The art was uniformly good in this issue with even Charles Nicholas going the extra mile to vary his panel composition & provide more of a sense of depth than he usually does. What's the deal with that black & white page, though? Do you think they just forgot to color it?
The first and last stories make interesting bookends: in the first the villain wants to escape the horrors of the present for the future and in the last the heroine wants to escape the depravities of the present for the past. We can't speak to the future, of course, but the past was far from the hunky-dory place being made out here. Quibble, quibble.
Hey, by the way, did Nicola Cuti do many of his 'Weirdlings' feature (not that it was featured in this issue)? Personally, I'd be interested in seeing more of them. Just a passing thought.
I remember a few of these stories, the mix of artists and types of stories told is what made Charlton the best.
ReplyDeleteThanks!
Charlton at it's best. Comic books were great then.
ReplyDeleteThe art was uniformly good in this issue with even Charles Nicholas going the extra mile to vary his panel composition & provide more of a sense of depth than he usually does. What's the deal with that black & white page, though? Do you think they just forgot to color it?
ReplyDeleteThe first and last stories make interesting bookends: in the first the villain wants to escape the horrors of the present for the future and in the last the heroine wants to escape the depravities of the present for the past. We can't speak to the future, of course, but the past was far from the hunky-dory place being made out here. Quibble, quibble.
Hey, by the way, did Nicola Cuti do many of his 'Weirdlings' feature (not that it was featured in this issue)? Personally, I'd be interested in seeing more of them. Just a passing thought.