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THE DREAM DAYS ARE BACK THE ONE’S ESPECIALLY FOR YOU... Frank Bellamy, Frank Hampson, Brian Lewis, Sid Jordan, Ron Turner, Don Lawrence, Mike Noble, Ron & Gerry Embleton, John M. Burns, Keith Watson, Don Haley, Bruce Cornwell, Eric Eden, Gerry Haylock, Garry Leach, Michael Moorcock, Harry Harrison, Barrington Bayley, Peter O’Donnell, Frank Pepper, Tom Tully, Scott Goodall, Alan Stranks, Mike English, Eric Bradbury, Joe Colquhoun, Geoff Campion, Mick Anglo, Denis McLoughlin, Reg Bunn, Eric Parker, John Gillatt, Frank Humphris, Charles Chilton, Harry Bishop, Tony Weare, Willie Patterson, Jim Holdaway, Ken Reid Leo Baxendale, Dudley D. Watkins, David Law, Reg Parlett, Mike Brown, George Martin, Jacob Kurtzberg, Ted Grey, Jack Curtiss, Jack Cortez, Lance Kirby, Eric Roberts, John Ryan, Tony Hart, Roy Wilson, Mike Lacey, Mike Higgs, Alf Saporito, Terry Nation, Gerry & Sylvia Anderson, Jack Kirby, Rosalind Kirby, Steve Ditko, Joe Simon, Julie Schwartz, Gardner Fox, John Broome, Gil Kane, Alex Toth, Will Eisner, Joe Kubert, Mike Sekowsky, Wally Wood, Carmine Infantino, Curt Swan, Sid Greene, Syd Shores, Murphy Anderson, Bill Finger, Jerry Robinson, Dick Sprang, Bob Kane, Mort Meskin, Jerry Siegel, Joe Shuster, Stan Lee, Mort Weisinger, Jack Burnley, Edmond Hamilton, Otto Binder, Al Capp, Manly Wade Wellman, Alfred Bester, Kurt Schaffenberger, Wayne Boring, Lee Elias, Robert Kanigher, Shelly Mayer, Shelly Moldoff, Lou Fine, Jack Cole, Jules Feiffer, Bill Everett, Reed Crandall, Mac Raboy, Charles Biro, C. C. Beck, Bob Powell, Russ Heath, Bob Brown, Frank Thorne, Bob Oskner, Dick Giordano, Bob Haney, Neal Adams, Denny O’Neill, Ramona Fradon, John Albano, E. Nelson Bridwell, Murray Boltinoff, Jim Aparo, Arnold Drake, Ed Harron, Cary Bates, Jose Garcia Lopez, Jerry Grandenetti, George Klein, Bruno Premiani, Mike Kaluta, Bernie Wrightson, Nestor Redondo, John Buscema, Sal Buscema, Mike Ploog, Gene Colan, John Romita, John Severin, Marie Severin, Jim Steranko, Barry Windsor-Smith, Steve Gerber, Nick Cardy, Tom Palmer, Marv Wolfman, Robert Crumb, Gilbert Shelton, Harvey Pekar, Richard Corben, Jan Strnad, Vaughan Bode, Archie Goodwin, Anne T. Murphy, Al Williamson, Walter Simonson, Howard Chaykin, Jim Starlin, Gray Morrow, Angelo Torres, Frank Frazetta, Roy Krenkel, Stanley Pitt, Hank Chapman, Joe Millard, Dan Spiegle, Doug Wildey, Russ Manning, Dan Barry, Ogden Whitney, Richard E. Hughes, Basil Wolverton, Frank Robbins, Bill Gaines, Harvey Kurtzman, Bill Elder, Bernie Krigstein, Al Feldstein, Ray Bradbury, Philip Wylie, Philip K. Dick, Robert E. Howard, Edgar Rice Burroughs, Jack Oleck, Leo Dorfman, Graham Ingels, George Evans, Jack Davis, L. B. Cole, Dick Briefer, Joe Gill, Pam, Montes and Bache, Nicola Cuti, Joe Staton, Pat Boyette, Mort Drucker, Don Martin, Carl Barks, Floyd Gottfredson, Al Fago, Jack Bradbury, Henry Boltinoff, Samm Schwartz, Dan de Carlo, Bob Bolling, Warren Kramer, Len Brown, Lennie Harmon, Sid Jacobson, Frank Doyle, George Gladir, Charles Addams, Sergio Aragones, Mark Evanier, Bill Ward, Jesus Blasco, Bolano Lopez, Jose Ortiz, Hugo Pratt, Sergio Toppi, Gino D’Antonio, Luis Bermejo, Herge, Goscinny & Uderzo, E. P. Jacobs, Moebius, Enki


