By John Tomlinson, Simon Jacob, John Smith, Paul Peart, Gary Rice and Dave Gibbons

Review by Alex Frith
28th June 07

What to Expect: Robots, dinosaurs, serial killers, demons and people with bug-eyes whom no-one will believe.

Originally Appeared In: Progs 671-681, 842-849 and 157, 181 

Armoured Gideon isn't a very complicated story, but for some reason it wasn't until reading it here that I think I finally understand the central premise. As I see it, the idea in writer John Tomlinson's head was to ask - what happens to all those demons that weirdo cults keep trying to summon up? Where do they come from, and how is it that they are prevented from overrunning our peaceful world? Enter artist Simon Jacob, with the answer in the form of a giant demon-busting robot, named Armoured Gideon. And there you have it.

The story is told through the bizarre-looking eyes and delightfully cynical voice of photographer Frank Weitz. He gets a photo of Gideon in action (which his editor won't believe), and from that point on is caught up in a whirlwind of portals, demons, wing-whales, weirdo cults, and of course Gideon himself. Weitz is an engaging enough figure, but I suspect that what Tomlinson and Jacob really want is to poke fun at lunatic fringe masonic types, and then fling beautifully ugly demons their way, only to have the lot despatched by Gideon. I say this because I think it's these sections, particularly in this opening story, that work really well. Not least the gags that most people in power are in fact demons, as seen in the opening page. However, what we actually get (in this story) is rather a lot of Frank Weitz looking bemused and doling out exposition. It's not badly done, but it's a bit slow at times. Weitz carries the story well, being nicely gruff and world-weary in the 2000 AD tradition. A bit spineless at times for good measure, but also resourceful when pushed. But he's still not as fun as the single-minded Gideon, and the lavishly designed demons.

Both writer and artist feel a little like they're finding their feet with this first series. Tomlinson has a great ear for dialogue, does a neat line in cliffhangers and basic plot, but it doesn't all flow quite smoothly enough. Jacob draws some absolutely fantastic demons, and his Gideon and Jerubaal* designs are among the best robots in 2000 AD history, but occasionally it goes a bit skew-whiff, especially his poor old humans. And there's an annoying tendency for either Jacob or Tomlinson (I guess one could blame both if blame is relevant) to pick the wrong expression to match the dialogue being spoken in any given panel, again making the strip less smooth than, say, a John Wagner creation. Weitz's face and body go through all manner of bodily contortions, some of them deliberate and funny, others a bit too small press for my liking (no offence, like. I can't draw). However, the whole thing has a lot of charm, and Armoured Gideon has for me earned its place in the 2000 AD pantheon of greats, especially for the scenes of sacrifice and mayhem in the village of Meldonbury.

Slaughterbowl was the hidden gem of the infamous 'Summer Offensive' experiment from 1993. It's also quite probably the sickest story ever published in 2000 AD, and that's saying something. I mean, really sick. This is the series that dares to shoot a panda on the first page, and then eviscerate another five on the second. From that point on, writer John Smith pulls out every serial killer cliche he can find and throws them in our faces, playing it strictly for laughs. Slaughterbowl itself is a televised race in which these serial killers are encouraged to kill each other, with the aid of robotically enhanced dinosaurs. Sweet. As well as delivering death and dismemberment on every other page, Smith uses the story to poke fun at a judgmental media that revels in the depraved side of human nature. And there's a healthy side-plot of mocking private health and the idea that surgeons stop operations half-way through if the money runs out. So really, it pushes as many political buttons as contemporary strips like Big Dave, but manages to be three times as much fun.

Paul Peart provides some wonderfully exciting art, and in particular his colouring work pleases me. At a time when all too many seemed to be into thick paint, Peart appears to use a felt-tip pen. I'm sure this isn't the case, but the whole thing feels bright and fun and rather Japanese,which I always enjoy. I love the manic expressions he gives to Throat and Modest every now and then, and his thick streams of tears give proceedings a suitable atmosphere of despair and lunacy. I wonder why he got so little work from 2000 AD in future? Oh well.

For a John Smith strip, this is remarkably straightforward stuff. He pits ultra-mild-mannered Stanley Modest, victim of a gross miscarriage of justice (or is he?) against Mr. Throat, steroidally enhanced nutter. That's pretty much it. There's a little bit of a 'what's up with Stanley' theme, but mostly it's just pure action, and a remarkable lack of the florid prose one expects from Smith. The set-up of Modest's unfortunate life are both sad and funny. Throat's training regime, and the constant banter of the TV hosts telling the story are simple but perfect for the tone of the story. The only place where things fall apart a bit are in the second half, during the actual race. Smith does a good job of trying to construct a coherent narrative, but he's under so much pressure to deliver carnage (and quickly), that the details of the race are rather muddled, and it doesn't really make any sense to see who kills who and how, except that it drives the story in a particular direction. It's no Oz or Song of the Surfer, but then perhaps that doesn't matter because of all the dinosaur stomping and biting and heavy artillery deployment. And the whole thing is wrapped up in a beautifully satisfying ending.

The two Robo-Tales from Gary Rice and Dave Gibbons are short and sweet, but not exceptional. 'Revolt of the tick-tock Monkey-bomb' is a dry run for Rogue Trooper, with disposable soldiers and horrible weapons of war. 'Night of the Werebot' is pretty classic horror stuff, an uncomplicated but well drawn tale showing that evildoers will be punished for their foolishness.

*In case anyone cares, 'Jerubaal' was the honorific name bestowed upon the Biblical hero Gideon, who defeated the followers of the God Baal (cf Judges 6.32). I love it when 2000 AD makes highbrow references with no explanation.