Wednesday, May 15, 2019

No. 129 John Hicklenton RIP

First Prog: 488
Final Prog: 608

First Meg: 1.07
Final Meg: 265

Total appearances: 69
-including his work in Crisis, but not including his work for Toxic! comic

John Hicklenton: King of Sex, Death and body horror...
Words by Jim Alexander

Creator credits:

Art credits:
Nemesis the Warlock
Third World War
Judge Dredd
Mean Machine
Heavy Metal Dredd
Blood of Satanus
A couple of Future Shocks and one-off Dreddworld tales

Dig those sunken cheeks and that forced doubled chin. Hicklenton 101.

Notable character creations:
Judge PandoraX-Face (or Lord Omega, as he prefers to think of himself)

Beating Hellraiser at its own game?
Words by Pat Mills

Notable characteristics:
Frankly every single aspect of Hicklenton's work is notable! A more distinctive (not to say divisive) artist you'd be hard pressed to find in 2000AD. But, within that, it's especially notable how much he's into the grotesque. More specifically, you've got contorted bodies and faces, long necks, rictus grins, heaving bosoms, the thickest blacks and dirt-flecked whites. Plus, I get the impression that in practically ever panel he was trying his hardest to give the reader something to really look at, y'know?

The kind of ugly that goes so far its well into beautiful territory.
Words by Jim Alexander

This is what I used to think 2000AD readers looked like / aspired to look like (circa 1989)
Words by Pat Mills
You've also got that thing that was kinda popular in the late 80s / early 90s where an artist would spend so much time rendering exquisite detail in some panels that others would come across as, shall we say, rushed. (Looking at you, Simons Bisley and Davis).

Oh, and any given Hicklenton story has the potential to unleash buckets of gore!

All the spines! All of them.
Context by John Smith

On John:
I don't quite know how it happened, but John Hicklenton passed me by at first. I started out on 2000AD with Prog 439, reading my older brother's Progs, but kind of stopped around the time of Bad Company, when it was all getting a bit grown up and, dare I say it, pretentious. I didn't get back into the weekly fold until Prog 650, although I did steal glances at covers in between, and sometimes got hints of the contents. So, I was aware of things like Zenith being a big deal, and I sure as hell noticed the craziness of Simon Harrison taking over from Carlos Ezquerra on Strontium Dog. Fate, however, had hidden Hicklenton's work from my eyes...

So, when I finally sat down to re-read all those missed Progs, nothing prepared me for the jarring shift in art on Nemesis the Warlock. I'd been used to the sumptuous and accessible Bryan Talbot, with a taste of hyper-stylized Kevin O'Neill from the Best of Monthly reprints. And then there was The Two Torquemadas...

Nemesis is, somehow, about to get even nastier and weirder...

There's a famous story about Kevin O'Neill's artwork being judged as just too nasty by the Comics Code Authority of America*. Not fit for publication to children. Imagine what those same minds would've thought had they been confronted with Hicklenton! And this is just based on the way he draws his characters, never mind the fact that, by the end of that first episode, several of them are being burned alive at the stake.

This is exactly what not to show your teacher when she asks what you're reading for Literacy hour.
Words by Pat Mills

Another less famous story is that young John Hicklenton (we're talking teenage) worked up the courage to contact Pat Mills and show him some work samples, and it's largely off the back of this that Mills that pushed for Hicklenton to take over on Nemesis the Warlock. And, to be fair, some credit is due to then-brand new editor Richard Burton for running with this largely untried upstart, and indeed letting him even further off the leash with Nemesis Book IX.

Is that the texture of his skin, or is he wearing a fishnet onesie? Does it matter?
Word by Pat Mills

I must have missed Hicklenton's debut Future Shock, which was actually a rather fine start for a very young new artist. Shades of Spitting Image / Viz in the caricatures there, but no bad thing to bring some humour, especially to a Future Shock

Already in place: grotesque faces and elongated, twisty necks!
Words by Neil Gaiman

His second effort pushed more into the weird, but that's mostly to do with the content of the story, which was well matched to Hicklenton's sensibilities!

The surreal imagery is the basic requirement here. Hicklenton elevates it with blotches and sweat.
Words by Grant Morrison

But even this couldn't prepare readers for the unbridled horror of 16th Century Spain as rendered by the most warped of 2000AD imaginations.