Bilal, Paul Gillon, Martin Salvador, Jordi Bernet, Esteban Maroto, Arturo Del Castille, Victor De la Fuente, Enric Sio, Alberto Gioletti, Tezuka Osamu, Katsuhiro Otomo, Masamune Shirow, Koike Kazuo, Kojima Goseki, Hirata Hiroshi, Frank R. Paul, Chesley Bonestall, Edd Cartier, Alex Schomberg, Bruce Pennington, Josh Kirby, Chris Foss, Syd Mead, Emsh, Kelly Freas, Jack Gaughan, Virgil Finlay, Hannes Bok, Richard Powers, Ron Cobb, John Berkey, Lou Feck, Robert McGinnis, Herbert Paus, Bob Peak, Alphonse Mucha, Egon Schiele, Gustav Klimt, James Bond, The Shadow, Sherlock Holmes, Doc Savage, Captain Future, Spider, G-8, Avenger, John Carter, Gladiator, Lensmen, Adam Link, Weird Tales, Unknown, Planet Stories, Black Mask, Black Book Detective, Astounding, Galaxy, Fantastic, New Worlds, Tarzan, Flash Gordon, Phantom, Mandrake, Buck Rogers, Spirit, Prince Valiant, Krazy Kat, Rip Kirby, Terry and the Pirates, Popeye, Steve Canyon, Dick Tracy, Lil Abner, Blondie, Little Nemo, Little Orphan Annie, Lone Ranger, Peanuts, Pogo, B.C., Gasoline Alley, Modesty Blaise Garth, Tin-Tin, Jeff Hawke, Beetle Bailey, Superman, Batman and Robin, Spider-man, Fantastic Four, Legion of Super-Heroes, Wonder Woman, Captain Marvel, Captain America, Captain Midnight, Plastic Man, Blackhawk, Airboy, Human Torch, Sub-Mariner, J.S.A., Black Cat, Flash, Green Lantern, Hawkman, Newsboy Legion, Boy Commandos, New Gods, Kamandi, The Demon, O.M.A.C., Mister Miracle, Forever People, Starman, Sandman, Daredevil, Fighting American, Sheena, Tor, Challengers of the Unknown, Adam Strange, Sgt. Rock, Fin Fan Foom, Magnus, Captain Atom, Hulk, X-Men, Doc Strange, Thor, Silver Surfer, Conan, T.H.U.N.D.E.R. Agents, Swamp Thing, Herbie, Archie, Jughead, Betty, Veronica, Casper, Hot Stuff, Richie Rich, Mighty Mouse, Sugar & Spike, MAD, Not Brand Echh, Asterix, Nancy, Zippy, Freak Bros, Mr. Natural, Tetsuwan Atom, Little Annie Fanny, Wicked Wanda, George & Lynne, Beano, Dandy, Wham, Smash, Pow, Fantastic, Joker, Lex Luthor, Catwoman, Deadman, Doom Patrol, Yellow Claw, Dr. Silvana, Mr Mind, Ming, Mekon, Dragon Lady, Red Skull, Dr. Doom, Two-Face, Solomon Grundy, Daleks, Darkseid, Darth Vader, Sea Hag, Galactus, Octopus, P’Gell, Loki, Frankenstein, Dracula, Wolfman, Creature, Godzilla, King Kong, Mighty Joe Young, Mars Attacks, Star Trek, Doctor Who, Man from U.N.C.L.E., Thunderbirds, Captain Scarlet, Stingray, Fireball, UFO, Robby the Robot, John Wayne, Clint Eastwood, Star Wars, Forbidden Planet, War of the Worlds, Planet of the Apes, 2001: A Space Odyssey, Time Machine, Metropolis, Twilight Zone, Quatermass, Maltese Falcon, High Noon, The Good, the Bad and the Ugly, Jerry Lewis, Dean Martin, Frank Sinatra, Rod Serling, Munsters, Addams Family, Clangers, Bill & Ben, The Avengers, Danger Man, The Prisoner, Monty Python’s Flying Circus, Hanna & Babera, Loony Tunes, Tex Avery, Chuck Jones, Michael Maltese, Max Fleischer, Mel Blanc, Oliver Postgate, Giles, Thelwell, Bateman, Pont, Searle, Emett, Steadman, Dan dare, Judge Dredd, Trigan Empire, Spider, Robot Archie, Captain Condor, Jet Ace Logan, Rick Random, Space Ace, Jason Hyde, Steel Claw, Range Rider, Luck of the Legion, Legend Testers, Moon Madness, Spellbinder, Heros, Warth of the Gods, Wulf the Briton, Kelly’s Eye, Adam Eterno, Cursitor Doom, The Iron Man, Marvelman, Zip Nolan, Captain Hurricane, Mytek the Mighty, Korky, Biffo, Lord Snooty, Bash Street Kids, Swots and Blots, Grimly Feendish, Minnie, Dennis, Gnasher, Harris Tweed, Jonah, Desperate Dan, Billy the Cat, General Jumbo, Noddy, Charlie’s Choice, Dare-aday-Davey, Roger the Dodger, Faceache.


