Police Beat

Dark Horse Presents 24 (November 1988)

And here debuts the licensed property… Aliens. Luckily, it’s a really decent eight pages. Nelson and Verheiden almost make it feel like it’s just a comic book, not a movie tie-in. What’s really interesting is the aliens. Nelson’s able to draw so much fluidity into his own creatures, when he’s got to draw the movie alien, it feels awkward. The shape is defined by being able to be a costume worn by a person, a hampering Nelson doesn’t have with his own creations.

Duranona’s Race of Scorpions continues to be unimpressive. Some more Star Wars homage and a lot of details. The art, once again, makes it impossible to easily discern the content. And a lot of the writing is just silly.

Arcudi and Miehm’s Homicide is a good police procedural. Arcudi is weak on the cop chatter, but the mystery is good. Nice inks.

Geary’s Police Beat‘s fine.


Aliens; story and art by Mark A. Nelson; script by Mark Verheiden. Race of Scorpions; story and art by Leopoldo Durañona; lettering by Tim Harkins. Homicide, A Whiff of Madness; story by John Arcudi; art and lettering by Grant Miehm. Police Beat; story, art and lettering by Rick Geary. Edited by Randy Stradley.

Dark Horse Presents 23 (October 1988)

Here’s a somewhat strange issue… it opens with Stout’s history piece about Americans massacring Filipinos in the late 1800s and early 1900s. It’s even more relevant today (those massacred were Muslim and the whole thing has been brushed under the history carpet). It’s better as a history lesson than a comic.

Race of Scorpions is a practically unintelligible new serial. Duranona’s artwork is nearly impossible to comprehend. He’s got all this perspective but almost no shadows, so it all just jumbles together. He appears to have borrowed from Star Wars to set up his story of the young man who loses his guardians.

Geary’s Police Beat works again… but the real nice one is Arcudi, Barker and Nyberg’s American spree killer story. The story’s solid–disaffected WWII vet goes nuts–but the artwork is just fantastic. I’m not sure if it’s Barker’s pencils or Nyberg’s inks, but it’s simply gorgeous.


Filipino Massacre; story, art and lettering by William Stout. Race of Scorpions; story and art by Leopoldo Durañona; lettering by Jean Simek. Gateway to Hell: The Howard Unruh Story; story by John Arcudi; pencils by Gary Barker; inks by John Nyberg; lettering by Jim Massara. Police Beat; story, art and lettering by Rick Geary. Edited by Randy Stradley.

Dark Horse Presents 22 (September 1988)

Seriously, a short story? I guess Andrew Murphy provides his own illustrations, but his story is a prose future story about cloning. Not a very logical one either (how do the clones age, for example). I guess it’s not the worst prose story I’ve ever read in a comic, but am I making a compliment? No.

Concrete is a thoughtful story of a young village kid in Asia getting ready for Concrete’s walking tour. Chadwick has probably never written a better story. Too bad the illustration is mediocre. He’s barely got any detail to his faces and I can’t remember a single stunning panel.

Rick Geary’s Police Beat, presumably short true police cases, is great. One page.

Trekker has Dave Dorman inks, which makes the whole thing look completely different. It’s not an entirely successful art experiment, but it’s the first Trekker I’ve sort of liked.

And Duckman is funny.


Concrete, Goodwill Ambassador; story and pencils by Paul Chadwick; inks by Jed Hotchkiss; lettering by Bill Spicer. Reflections; story and art by Andrew Murphy. Police Beat; story, art and lettering by Rick Geary. Trekker, Chinks; story and pencils by Ron Randall; inks by Dave Dorman and Lurene Haines; lettering by Ken Bruzenak. Duckman, Love Me Tender; story, art and lettering by Everett Peck. Edited by Randy Stradley.

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