaining sinister Robo-Tale doubtless appealing to the revenge fantasy of many of the then readers. In a series called ‘Robo-Tales‘ it is pretty obvious from the start that Mary’s ‘compromise’ must be a robot; so the revelation, on page three, about Damien having been built isn’t terribly surprising. The story delivers its ‘shock’ with the abandoned robot’s head stating that his ‘parents’ disloyalty will see them replaced by robotic versions of themselves. Children as central characters have been remarkably rare in 2000AD stories and this tale has the honour of being the first one where a child gets around to killing his own kin. Given the amount of death lashed out weekly in the Prog that it took until Prog 147 for parenticide to feature is pretty remarkable. The final touch of suggesting the neighbours will be next gives a nicely sinister coda to the tale. The only real problem with the very traditional art of Mike White is that not only do Rolf and Mary not seem to have aged while Damien grows up but poor Mary seems to have had the same haircut and wardrobe for the whole time. Damien’s lack of school friends was probably down to his shame from having parents who looked a decade out of date.

Thrill-Power?: After the left field antics of Ro-Jaws and Hammerstein in the series debut this is much more traditional Future Shock fare. Without ever being top-drawer, the ending and the malicious joy of the young Omen-bot’s triumph over stern adults make it a great kids comic even if they may not have been of the age to recognise that the Damien-bot is the exact spit of the infamous celluloid anti-christ.

RT 1 – IF YOU (DON’T) TOLERATE THIS THEN YOUR CHILDREN WILL BE NERKS

21 Nov

PROG: 144 – Ro-Jaws – The Inside Story

Script: Pat Mills

Art: Kevin O’Neill

Letters: John Aldrich

Plot: Ro-Jaws is feeling unwell, a fact Hammerstein suspects may be down to having eaten the war droid’s missing war medals. After trapping his hand while trying to examine the contents of Ro-Jaws’ stomach he eventually takes the ill robot to a robo-garage. The mechanic deploys a team of ‘Thunderbots’, tiny singing robot repair droids, into Ro-Jaws system. Faced with a sea of sewage and waste in Ro-Jaws’ guts the Thunderbots take decisive action, exploding in his stomach

Ending: The explosion causes Ro-Jaws to throw-up Hammerstein’s war medals and he promptly gets beaten up and dumped in a trash can by the angry war droid.

Thoughts: The Inside Story is one of the great curios of 2000AD. It was the first time a one-off tale had appeared under a non-series banner outside of the Future Shock branding, but is in total contrast to any of the other stories printed as Ro-Jaws Robo-Tales. Whereas the rest of the short series (2o stories across the Prog and specials / annuals) would be  ‘Future Shocks-with-a-’bot’ as introduced by Ro-Jaws instead of Tharg, this is a straight character comedy piece featuring two well-established characters taken out of their usual dramatic story context. Ro-Jaws & Hammerstein were clearly a hit with the reader, used in editoral branding such as ‘Ro-Jaw’s Laugh In‘ (Readers Jokes) and ‘Guide To Robots‘ (Info Booklet), but this tale was unique in moving their love-hate rude banter from an aside in their action stories to being the focus of the strip itself. In a way it relates to Ro-Busters the way Terror Tube & Killer Watt does to Nemesis The Warlock; part of its world but slightly askew. It seems a shame it was left out of the recent The Complete Ro-Busters although it had featured in previous Titan collections. The story itself, a rare Pat Mills outing in these one-off stories, is quite astounding; full of profanity, belching, throwing up and even the most obvious masturbation cock-gag ever seen in 2000AD. In the anarchic hands of O’Neill and Mills it is, naturally, one of the greatest things to have appeared in the Prog. The art is packed full of rewards for the attentive reader, a small picture of Deadlock on a wall,  ‘C3PO was a Hume‘ (human) graffitied in the background and volumes of comedy robot designs through-out. The script is similarly wonderful; rude, funny, constantly inventive with language, and seeped in the Ro-Jaws and Hammerstein tradition of ‘daft nerks‘ and cockney robo-speak. At all times knowing what it’s audience is and at all times knowing how to make them laugh. It certainly is a world away for the last Future Shocks‘ weeping child and lament for good parenting.