A1

THE WORLD’S GREATEST COMICS

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A1 ANNUAL VOL. 1 • CONTENTS 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16

ISLAND IN THE SKY – JOE SIMON & JACK KIRBY

ODD BALL – ALEX SHEIKMAN & NORMAN FELCHLE

TALES OF OLD FENNARIO – SANDY PLUNKETT

ODYSSEY: A QUESTION OF PRIORITIES – DAVE ELLIOTT, TOBY CYPRESS & SAKTI YUWONO IMAGE DUPLICATOR – RIAN HUGHES & DAVE GIBBONS

WEIRD’S FINEST – BAMBOS GEORGIOU

LITTLE STAR – DOMINIC REGAN

EMILY ALMOST – BILL SIENKIEWICZ

DANIEL –SCOTT HAMPTON

FROGS – JIM STERANKO

BOSTON METAPHYSICAL SOCIETY – MADELEINE HOLLY-ROSING & EMILY HU

MR MONSTER – ALAN MOORE & MICHAEL T. GILBERT

THE WEIRDING WILLOWS: ORIGINS OF EVIL – DAVE ELLIOTT, BARNABY BAGENDA & JESSICA KHOLINNE DEVIL’S WHISPER – JAMES ROBINSON & D’ISRAELI

THE ARTFUL LATTE – DEPTH RADIUS

MELTING POT – KEVIN EASTMAN & SIMON BISLEY LATTE ART – COFFEE LABS ROASTERS


“ISLAND IN THE SKY” BY JOE SIMON & JACK KIRBY


“THE ODD BALL” BY ALEX SHEIKMAN & NORMAN FELCHLE


“TALES OF OLD FENNARIO” BY SANDY PLUNKETT


“IMAGE DUPLICATOR” BY RIAN HUGHES, DAVE GIBBONS & OTHERS


“WEIRD’S FINEST” BY BAMBOS GEORGIOU


“LITTLE STAR” BY DOMINIC REGAN


“EMILY ALMOST” BY BILL SIENKIEWICZ


“DANIEL” BY SCOTT HAMPTON


STERANKO : FROGS! It was probably the most cinematic narrative of its kind, but, ironically, FROGS was created to be something else, something that defied labeling. That was thirty years ago, yet the concept behind it is still as modern as tomorrow. Here’s how it happened: In 1971, I thought it would be possible to publish a professional magazine about the comics medium and allied art forms, from animation history to zeitgeist filmmaking. Because it was my concept, my effort, and my financing, I used it unabashedly as a forum for experimental layout and typography, color and design exploration, maverick reproduction techniques, and sometimes even a personal statement. It was my Frankenstein, but since that name had already been taken, I called it COMIXSCENE, then MEDIASCENE, and finally PREVUE. Why experiment? Years before I shaped a molecule of Marvel history, I realized that comics (and their common format) were still in their infancy. The devices that evolved during the dawn of the four-color form—panels, balloons, captions— had hardly changed in more than a half century. That stagnation, in a field predicated on the fantastic, was appalling. Even as a kid, I wondered why the wild imagery inside the panels was not matched by the form itself. Music made its way from shellac to vinyl, from hi-fi to stereo. Movies ranged from square to Cineramic to 3-D. But the only perceptible changes in comics were their reduction from 64 pages to 48, then to 32, and finally to ever-increasing prices, starting with a dime and escalating to a handful of dollars. The reason was that publishers and creators were either incapable of visualizing new formats or too complacent about the old one. As both publisher and creator, I had no excuse and conjured up a storm of experiments in a magazine that was in itself an experiment. Cut to FROGS. In visualizing new narrative formats, I conceived what I called a Story in a Single Image. One way to accomplish that goal was in the approach I took with a plate drawn in 1978 for the PORTFOLIO OF FINE COMIC ART. The piece was titled The Silk Stocking Killer and told a story—beginning, middle, end—in a single illustration, each stage defined by a different light source. I took another direction with FROGS: many images grouped so they could be viewed simultaneously as a single kinetic block. The idea was a variation on an aspect of perception I realized during my SHIELD