Why is everyone grimacing and crying? And how has he made the monk look so utterly evil?
Words here (and below) by Pat Mills

Pure horror

Pure body horror!

Next level body horror!

I mean, it's beyond insane. Torquemada (both versions) carry themselves in ways that shouldn't be possible. Yet it never looks like bad anatomy, it's just Hicklenton's style, his natural ability to convey character and emotion through body pose. What I found (and still find) most disturbing is an element of realism, as compared to O'Neill and Talbot's styles before. I mean, there's nothing 'real' about the way the figures are drawn, and yet the choice of line, and the detail on the skin and muscle does convey something more real than your average cartoon art.

 It's not just the Torquemadas who stick out, but they do seem to get special treatment, I guess reasonably enough as they're the titular protagonists – even more than Nemesis himself, in this story. They're also both thoroughly evil, and it seems this is an interest Hicklenton has. Mills, in the story, pays special attention to the self-knowing evil of future Torquemada, versus the slow realisation that past Torquemada gains that he, too, is properly evil, and not actually doing good work. (Whether or not God himself is evil is left for the reader to judge, I guess).

That's some glorious humility in the final panel.
Words by Pat Mills
True enough, there is also a plot going on here, and it's perhaps this part that Hicklenton struggles with. I would caution new readers to take Nemesis Book VII on slowly. The storytelling is all there, present and correct, but it's not the sort of thing you can pick up at a glance, you need to work to decipher some of the action. 

New artists take a while to work out the best way to fit all the panels in, don't they.
Words (and presumably panel descriptions) by Pat Mills

Mills, one suspects, was still interested in the narrative he was telling, but Hicklenton chooses to emphasise two key bits of it: the accounts of historical evils perpetrated by the Spanish Inquisition, and the character analysis within the two Torquemadas, alongside Nemesis and Purity. By contrast, poor Thoth gets short shrift for the most part, although he does at least get this amazingly touching cuddle with Dad, reminiscent of no less potent a piece of culture as the 'Baby Mine' sequence from Dumbo. Only this time it's horrendous devil-aliens cuddling, not cute elephants.

This is an all-time great 2000AD page, no question.
Words by Pat Mills

Whether by Mills' choice or not, by the time Nemesis Book IX: Deathbringer rolls around, narrative has largely flown out of the window. I certainly find it easier to read the book as a series of vignettes, rather than trying to make sense of it as an action plot. My best guess, it follows the exploits of Torquemada, now trapped in late 20th century Britain, where he appears to be all at once: a landlord stalking one of his tenants; a chief of police for a local gang of Brownshirt-type; and maybe even a politician. 

The Torquemada of 1990s Britain inspires the rise of the OyBoys.
(un)subtlety by Pat Mills
The passage of time in Deathbringer is not, shall we say, evident. Also not evident is whether all these characters are the Torquemada we know, or the 'real' Torquemada and one of his archetypes, who are just drawn the same. See also all the women, especially the one who is meant to be an identical match for Candida, but frankly looks a lot like Purity as well.

It's all a long, long way away from the Nemesis of old, with it's far future SF/Fantasy feel. But no less interesting, and boy has Hicklenton's art improved. Sure, he delivered some all-time pages on Book VII, but the level of detail is upped here, and he really leans into the running subplot whereby Torquemada's body is constantly deteriorating.

A Hicklentonian twist on the 'Here's Johnny' moment from the Shining, feat. the real Torquemada (I think?).

I don't know if there's an intentional reading of Torquemada as coke-fiend, but he's sure got the whole 'boy, is my nose falling off or what' thing going on.

This might be an imaginary late 20th Century Torquemada. Either way, he's got the bulging neck and rotting nose for it!

For reasons that I don't know, and would probably make me angrysad if I found out, there was no more Hicklenton Nemesis, and indeed the whole Nemesis saga basically fizzled out at this point. To some extent, it may just have been the result of the UK comics scene at the time. Alongside 2000AD, there was now Crisis, and, just over the horizon, the Judge Dredd Megazine. If there was one thing that set both apart from 2000AD, it's that these were explicitly aimed at grownups, and 'needed' to have content to match. If you want to stick a 'not safe for children' sticker on your comic, Hickleton's your man**! He helped out a bit on Third World War in Crisis, but one suspects couldn't quite handle the churn even of fortnightly publication, so he never got a whole run to his name. (Already Nemesis Book IX was printed in little chunks with gaps between several episodes, a problem plaguing the Prog at this time).

