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Stickleback #1
Stickleback: England's Glory
London, the turn of the 19th century. In this sprawling city, the inhabitants live in fear of a villainous character known only as Stickleback. He's rumoured to be a master criminal, pulling the strings amidst the denziens of the underworld, manipulating them to his own ends. But Detective Valentine Bey is determined to hunt him down.
132 pages, Paperback
First published August 1, 2008
2 people are currently reading
62 people want to read
About the author
Ian Edginton
798 books148 followersEdginton sees part of the key to his success coming from good relationships with artists, especially D'Israeli and Steve Yeowell as well as Steve Pugh and Mike Collins. He is best known for his steampunk/alternative history work (often with the artist D'Israeli) and is the co-creator of Scarlet Traces, a sequel to their adaptation of H.G. Wells' The War of the Worlds. With 2000 AD we has written Leviathan, Stickleback and, with art by Steve Yeowell, The Red Seas as well as one-off serials such as American Gothic (2005).
His stories often have a torturous gestation. Scarlet Traces was an idea he had when first reading The War of the Worlds, its first few instalments appeared on Cool Beans website, before being serialised in the Judge Dredd Megazine. Also The Red Seas was initially going to be drawn by Phil Winslade and be the final release by Epic but Winslade was still tied up with Goddess and when ideas for replacement artists were rejected Epic was finally wound up - the series only re-emerging when Edginton was pitching ideas to Matt Smith at the start of his 2000 AD career.
With D'Israeli he has created a number of new series including Stickleback, a tale of a strange villain in an alternative Victorian London, and Gothic, which he describes as "Mary Shelley's Doc Savage". With Simon Davis he recently worked on a survival horror series, Stone Island, and he has also produced a comic version of the computer game Hellgate: London with Steve Pugh.
He is currently working on a dinosaurs and cowboys story called Sixgun Logic. Also as part of Top Cow's Pilot Season he has written an Angelus one-shot.
http://comicbookdb.com/creator.php?ID...
http://en.wikipedia.org/wiki/Ian_Edgi...
His stories often have a torturous gestation. Scarlet Traces was an idea he had when first reading The War of the Worlds, its first few instalments appeared on Cool Beans website, before being serialised in the Judge Dredd Megazine. Also The Red Seas was initially going to be drawn by Phil Winslade and be the final release by Epic but Winslade was still tied up with Goddess and when ideas for replacement artists were rejected Epic was finally wound up - the series only re-emerging when Edginton was pitching ideas to Matt Smith at the start of his 2000 AD career.
With D'Israeli he has created a number of new series including Stickleback, a tale of a strange villain in an alternative Victorian London, and Gothic, which he describes as "Mary Shelley's Doc Savage". With Simon Davis he recently worked on a survival horror series, Stone Island, and he has also produced a comic version of the computer game Hellgate: London with Steve Pugh.
He is currently working on a dinosaurs and cowboys story called Sixgun Logic. Also as part of Top Cow's Pilot Season he has written an Angelus one-shot.
http://comicbookdb.com/creator.php?ID...
http://en.wikipedia.org/wiki/Ian_Edgi...
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Displaying 1 - 5 of 5 reviews
April 5, 2025
Hoewel ik een liefhebber ben van D'Israeli is zijn tekenstijl moeilijk leesbaar in zwart-wit. Dat is jammer. Niettemin een fraai steampunk verhaal
February 2, 2025
I think for me one of the most dangerous past times is sorting out or revisiting my book cases as I always end up finding something I just have to stop and read - this (and the second volume) are two of my all time favourites - so yes I love reading and re-reading these books
This book is one of the Rebellion reprints taken from the pages of 2000AD a comic I lived off during my time at University. The art work like many of these reprints is unique and instantly recognisable. The story is part old London town meets HP Lovecraft with the sort of action and dialogue you would expect from 2000AD at its best.
The book consists of two stories complete and standalone in their own right - however they do make reference to each other. but it is not critical. My only real compliant is that there are hints of more story lines and greater adventures still to come but it appears they never did. These characters have so much potential but I do not think it was ever taken any further than the pages of this book. Well if ever there were characters who deserve a second look at you cannot go further than the contents of these pages.
This book is one of the Rebellion reprints taken from the pages of 2000AD a comic I lived off during my time at University. The art work like many of these reprints is unique and instantly recognisable. The story is part old London town meets HP Lovecraft with the sort of action and dialogue you would expect from 2000AD at its best.
The book consists of two stories complete and standalone in their own right - however they do make reference to each other. but it is not critical. My only real compliant is that there are hints of more story lines and greater adventures still to come but it appears they never did. These characters have so much potential but I do not think it was ever taken any further than the pages of this book. Well if ever there were characters who deserve a second look at you cannot go further than the contents of these pages.
June 7, 2024
Edington and D'Israeli unite once more to deliver another Victorian-noir like tale of the crime king-pin Stickleback and his colourful entourage of rogues.
There are two tales here, the first set up as a detective story with Stickleback as the antagonist against police detective Valentine and the second with Stickleback and his crew almost as the heroes, or at least the lesser of two evils as they take on a demonic wild-west circus!
Edington weaves an indepth narrative in both tales, hinting at Stickleback's origin and true motives as the books unwind. Evoking the feel of both Sherlock Holmes and Dickensian London, with the corrupt elite that are in power (a familiar theme in Edington's stories). Though typically gory and bleak, Edington sprinkles in levity with nods to British pop-culture where he can, using sitcom character names and illusions to the Bernard Cornwall Sharpe novels (or perhaps the tv show). Overall these are engaging stories and although overally verbose, leave you wanting more.
There are two tales here, the first set up as a detective story with Stickleback as the antagonist against police detective Valentine and the second with Stickleback and his crew almost as the heroes, or at least the lesser of two evils as they take on a demonic wild-west circus!
Edington weaves an indepth narrative in both tales, hinting at Stickleback's origin and true motives as the books unwind. Evoking the feel of both Sherlock Holmes and Dickensian London, with the corrupt elite that are in power (a familiar theme in Edington's stories). Though typically gory and bleak, Edington sprinkles in levity with nods to British pop-culture where he can, using sitcom character names and illusions to the Bernard Cornwall Sharpe novels (or perhaps the tv show). Overall these are engaging stories and although overally verbose, leave you wanting more.
September 17, 2010
I have really liked Edington's stories so far. Because of that, I was a bit dissapointed with this one. The story felt a bit pointless and like it was not going nowhere.
But I really liked the way Edington used the english language with this one,not forgetting the setting where the story was laid: London with trade mark land marks (London Eye) but still like it was set in Victorian times or something like that.
Another thing I'm not too sure about was the art. Sometimes it was right up my alley, but I'm not too sure about the use of watery black. It was disturbing.
But I really liked the way Edington used the english language with this one,not forgetting the setting where the story was laid: London with trade mark land marks (London Eye) but still like it was set in Victorian times or something like that.
Another thing I'm not too sure about was the art. Sometimes it was right up my alley, but I'm not too sure about the use of watery black. It was disturbing.
March 18, 2015
Gorgeous book! The "paint and collage" technique gives each scene such lovely depth and character.
Oh and it's a cracking yarn too!
Oh and it's a cracking yarn too!
Displaying 1 - 5 of 5 reviews