tour: that both facing pages of an open comic book are seen in their entirety within the viewer’s peripheral vision. There are numerous implications to this aspect that make specific demands on storytelling technique, such as any visual surprise must be placed at the top left corner of the left-hand page. The reason, of course, is that placed anywhere else, it tends to draw the eye to that panel first, after which the viewer must return to the top left corner of the left-hand page—essentially reversing direction or travelling backwards through the story and compromising its dramatic intent. As I began to visualize the concept, I realized that I could not only mitigate that problem, but use the viewer’s

random vision movement to my advantage: I could make the viewer collaborate with me in structuring the story, make him an interactive partner in the process of creation! But I didn’t realize the full potential of the concept until later. I started by defining the cardinal elements of the format: —A simple story that could be expressed purely in images. —Images that had a single, specific dramatic point and could be easily “read.” —Text was prohibitive because the mind cannot decipher small lines of dialogue or captions in peripheral proximities. Text could only be used iconographically. —To help the mind comprehend and organize the images, I chose the most comfortable panel shape that can be discerned: the square. —All panels would be same-size squares. How many was another matter—and that solution was predicated on the size of the magazine’s double page area; in this case, 17x26”. I determined that eight columns of six panels would perfectly accommodate my format requirements. The next stage was to develop a story, one that would be enhanced by the two-color process in which the publication was printed. Black and red, I felt, would be fine; besides being the color of blood, red psychologically represented anger and hate. Immediately, a story materialized about a man in a straightjacket, confined to a padded cell. His only companion was a fly—and the tale concerned their relationship and the symbiosis between reality and dreams, sanity and madness. I called it FLIES. What else? Unfortunately, red was the primary color in the previous issue and could not be repeated in the one which followed. Soon after I had begun to lay it out, I shelved the story. The color of the new issue had not yet been selected, but I knew that it would be dictated by the nature of the experiment’s story. FROGS was the solution. The color was green. During the comping process, I realized that the tale was more complex than I originally expected because I’d incorporated several flashbacks—or depending on the spectator’s viewpoint, several flashforwards—to different temporal periods. To denote those timeshifts, I used a number of graphic devices, none of which (to my knowledge) had been utilized previously for that purpose in the comics format: —radical color changes —image matching —lap dissolves using color images over black images Because the frame was static throughout the narrative, I equated it with a movie or TV screen and felt that readers would do the same. For that reason, I felt a series of lap dissolves (a cinematic device used from the ‘30s-‘50s to denote changes of place and time) would be entirely appropriate. To underscore that idea, I separated each column with a vertical line to help readers’ eye movement and suggest the aspect of a film strip. Of course, the eight columns reading from top to bottom was what might be called the “director’s cut,” not necessarily that of the viewer. Because the cognitive process is so fluid, it was