That's Finn, that is.
Words by Pat Mills

In colour, Hicklenton's work becomes a little easier to parse.
But never a straight head when a titled one will do.
Words by Pat Mills

And there was that one episode of Rogue Trooper from his one Annual, back when there was a chance the character could be following the Will Simpson template of 'war is hell' imagery (rather than the Dave Gibbons template of 'war makes for pretentious caption-writing' that Michael Fleisher ended up running with).

Rendering Rogue as a sort of Frankenstein monster actually makes a lot of sense for the character.
Words by Michael Fleisher

Then in the Megazine he part of an early wave of next-level-nasty Dredds, with the body-horror-tastic Black Widow, a story that properly gave 12-year-old me weird sex feelings while also repulsing me.

And that's how you draw 'adults only' material that still technically passes as child-appropriate. Glorious!
Words by John Wagner

Add one more to the 'visible penis in a panel of 2000AD' count...
Context (but probably not that detailed a panel description) by John Wagner

He also delivers a very distinctive Dredd, notable not so much for the outside chin (although that is present and correct), but for extremely hollow cheeks, thin lips and sinewy face muscles. One of the strengths of Dredd as a design is that the best artists bring their own twist him; Hicklenton is firmly in that category.

A strong reminder that Dredd's face is very much hewn from the rock that is Clint Eastwood.

Hicklenton's Dredd has to use all his strength to pull those leathers around his muscular frame.
Tight boots not tight enough, I guess!

Frankly it's a shame Hicklenton wasn't given more hard-edged sex horror to draw, as he has a great feel for this crossover. Instead, the editors pushed his gore-love, with Hicklenton as the man to follow Simon Bisley on Heavy Metal Dredd. Remember those splatting fatties from the top of this blogpost? Take a look at how Hicklenton drew them before their big leap...

Mega Citizens - reliably stupid and ugly since 1977.
(Also, they're us! reflected back at ourselves!)
Words by John Smith

Around this time Hicklenton got his first and only crack at an all-new series, the ultra-loopy Pandora. It's another Wally Squad story, only it doubles down on the 'who is doing what to whom?' stakes. If you like your comics beautiful but incoherent (quite the fashion in 1994), Pandora is for you. You could argue that it's Hicklenton's most polished work to appear in either the Prog or Meg. He's got some real tight inking going on, and he explores the Justice Department leather fetish to its fullest skin-tight, super shiny extreme. There were two Pandora stories, one short and one long. Don;t ask me what either were about, but there were definitely drugs involved. In the plot, that is.

I think that's our hero, Pandora, at the bottom, getting beat up by a Judge gone bad.
Words by Jim Alexander

A long gap followed, during which the man pursued other projects, including some zombie comics in the US, and, more famously, he was diagnosed with Multiple Sclerosis. I have to confess that I have neither seen his movie nor read his autobiographical comic about fighting MS, but I really should, as everyone says their brilliant. It's not clear to me if this physical affliction affected the way Hicklenton drew his comics and/or the types of things he chose to draw, but it's hard not to make some link between the rigours of MS and all the bodily contortions so associated with his drawing.

The only body of work I have to judge this on is Hicklenton's final effort for the house of Tharg, the much-reviled Blood of Satanus III.

As an excuse for bringing back everyone's favourite black tyrannosaur, I'm prepared to forgive it a lot of sins.
Who wouldn't want this piece of original art hanging on their wall??
Words by Pat Mills

At the time BoSIII ran in the Megazine, letter writers were pretty quick to chastise it as both the worst written and drawn strip of all time. In an interview, Hicklenton himself agreed with one critic that the early episodes were untidy, and in fact the second half of the series does have noticeably tighter ink lines, especially in the background details.

I guess if you don't like the man's style, or his subject matter, you're not going to like this series. But if there's any of Hicklenton you do admire, you've got to check BoSIII out for yourself – it features some extraordinary character designs, including some of THE most grotesque grotesqueries ever to appear in comics, which are at the same time playful and even charming.

