Incidentally, I recently started reading some older Golden Age comics. I found some of these comics, such as Will Eisner's The Spirit, or Captain Marvel Adventures interesting, regardless of nostalgia.
The first panel shows Sandy describing his predicament, despite the gag.
His speech is surprisingly coherent considering the beating he just received -- it probably should've been a thought balloon. Perhaps the oddest thing about this panel is the placement of the narrator's caption, which seems like it should be at the top of the panel: "And downstairs..."
In the second panel the thug considerately explains why he's torturing Sandy.
The third panel is most egregious. The boss Malignant explains the drama, while the stooge partakes in some maid & butler dialogue.
This thug must really like explaining his actions, since he's talking to himself in the fourth panel.
Sandy, meanwhile, despite his concussion, is surprisingly astute at identifying the sound of someone shoveling mixing cement.
And finally in the lower right we see Malignant returning to his "date" with Scarlet O'Neill and some classic 50's noir dialogue.
So, while I wouldn't say that "Invisible Scarlett O'Neil" is poorly done, it shows that more could have been done to bring out a purely visual style in the comic. It seems like the modern ethic is to drop thought balloons, captions, and anything that distracts from the imagery on the page.
Stories by Gerry Finley-Day and Alan Moore. Art by Dave Gibbons, Colin Wilson, Brett Ewins and Cam Kennedy.
,” Tom Cruise plays Chief of Precrime John Anderton, a man whose son Sean was murdered ten years earlier. As a result, he has separated from his wife, and using Neuroin, an illegal psychoactive drug, to dull the pain of his memories. Since his son’s death he has also thrown himself into his work at Precrime to the exclusion of any other activities. The program has successfully prevented any murders for six years and it’s preparing to go national when the system suddenly predicts that Anderton will kill a stranger called Leo Crow. Predictably, Anderton goes on the run. Eventually Anderton meets Crow, but avoids killing him. Crow then commits suicide in such a way as to throw the suspicion on Anderton. This action makes Anderton to question the validity of the Precrime system. Investigating the minority report – the dissenting vision of the future as it was produced by the precog Agatha – he discovers that Director Burgess used the existence of minority reports in Precrime to cover up his own involvement in the murder of the Agatha’s mother. When Burgess is exposed he kills himself, Precrime is disbanded, Anderton reunites with his wife and they decide to have a baby. The precogs are released to an undisclosed location where they can live their lives in peace. It’s a fun, well-made movie. Max Von Sydow is always a great villain and Tom Cruise shows some depth, avoiding a reprise of one of his “Top Gun” personas. But the most interesting part of this movie is when you compare it to the original short story.
.” I’ll never forget the look on Mr. Collar’s face as he handed back the paper, admitting it was well-written, but not the kind of essay that would get me a good score on the actual test. The people grading the exams were looking for more literary topics and science fiction just wasn’t literature.
,” and nearly every other book I read for the next twelve months was by Dick. I’d devoured “Do Androids Dream of Electric Sheep,” and the Starlog articles about “Blade Runner,” which was still in pre-production, had me jabbering with excitement. Dick himself was still alive, although he’d die of a stroke a few months before the first movie ever based on his work was released. 
” proclaims it as “The first major science fiction book of the 1980’s!” (It was published February, 1980). “Philip K. Dick may well be the next SF writer to follow Bradbury and Vonnegut in being ‘discovered’ by the mass audience!” Along with the movie “Blade Runner,” plans were in the works for movies based on “We can remember it for you wholesale” and “The Second Variety” (you may know them as “Total Recall” and “Screamers”). Yet, according to interviews he had a distrust of many people who admired him, and in the midst of all this still had money problems. According to the introduction of “Golden Man” in one month in 1977 he made only nine dollars.
I first learned about the dutch artist with the amazing fine line when I found his work in Heavy Metal Magazine in the mid-80's. In style, the pictures looked like Herge's "clean line" Tintin, if a bit more art-deco styling. But in content the stories were equivalent to the underground comix of the 70's. Although he still wears plus-fours, Swarte's signature character Jopo de Pojo is practically an anti-Tintin: a black face instead of Tintin's pink one, and a backward-swooshing shark fin of hair contrary to the boy reporter's impertinent tuft. Jopo doesn't mind having a good time, and Tintin would be shocked at the sexual antics in Swarte's comics.