apparent that different viewers would have different perceptions of the story—and possibly as many ways to “read” it as well: top to bottom, bottom to top, right to left, left to right, four corners, spiral, ad infinitum. In other words, one basic story could be derived from a viewing process in a multitude of ways! To some, it could play out chronologically like THE GODFATHER. Others could assemble it backwards like MEMENTO. Still others might turn it inside out, like CITIZEN KANE. I found that conclusion stunning. Although it is apparent that films can be edited in an almost unlimited number of ways, the decision about what statement is made is determined much more by the filmmakers than the audience. The truth is that film generally requires the least intellectual participation of its audience than many other mediums. In most graphic works, artists, writers, and editors present the material already structured and meant to be understood in only one way. FROGS was static and only marginally structured; its comprehension, however, depended entirely upon the cognitive skill, experience, and imagination of the viewer. The concept, if not revolutionary, was evolutionary. Check this out: I took it to the next stage by imagining each image as one of a series of slides run rapidly through a projector in a different order each time. The result of every possible combination is a staggering 48 to the 48th power. A mere ten images could be arranged in 3,628,800 combinations. The possible configurations of 48 images would create 12 trillion, trillion, trillion, trillion, trillion variations! But, the technology to accomplish it would not be available for three more decades. The story was a study in morbid psychology. I admitted it was not new, only the way in which it was told, and cited a number of facetious examples of how it would have been done by my contemporaries: —As told by Stan Lee, it would be titled Frogg, Son of Redip. In it, the biology prof would spend a lifetime dissecting frogs in his lab. At the end, an enormous, slithery tongue zips the startled teacher out of the panel. The look on his face shows he’s repented—but too late! —As written by Gardner Fox, the professor would have destroyed the swamp’s frog colony, but only after discovering they were really aliens from another galaxy, bent on conquering the earth. The prof decides never to mention it because no one would believe his story. Then, it is revealed that the entire episode is a dream. —As an Al Feldstein EC yarn, the biologist would have taken sadistic satisfaction in capturing and dissecting the specimens. One day, he does not appear in the laboratory and his students organize a search party for him in the local swamp. They find him on a giant lily pad, carefully hacked into sections, as though for the purpose of examination. Choke! Good Lord! —As scripted by Denny O’Neil, the old prof would wipe out the entire frog population, upsetting the balance of ecology in the swamp, thereby creating an organic plague that dooms all humanity. In the final panel, a lone tadpole is seen looking toward the stars: When will man ever learn? The following issue stated the experiment elicited the “widest spectrum of opinions in mail response” since I began publishing. Those who approved were excited by the concept. Those who didn’t termed it a failure. And many just didn’t get it at all. I wrote: “It is my feeling