Words and concepts by Pat Mills

The story needs a bit of dissecting. Frankly, it's a super bizarre - nay, the MOST bizarre version of what is, technically, a Judge Dredd story. Dredd himself is one of the main characters, but he's not really carrying the story – he's basically there to function as a 'hero' archetype, while Pat Mills explores what, to me, reads like a cross between Jung and Plato. Two world-famous thinkers whose ideas are, largely, thought to be wrong these days.***

The Jung bit is all about heroes and villains, and the idea that people need to believe in goodies and baddies, and especially that there ARE good people whose will is enough to overcome evil people. The Plato bit is a version of his suggestion that there's no such thing as a perfect 'chair'. Instead, when people see real-world examples of chairs, we're all actually comparing them to an imagined 'perfect chair' that exists outside the real world (Plato paints a picture of this imaginary chair as being like a shadow projected onto the wall of a cave).****

ANYWAY, in Blood of Satanus III, Mills uses Satanus as a conduit to open up a gateway from Mega City 1 into Hell, and it's in this Hell that the Platonic ideal forms of various kinds of evil exist as demons. When people in the real world are being evil, it's because they're channeling these demons. Dredd's mission is to cross through all the ten circles of this Hell, and defeat each demon along the way, thus proving he is a real hero who can prevent utter evil from overtaking Mega City 1.

Real heroes keep their jaws clenched firmly shut.

I think that's the overall plot, anyway. There are subplots about cults in there, too.

Hicklenton's task, then, is to get us into Hell, and to depict various humans who court evil, but most importantly, to render demons that personify the ideal form of different types of evil. Man, if there's anyone who could do a better job, I'd love to see it!

This Janus isn't just two-faced - he's got mismatched pairs of everything, including one arm made of a chainsaw
and one that is very short with weirdly misshapen fingers.
Words by Pat Mills
Also, did I mention, this whole thing is played for laughs? (Because it's so ridiculous that is has to be). Horrific as they are, the demons are always laughable. Various background horrors have a Beano / Leo Baxendale-esque quality to them. They're just there for readers to enjoy, while not getting in the way of the story.

The demon dog's not part of the plot, even less so the unfortunates it has been nibbling upon

Dredd heroic 'super-punch', as rendered in Hicklenton's best Beano-vision.
(and yes, this is a panel form one of those early 'untidy' episodes)
Although, in practice, sometimes they DO get in the way of the storytelling. Frankly, Mills isn't making it easy for Hicklenton, jumping from one level of Hell to the next, and sticking in various commentary characters between the action beats, but you do need to read the strip carefully if you want to find narrative coherence. I'd argue it's not worth it; better just to enjoy the visions of Hell.

I've an idea Hicklenton was hoping to do some work on Slaine next, and there's a magnificently weird sketch of his on the endpapers of the collected 'Slaine: the Wanderer' which gives a hint. But, as far as 2000AD goes, Hicklenton never did get back into its pages after that last Nemesis episode. While I can't immediately point to a strip he would have suited, I do think it's a shame.

Nemesis and Torquemada, in Mills's final vision, are locked in an eternal embrace of combat
-arguably never shown better than in this panel by Hicklenton.

More on John Hicklenton:
He still has a Facebook presence
A lovely obituary from Lew Stringer
Find out about his documentary, Here's Johnny
A review of his 100 Months book on the Hi-Ex! blog

Personal favourites:
Nemesis the Warlock: Books VII and IX
Judge Dredd: Black Widow
Blood of Satanus III (There, I said it!)

Sorry, couldn't resist posting this panel!
Bile by Pat Mills

*In Kev's own words here (scroll down a bit) 

**I feel obliged to add, I don't personally hold with the idea of 'not safe for children' as a literal concept. Children can handle difficult things, too. But I have no problem with labelling things so that both children and adults can make somewhat informed choices. (Plus there's the benefit of the added frisson of reading something with the belief that it's going to be truly nasty...)

***Although Jung's 'archetype' theory and Plato's 'idealism' are still taught and used quite a lot in literary academia as a way to deconstruct what works in storytelling. Don't think they're used much in 'actually making sense of how the world works' any more.

****Mills and Hicklenton may or may not have been explicitly channelling Jung and Plato. That's just my reading of the madness!

Thursday, February 14, 2019

No. 128 Chris Lowder aka Jack Adrian

First Prog: 34
Final Prog: 374

Total appearances: 70
-including strips in StarLord, but not his prolific output for Eagle or any other IPC comics.
NB He's mostly credited as Jack Adrian, but he used his own name a few times, not to mention a handful of bizarre, typically one-off pseudonyms.