Thrill-Power?: Off the scale. There is no twist, shock or even dramatic denouement. Ro-Jaws gets dumped in the bin we knew he’d end up in from the very first time Hammerstein asks has he eaten the precious war medals. But the three pages it takes for him to get there will be a sumptuous treat for anyone who ever took to these classic 2000AD characters.

FS 53: A SINGLE BODY OF WORK

11 Nov

PROG: 108 – TOGETHER

Script: John Higgins

Art: John Higgins

Letters: John Aldrich

Plot: Two Astro-Pliots, Dave & Ron, are on route to Proxima Centauri when a meteor storm causes their craft to crash. An alien spaceship surveys the wreckage and lifts the living biomass aboard. Unsure of the species they are dealing with, but confident of a similarity to their own physiology, alien surgeons try to save the life of the crew. Hours late Dave awakens and asks what has become of Ron.

Shock: The four-armed doctors don’t know of Ron’s whereabouts but a shocked Dave finally realises he has had Ron’s limbs grafted onto his own torso to create an eight-limbed body much like the aliens.

Thoughts: Long-haul Droid John Higgin’s first work in 2000AD is the third Future Shock to be written and drawn by the same person (FS 4 – Kevin O’Neil, FS 50 – John Richardson). For a début in the comic its a remarkably strong piece of work. His unique drawing style, most clearly visible in his technique for drawing faces, has clearly changed little over thirty years; probably because it is so good it has little need to. The art is clearly a strong point; there is an excellent panel-breaking swooping spaceship in the first page, a pair of surgeons who look remarkably like Bryan Talbot’s rendering of Blackblood from the ABC Warriors, and the reveal panel is a great multi-limbed alien doctor with, it has to be said, a neck and face like a swollen beaten male appendage.  The inking is magnificent and the most remarkable thing is that Higgins would only pick up the odd Future Shock and Time Twister before his prolonged stint on Judge Dredd from the mid-400s. It is clear from work like this that he would have been ready long before that. As for the story, it has a fairly retro vibe and is quite conventional but there is also a lot to praise. The shock itself is fairly easy to spot, certainly as the reader turns to the last page they know that something awful is going to be the result of the alien’s good-natured attempt at aid.. just look at those looming surgeons (above), how could something sinister not result. Naturally ‘waking up in hospital to something bad’ isn’t the most original of framing devices but the drafting and execution are superior. It also deserves praise for being a great example of a story that comics can tell that the purely written medium cannot. A drawn image can hide descriptive detail, creating ambiguity from what it doesn’t show and what it leads the reader to imply; whereas the word, with its need to specify simply cannot achieve the same degree of implication. Where a writer would have to specify what the aliens looked like in considerable detail, the image can lead you to assume they have 4 limbs not 8. This is one of the great joys of comics, one of the skills that talented comic writers and artists can create and it this small tale is a magnificent example of it.

Shock’d?: The specific shock is fairly corny and the story makes no attempt to hide that something terrible is going to come from the operation, what that specifically is being gloriously revealed on the last page. In many ways the story telling is of its time and the shock isn’t as gorily rendered as it might have been but it is still a great moment to turn to the final page and find out Ron and Dave’s fate.

FS 45: 2000AD Feat MINDY (& MORK)

26 Sep

PROG: 90 – KID’S STUFF

Script: Barry Clements

Art: Carlos Pino

Letters: John Aldrich

Plot: Rick Travis, deep space pilot for the Intergalactic Mining Corp., is knocked off course by a meteor storm and his ship spirals uncontrollably to the surface of a mystery planet.  Thrown clear of the debris he is found in by some small children and later falls in and out of consciousness on the operating table and in a recovery ward. He notes his mouth has been filled by some strange ‘breathing apparatus’.

Shock: The mouthpiece is a baby’s dummy. Rick has landed on a planet where the infants are the ‘adults’ and the adult’s are the children. His recovery is being undertaken on the children’s ward.

