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Description
Tales era G1 comics’ single-panel character synopses, № 2: Bon-Bon’s body image issues. Aw hell no☹
Source: My Little Pony № 212 cover story (“Hungry Bon Bon”)
Some perspecive demangling was applied here (original photo). Even if I messed that bit up, you’re model-perfect just the way you are BB. Don’t listen to any mean nonsense from that Patch, or from anypony else😐
(In fairness, Patch realizes she’s upset Bon-Bon in the previous panel, but it’s a bit too late)
Source: My Little Pony № 212 cover story (“Hungry Bon Bon”)
Some perspecive demangling was applied here (original photo). Even if I messed that bit up, you’re model-perfect just the way you are BB. Don’t listen to any mean nonsense from that Patch, or from anypony else😐
(In fairness, Patch realizes she’s upset Bon-Bon in the previous panel, but it’s a bit too late)
your current filter.
your current filter.Basically, as to how they managed the shift from high fantasy to the Talesverse in the comics, issue 203 essentially advertised the ALL NEW MY LITTLE PONY COMIC starting from the next issue (although they did not reset the numbering scheme for some reason). The next issue (204) began with an introduction from Starlight stating that ‘things have changed quite a bit in Ponyland since the last issue.’ The rest is history - one other issue (205) printed a new high fantasy story, but both the original and ‘Friends’ UK comic runs were fully Tales from that point, although the Rockin’ Beats (introduced into Majesty’s Ponyland as a band with Jem-style aesthetics) appear with Melody on several occasions (Tuneful is even a unicorn in no. 206, although I did not photograph this for some reason) and Patch’s meeting with the ‘glowing magical ponies’ from Up, Up and Away is referenced in MLP and Friends 38 (the first issue of that run to feature the Tales characters).
That aside, the later fantasy issues did begin to introduce more humanistic elements anyway - assuming you have read the BEST MLP STORY EVER ‘Rainbow Rider’s Birthday Adventure’, one of the many well-controlled elements in that venerable masterpiece of literature is the fact that the titular character can change nearby clouds into rainbow radios via wiggling her nose, because why not? (Her name is Stripes in the US).
Did you know that Cotton Candy the Legacy Horse ate fifty flowers? 50 flowers. That’s as many as five tens, and that’s terrible. What a glutton.
I’ve heard of Rupert, he looks pretty cool.
I think I prefer the layout Dazzleglow has, it feels less restrained.
Not sure. Presumably just stumbled by off a search. Thank you for the photos on your site though: they give a really nice sense of the physical size of the comic and all their feature pages and extras.
Oh, I have to see those stories some day. To me, the Tales era comics are really charming things, with their own slice-of-life weirdnesses: Patch the Inventor! Cautionary tales about the hazards of reading! Very inconsistent on things like Teddy’s coat colour though. :)
I’d love to know how they phased in the Tales setting in what was ostensibly a fantasy land. Two parallel settings for a bit? Then again, there’s oddities like Player and the Horn of Plenty (1991) which mix electric guitars and portable radios into Majesty’s fairytale kingdom, with Cotton Candy the Legacy Horse still having a starring role. So until it’s proven otherwise, maybe I should assume that MLPT is set in some kind of gated community away from all the madness and danger of the rest of Pony Land 😄
@Seiya-Meteorite
Not forgetting that other bear, the one with the very middle class trousers. Rupert started life in a comic strip which coincidentally had a similar treatment of text to, and some surprising shared elements with the MLP stuff done by Egmont (more awful rhyming and recycled 1930s imperialist bullshit, sadly). Also a very deliberately consistent artwork style across two Proper Established Artists.
Text comics in the 1980s and 90s are really weird hang-overs from an earlier era. Especially with the strict frame format. They relaxed the layout quite a lot in later numbers though: Dazzleglow and the Drinking Dragon is a good G1 example.
What about the original Pooh and Paddington stories? Those had good artwork.
Ah, it seems you dug up that obsolete old website of mine!
Yep, that’s a (pretty awful, to be honest) photograph of my copy of no.212. In hindsight, I should have taken better quality photographs or scans, but I didn’t have a scanner available then, and the comic photographs were originally intended as a quick summary for the folks over at the MLP Arena. How did you come across the photographs?
And yeah, the artwork is not that impressive. I guess it’s a fair tradeoff for some of the great material the MLP Tales comics (which I have significantly more issues of now than back when I took that photograph) deliver - you seen the comic where Ace breakdances with Lancer, or where we gasps SEE Bright Eyes’ parents? (Seriously, they must be Bond-style pony agents or something like that - this would explain both Bright Eyes’ quick thinking skills and why we never see them around).
Haven’t you ever seen DeviantArt? :P
your current filter.This Brit takes that as a complement! I love the primitive weirdness of these old comics so much.
(It’s not a direct scan, the quality is not great. Sorry!)
They’re from the 1985-1993 G1 comics made by London Edtions/Egmont, a Dutch publishing company. The art is Spanish in origin, which has always confused me because there’s a lot of very north-European folktale feeling to the stories and a quietly scary kind of imagery in some of the artwork for the G1 fantasy setting which sometimes seems quite a bit darker than the writing.
British art always has this creepy vibe around it.