Creator credits:

Lowder in a nutshell - time travel antics meet a gruff response.
Art by Ian Kennedy

Other writing credits:
Dan Dare
Judge Dredd
Future Shocks and Time Twisters

Notable character creations:
See, I want to write down the main guy from TimeQuake here, but I can't quite remember his name... Jack Blocker, perhaps?
More notable, for sure, was his idea to fill up a Judge Dredd story with copyright-bearing characters used in advertising, most famously the Jolly Green Giant.

Lowder himself says this story was derived from 'the Island of Dr Moreau' -
crazy creatures brought to life that then run amuck. It's a great hook for a 2000AD story!
Art by Brian Bolland

Notable characteristics:
Plot twists, especially involving time travel, people being selfish, stupid, mean or even all three.

Here's two counts of stupid plus one count of mean (not to say evil!).
Art by Jesus Redondo

On Chris:
In the early days, Lowder (rhymes with soda, not with powder) was something of a go-to man for Tharg. A dependable scripter for most of the series than ran in the early years, plugging schedule gaps on Invasion, MACH 1 and even Dreddwith relative ease, although not necessarily making a big splash. By 1978, he was near the top of Tharg's 'on-call' list - he's one of the few droids credited with three strips in a single Prog!*

I'm old enough to remember when the idea of a Channel Tunnel was the peak of sci-fi nonsense
Art by Ian Kennedy
Perhaps Lowder's true ticket were his early contributions to Future Shocks. It's not the easiest format to master, and frankly some of the earliest efforts a a bit shonky. But Lowder's were decent, especially under the pens of Carlos Ezquerra and Brian Bolland. In fact, there's something to be said for Lowder as exemplifying the comics truism that great art cannot save a poor script, but great art can make a decent script come to life. Lowder's work is reliably decent.

This Future Shock hews rather closely to the first ever episode of the Twilight Zone,
but it's pulled off with enough visual aplomb to give it a pass.
Art by Brian Bolland

Lowder turns straight to the military option (the more to show its limitations, natch)
Art by Frisano

Lowder's first 2000AD foray into time travel fun times!
Art by Frisano

Lowder seems to suit a certain kind of protagonist, typically someone who's looking to gain something for themselves, and generally is not heroically single-minded as your Savages, Probes or Dredds.

In theory, that would make him a poor fit for Dan Dare, a heroic hero if ever there was one. Except, this era of Dan Dare is quite the strange beast. Deep into the 'Lost Worlds' section when Lowder took over the scripting reins, Dare and his crew are exploring strange, new worlds, and invariably falling foul of evil monsters (not to mention evil crew members), often ending in genocide and murder. (If you want a flavour of these strips without actually reading them, I point readers to early episodes of Space Spinner 2000, who expressed great glee for this run of Dan Dare!).

Attack of the giant tentacle monster!
Art by Dave Gibbons

Attack of the secret worm monster!
Art by Dave Gibbons

The point is, Lowder is not so interested in exploring Dan Dare's character or general mission (inasmuch as there was a mission). Instead, he wants to give young readers the good stuff: shapeshifting worm creatures, death planets aplenty, and people going space-crazy. It's good, unclean fun, and probably exactly the sort of thing that really soured any readers who had grown up with original Eagle-era Dan Dare. I hadn't, and this era is my favourite Dan Dare for sure.

Uncomplicated shooting action... in space!
Art by Dave Gibbons

Art by Dave Gibbons

I'm a sucker for villains who turn into giant killer worms.
Art by Dave Gibbons

Meanwhile, Lowder finally got to deliver his own series, beginning in the pages of StarLord. It's time-travelling coppers in TimeQuake! Again, it's not so much about the characters as it is about the plots. We meet a somewhat generic 2000ADish 'hero' from 1970s Britain who is trigger happy, a bit selfish, and generally grumpy, who finds himself kidnapped by the Time Police to help them capture a time-travelling crimelord from the same era. 

Blocker is pretty much the archetypal 2000AD protagonist:
quick with his fists, hot tempered, and will not take orders!
Art by Ian Kennedy

Cue lots of 'what the hell's going on' type dialogue, and something of a romp across the more fun bits of world history, especially Aztecs and Nazis, because that's what you do in time travel stories.