that the success or failure of FROGS is unimportant. What is important is the fact that it was published as an experiment, opening the doors for more of the same, perhaps expanding the perimeter of imaginative storytelling in the minds of fans and pros alike.” Numerous magazine editors (including Denis Kitchen, Roy Thomas, and Archie Goodwin at Marvel) made offers to reprint the experiment over multiple pages in their publications. I rejected them all because none offered any improvement over my original presentation. FROGS would wait for the technology to catch up. It may be a surprise to some that major advancements in communication during the history of mankind can be counted on the fingers. —The first occurred when early man attempted to convey an idea to others by drawing lines in the dirt with a stick. — Language, either spoken or signed, would be next in the progression to communicate on a grand scale. —As pictures became more universal, symbols evolved; then, written language was developed. —Gutenberg’s invention of movable type around 1450 led to the supremacy of the printed word (a manifestation of writing); images were created with woodcuts. —In 1816, the photographic process was developed by Nicéphore Niépce, capturing reality in black and white. —In 1877, Thomas Edison discovered a method to record the voice, which could be replayed almost endlessly. —In 1891, Edison used a series of progressive photographs to create the illusion of motion, in addition to extending the capability of the written and spoken word with the telegraph and telephone. —In the 1900s, a cheap paper pamphlet combining text and images was published and, over the next few decades, become the modern comic book. —In the 1920s, wireless telegraphy or radio allowed users worldwide to hear events as they occurred. —In the 1930s, sound and imagery was transmitted by electrical waves and received on a device called television. —In the 1990s, the internet allowed participants to communicate with creators by computer and interact with them in real time. It is disappointing that, in the past ten years, the most innovative technology in mankind’s history has yet to yield much that realizes its creative potential. Reproducing movies and animation on the computer screen simply restates the old and the obvious, but does not explore new territory, does not engage new formats. That brings us back to FROGS, which has been dormant for three decades, waiting for the appropriate technology. It is presented here in a multiple-page format, much like it would have been had I allowed Marvel or others to run it as a standard left-to-right narrative (and, in this case, it also lacks the use of numerous dramatic and transitional color devices). It represents raw material in much the same manner as many comics which fail to employ the strengths of their format. What you’re looking at might be called the before version. To experience the after version—which allows the viewer to reconfigure the story an unlimited number of times to conform to their personal vision—keep an eye on the Steranko websites and make up your own mind if three decades was worth the wait.


“BOSTON METAPHYSICAL SOCIETY” BY MADELEINE HOLLY-ROSING & EMILY HU


“MR. MONSTER” BY ALAN MOORE & MICHAEL T. GILBERT


“THE WEIRDING WILLOWS” BY DAVE ELLIOTT, BARNABY BAGENDA & JESSICA KHOLINNE


“GRENDEL: DEVIL’S WHISPER” BY JAMES ROBINSON & D’ISRAELI


“MELTING POT” BY KEVIN EASTMAN & SIMON BISLEY


FIFTEEN AMAZING STORIES AND GALLERIES

01

Simon & Kirby

09

Mark A. Nelson

Ira Gershwin Monster . Puncher

10

Mike Elliott

Pair Of Rogues

11

Dave Dorman

Sharky

Dave Elliott and Alex Horley

05

Alex Horley Gallery

13 Steve White Gallery

06

Little Monsters

Ian Edginton and D’israeli

14

Vito Delsante and Javier Aranda

07

Valkyries

15

Bandits

02

03

04

The Angel Of Death

Andy Kuhn

Ron Marz and Tom Raney

Kendrick Lim

08

El Zombo

Dave Elliott and Dave Wilkins

Seasons

THE THING IN THE SURF Hitch

12 Deep  Six

Jerry Paris, Dave Elliott and Arthur Suydam

Daikaiju

Mark A. Nelson

You can check out a selection of free stories and previews from the first volume of Monster Massacre right here!