Thoughts: Barry Clement’s last work for 2000AD passes itself off unremarkably as a solid piece of retro-Sci-fi Shock but not one that would pass muster today. As with Clement’s last protagonist, Pritchard the Poacher from FS 42, Rick Travis is a fairly anonymous hero and the reader is never invested in his fate. His journey through the tale is completely passive: he crashes without any attempt to avert disaster, he is rescued without drama while unconscious and he gains cognition of the adult / child switch without any peril or endangerment.  Clement’s internal dialogue is somewhat mangled and lacking a unified voice, at once juncture he refers to the ‘driving proficiency test‘, at another he’s growling ‘some joker cut rough and landed me one‘. The saloon-bar Americana of the latter sit oddly with the formalism of the former. The art of Carlos Pino is it’s usual professional standard. The sci-fi is resolutely retro, our hero manfully square-jawed and the children a picture of Janet and John innocence. The spaceship does break in two in the most unconvincing of manners and a slight inconsistency in the strip occurs during Travis’ operation where adults (who would, of course, be infantile) appear to be conducting the procedure; but otherwise its a fine turn. The Future Shock and Prog 90  are illustrative of the change occurring in 2000AD around this period  as Pino’s work stands out as very dated when compared to the artists around him (Belardinelli going weird in Flesh, McMahon’s bonkers’ turn on The Day The Law Died, Kevin O’Neil’s fantastic Volg war madness in Ro-Busters and Ezquerra’s iconic Strontium Dog) and the tale lacks any of the madness and boundary pushing that Mills, Wagner et al. were beginning to mine so profitably.

Shock’d?: The children-are-adults reveal does come on a final half-page spread and is quite sweetly drawn with lots to amuse any young readers with nascent revenge fantasies about their parents; however a minutes pondering leaves one to conclude ‘so what?‘. Just as a viewer had better not ask too many questions about why Mindy is attracted to an undeveloped boy, albeit one in a man’s body, the Shock requires you don’t think too much over Travis’ predicament because he hasn’t really got one. As Kidd, from Robo-Hunter, was able to establish himself as an adult, although one subject to constant jokes about his infantile appearance, Travis surely would be able to show his alien hosts he is an elder of his species. In the meantime his peril is hoping he has an appetite for Farley’s Rusks and liquified food.

FS 43: SHIELD YOUR EYES

20 Sep

PROG: 88 – DATE WITH DESTINY

Script: Mike Cruden

Art: Massimo Belardinelli

Letters: John Aldrich

Plot: As Earth scientists complete the first Time Machine they research candidates suitable to be test pilots. Eventually they settle on two candidates, Shelvin and Farren, with the latter being the first choice. Enraged at being passed over Shelvin doctors the food of Farren and takes his place on the mankind’s first time flight. He sets out on a trip 60 years into the future knowing his fame will be secured.

Shock: Shelvin fame is secured, without proper shielding his trip to the future has aged him 60 years and Shelvin has become the first fatality of time travel.

Thoughts: Mike Cruden’s fourth Future Shock is a pure delight in no small measure due to the series debut of maestro Massimo Belardinelli. Belardinelli’s style moves effortlessly from comedy, a series of beefcakes failing the selection tests, to horror as the story ends on a magnificent full-page splash of Shelvin’s decomposed corpse slithering off the flight seat.  Belardinelli pulls no punches with a panel as magnificent as any from his years working for 2000AD. With bones exposed, flesh peeling off and collapsed eye-sockets a wafting stench filling the cockpit the image is both striking and horrific. Beyond the art the story is an odd mix of comedy, the first page of failed tests, drama, the doctoring of the food and awaiting the craft’s return, and horror. It is perfectly possible to image the script had more consistency of tone as none of the writing is deliberately funny or melodramatic but Belardinelli imbues each page with the different tones and lifts up the end product as a result.  It remains a great shame this short three page Future Shock has never been reprinted.

Shock’d?: The image is certainly shocking but in terms of scripting it is a bit random. That scientists manage to master the complexities of Time Travel but not notice a shielding issue till this juncture is so incredulous that the shock comes out of left-field. Without foreshadowing readers would assume such mundane considerations have long since been dealt with by the boffins. However the reader will have likely given little consideration of this due to the impact of the wonderful grotesque last page.

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