What?! A traitor - what an unexpected twist.
Art by Magellanes Salinas
Lowder ladles on this sort of stuff, with an added measure of 'ooh, which one of the 'goodies' is going to betray them / turn out to be a baddie'. More fun than that were the sequences dealing with 'all this mucking about in time is wrecking the entire space-time continuum' stuff, complete with 'am I in danger of erasing my own existence' shenanigans. To some extent it's cliché territory, but to a greater extent this was all quite new at the time (well, I imagine it was to most readers?), and it's handled clearly.

Gotta love those paradoxes
Art by John Cooper

For my money, that first StarLord series of TimeQuake went on a few episodes too long, while the second series, this time in 2000AD proper, was somehow too short. Tharg could have brought it back for more, but I guess never quite found the room for it.

By the time of the second TimeQuake outing, Blocker had evolved into the other archetypal 2000AD protagonist:
completely blasé about all the craziness going on around him.

Lowder was kept busy instead on Ro-Busters, writing a couple of longish stories that ran in the second half of StarLord. He very much wrote 'sarcastic robots doing rescue mission work' stories, which are fine, but they haven't stood the test of time given that Pat Mills took the story back for 2000AD, and essentially ditched any and all 'rescue mission' antics in favour of telling stories leading up to / about class war / robot rebellion against human masters. It maybe doesn't help that these are examples of decent scripts let down by mediocre art.

Lowder's Ro-Jaws gets in the action much more than he usually does.
Art by Jose Ferrer

Art by Carlos Pino

Lowder poking fun at editor Kelvin Gosnell
Art by Carlos Pino

To be honest, all of this is a mere prologue for Lowder's lasting impact on 2000AD, namely his many Time Twisters. A self-confessed fan of time travel fiction, he apparently pestered Steve MacManus enough until he was given free reign to write Future Shocks with a time travel theme that got their own series moniker.

More Lowder aliens having a lark. This one's neither a Future Shock, nor a Time Twister,
but very much falls into both camps.
Art by John Higgins

Yes, Alan Moore is the celebrated author of micro-epics including The Reversible Man, and Chronocops, but Lowder put in the hard graft writing nearly twice as many as anyone else. In the process, he left no classic time travel paradox unexplored! Frankly, if you want a primer in the fundamentals of what unintended consequences time travel could wreak, you may as well read a collection of Chris Lowder's Time Twisters**. The perils / impossibilities of inventing time travel. Accidentally littering history with its own greatest monsters. Discovering that no one actually wrote Shakespeare's plays. The reality that even time-crime doesn't pay.

Sometimes, people just blunder into trouble

This one's a time travel cracker: how do you escape your destiny?
Art by Mike Dorey

The Shakespeare conundrum even made the front cover!
Art by Eric Bradbury

With Lowder, there's nearly always the added bonus of horrible people being horrible to each other, the scheme that goes wrong because of human nature, and human ineptitude winning the day. And, of course, a general undercurrent of comedy. Lowder's basic writing style is exactly in keeping with 2000AD – big, simple ideas, told with mean-spirited people, spiced with violence and humour. Not his fault he was being printed alongside peak Wagner, Grant and Mills, who took the same ingredients to new heights!
Who killed who? It's time travel 101
Art by Carlos Ezquerra

For now, that's where Lowder's 2000AD story ends, set quietly to one side along with other esteemed 'first wave' writers such as Tom Tully, Alan Hebden and Gerry Finley-Day. I believe he continued writing Eagle strips, but unless he has a time travel scheme that'll see a new script emerge one day from the past, those Time Twisters will remain his great legacy.

More on Chris Lowder:
He's on the Thrillcast!
Otherwise there's his profile on GoodReads I guess

Art by Jesus Redondo

Personal favourites:
Dan Dare: Doppelganger; Garden of Eden
Future Shocks: Fangs, What hit Tunguska?
Time Twisters: This is Your Death; the Perfect Crime; the Impossible Murders; Running out of Time; the Contract

OK, it took two episodes and a hell of a lot of 'we caused disaster x' jokes along the way,
but this pun is SO forced it's kinda delightful.
Art by Jesus Redondo

*Prog 78, fact fans. Off the top of my head, there are four others who've achieved this feat. Share your answers on a forum post for the chance to win a... something?

**No such collection exists. Although I remain hopeful that Rebellion's current annual project of collecting ALL the Future Shocks, in order, will include sweeping up the Time Twisters, Terror Tales and other assorted one-off tales. Even if it has to be in a 'Restricted Files' kind of way.