“THE ANGEL OF DEATH” BY JOE SIMON & JACK KIRBY


“PAIR OF ROGUES” BY RON MARZ & TOM RANEY


“ALEX HORLEY GALLERY” BY ALEX HORLEY


“LITTLE MONSTERS” BY IAN EDGINTON & D’ISRAELI


“EL ZOMBO” BY DAVE ELLIOTT & DAVE WILKINS


“SEASONS” BY MARK A. NELSON


“THE THING IN THE SURF” BY MIKE ELLIOTT


“HITCH” BY DAVE DORMAN


“DEEP SIX” BY JERRY PARIS, DAVE ELLIOTT & ARTHUR SUYDAM


“STEVE WHITE GALLERY” BY STEVE WHITE


“DAIKAIJU” BY VITO DELSANTE & JAVIER ARANDA


“BANDITS” BY MARK A. NELSON


CONTENTS:

01

Thirty-One Amazing Stories, Galleries and Pin-Up Spreads!

Carpe DIEm W.H. Rauf, Rhoald Marcellius, Sakti Yuwono, Imam E. Wibowo

02 Pin-Up 03 New Dawn

Leos Ng “Okita”

Fades

W.H. Rauf, Bagus Hutomo p0p5.deviantart.com

07 Gallery 08 The Queen’s

Kendrick Lim “Kunkka”

Pet

Derrick Chew “DCWJ”

09 Pin-Up 10 Amplification

Zid

Brandon Ching “Kaizo”

11 Pin-Up 12 Maximum

Erfan Fajar

Force

13

Dave Elliott, Alti Firmansyah, Riri Mashuri

Pin-Ups

Jessica Kholinne, Sakti Yuwono, Yenny Laud

14

Hell-O-Kitty

Reza Ilyasa (Jei El) ahbiasaaja.deviantart.com

15

Pin-Up

Hendry Prasetya,

Eko Puteh

16

Gallery

Stanley Lau

“Artgerm”

17 04 Pin-Ups

Yu Ming

arronyym.deviantart.com

05 Machina

Pin-Up

Jessica Kholinne

Bounty 18 Journal

Chris Ng

Pin-Ups

Barnaby Bagenda, Jessica Kholinne

19

Barnaby Bagenda

20 Dead Meat

06 Pin-Up

Darren Tan

Marc Lee, Kai Lim

21 Pin-Up Garrie Gastonny

22 Infinite

Beny Maulana (Mr. Bunny)

23 Pin-Up

Beny Maulana (Mr. Bunny)

Turn Me 24 On Jennyson Rosero “2ngaw”

25 Pin-Up Leos Ng “Okita”

Rule My 26 World Sami Basri, Sunny Gho

27 Pin-Up

Eko Puteh ekoputeh.deviantart.com

28 Gallery Zid

DRAVN: 29 Vlad

Dravn created by Jesse Negron, script by Jesse Negron and Dave Elliott, art by Garrie Gastonny and Sakti Yuwono

The Weirding 30 Willows Dave Elliott, Sami Basri, Jessica Kholinne

31 Gallery Kai Lim

Check out a selection of free stories and previews from Monster Massacre 2 now!


“MACHINA” BY BARNABY BAGENDA & JESSICA KHOLINNE


“MAXIMUM FORCE” BY DAVE ELLIOTT, ALTI FIRMANSYAH, RIRI MASHURI


“HELL-O KITTY” BY REZA ILYASA (JEI EL)


“BOUNTY JOURNAL” BY CHRIS NG


“DRAVN: VLAD” BY JESSE NEGRON, DAVE ELLIOTT, GARRIE GASTONNY & SAKTI YUWONO


The

W ILLOWS WHAT THE WILD THINGS ARE

DAVE ELLIOTT BARNABY BAGENDA SAMI BASRI

Collected Edition with all-new content and strips coming July 2014!


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The very first A1 ANNUAL brings you an anthology by a pantheon of creatve greats!

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TOMORROWLAND © ID&T, Entertainment and Media Enterprise. MONSTER MASSACRE and Atomeka © Dave Elliott and Gary Leach, all contents copyright their respective creators. © 2013 Dave Elliott. All rights reserved. Weirding Willows and ODYSSEY © Dave Elliott 2013 CarpeDIEm © STELLAR Labs 2013 ATOMEKA © Dave Elliot & Garry Leach.

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