2000AD 1392 - 2 June 2004
Cover by Dylan Teague and Chris Blythe

Synopsis and 1st review by Gavin Hanly
2nd opinion by Paul White

Summaries and reviews contain spoilers for this issue.

GH: A good enough cover from Dylan Teague and Chris Blythe, with the latter producing some fine lighting effects, but overall, this doesn't work for me. The main issue is that it doesn't have that feeling of speed that the image needs to convey. That and the fact that Chopper doesn't look particularly alarmed that a number of guards have just opened fire on him...

PW: This cover just doesn't do anything for me... I always prefer Teague's (and/or Goddards's for that matter) artwork in black and white, and the figures look too static for me. It doesn't say "buy me", although (and someone always mentions it) the logo is unobscured. Phew.

Terror - Part 1

The terror starts...

Synopsis: At a bar on the city bottom, home to pro judicial supporters, a young man waits at the bar. He’s joined by a woman who offers him a drink – neither are recongnised as locals by the bar droid. The woman says she’s in politics, although the man refuses to answer questions on what he does. A group of Shuggy playing juves comes in to laugh at the screens which show the judges beating up pro-democratic supporters, and the man goes to leave. But he changes his mind, goes back in and urgently asks the woman to join him for dinner. As they run out, one of the juves finds a bag he left behind. The bag explodes, destroying the bar, as the woman realises that the young man left the bomb. Dredd arrives on the scene, and seeing other judges watching the devastation he fears they could be the target for a secondary device…

GH: After a series of one-offs, it’s good to see a new Dredd multiparter starting up again. There have been some classy individual stories, but it’s time a more meatier story got underway. Indeed, getting Wagner and MacNeil back on Dredd again is something of a cause for celebration, and it seems apt that this story picks up the Democratic fringe storyline that was so prevalent in the two America stories. MacNeil, who proved to be in top form in the recent Devlin Waugh story in the Megazine continues to impress here, with the devastation of the bar being particularly effective, a well as managing to set up what will almost certainly be further destruction next issue.

How Wagner means to handle this story of terrorism will be the main thing to watch, however. With daily acts of terrorism being ever more in the public eye, it remains to be seen if Wagner can attempt a reasoned commentary on the subject, but his past work would certainly lead us to giving him the benefit of the doubt. I definitely feel confident that we can expect less jingoism in this story than in an episode of The Ultimates...

PW: Lucky me to be asked to review the start of a Dredd multi-parter, as I would have baulked at commenting on some of the more recent lame 'comedy' efforts. Not much happens here other than to determine that terrorists are about, and the slightest hint of a back-story cleverly inserted via a holo-vid gives me the feeling/hope of a long and detailed saga with links to previous tales such as 'America'. I'm sure it's no coincidence that Colin MacNeil is on on art chores and he turns in a good job - although I was more a fan of his early 'scratchier' style circa 'Our Man in Honda' rather than this post 'Devlin Waugh' polished version. I can't help feeling that the woman who just happened to nearly get blown to bits is more than an innocent bystander, but so far so very good.

Book 1 - Taking Liberties Part 6

The "hard bastards"

Synopsis: Savage and the others are called over to Centre Point, a Volgan stronghold, where the British soldiers protecting it have joined the resistance. Noddy is inside the building but Savage realises that he can’t jeopardise the mission to save him.

They arrive and are told that the Volgans are putting up a good defence, most likely to buy time to evacuate and destroy records.

Savage and his team burst in, make their way inside the building. They come across a killing room, built specifically to torture captives, and get the maximum information from them. Savage gets a call from Cassie who asks him to try to forgive, but after seeing the room, Savage doesn’t think he can…

GH: The word "funking" makes a return this week, and I’m far happier to see it, since it seems to have reached mythical joke status on the message boards. Indeed, the line “They’ve been taking funking liberties” is so (unintentionally?) hilarious that it alone makes this episode worthwhile. But as for the rest of it, this does seem to be almost a different series from the earlier episodes, with Savage taking a much more overt hand to matters. Indeed, you have to wonder why he went through the plastic surgery only to end up at the head of a band of rebels invading Centre Point. Hopefully the files held on Bill in the tower will make all this clearer. All in all, this is enjoyable hokum, and as with earlier episodes, the refreshing lack of Mills preaching makes this all the better. As mentioned in the letters page this month, this “bona fide sequel” to Invasion is proving to be a worthy exercise.

PW: Before reviewing any Pat Mills work, I always feel the need to nail my colours to the mast (usually with reference to Slaine) and proclaim that I'm not his biggest fan. Well, I'll do it again anyway, but that's just to get my feelings out of the way in an effort to review this episode as objectively as possible (and no, I won't be commenting on the funk issue).

This is damn good and immensely readable stuff... the 'Invasion' back-story is incidental as it doesn't require any knowledge of previous tales to understand exactly what is going on here, and the b&w adlard art is excellent in that it perfectly complements the script. I'm pleased that we're getting onto the action (although the dreaded 'book' will no doubt end on a cliff-hanger of sorts) and especially like the way that 'Jack' doesn't seem to care for Noddy's safety, reaffirming his 'hard bastard' reputation and dedication to the cause. If there's one gripe, then it's the fact that phrases like 'easy, son. easy' and 'no. i'm a bit upset right now. they've been taking liberties...' sound more like Big Dave (Manchester's hardest man) addressing Saddam or 'Big' Terry Waite.

Part 6

AHAB tries out a new look...

Synopsis: As Tashtego confronts AHAB, Queequeg tells Izzie that she should leave while she can, but she hoped that he would come with her. The battle continues and Tashtego finally comes out on top, with AHAB dead – although his remote eye has escaped into a crack in casket that allegedly holds AHAB’s human body. Now leader of the ship, Tashtego warns Izzie not to leave. As the others disperse, Tashtego is left alone as he hears scratching from the casket. AHAB explodes out of the casket in a new body, dealing Tashtego a fatal blow. He says Tashtego fell into his hands, allowing him to kill him in peace, while guaranteeing the support of the crew who will follow him since he has "come back from the dead". He tells Tashtego that he want revenge on the Koheynu that destroyed his last ship, and resumes killing Tashtego…

GH: Finally the secret of what was hidden in the casket is revealed. The only problem is that AHAB’s new body seems rather less impressive than his old one – surely not the point. Perhaps it’s the darker colour, but it just doesn’t work for me so far. As for the rest of it, Tashtego’s rebellion is put down swiftly and more ingeniously than I would have expected. Perhaps the only slightly disappointing aspect of the series so far is Izzy. Her quest to find her son seems to be a little to tacked on. Maybe this will bear fruit in a future series, but for the moment, it would be better if her efforts were targeted to finding a more intelligent method than Tashtego’s for removing AHAB from command.

PW: I'm an unashamed big Richard Elson fan and it is, as ever, an absolute joy to see his work again in the prog. I can see the point that some people think it looks too much like 'Atavar', but this is his thing and he does it ever so well. Nigel Kitching's script keeps on keeping on, and I particularly appreciated the eponymous double-hard bastard deliberately getting turned over (and subsequently reanimating in a newer 'handsome' body) to aid his evil plans. However, I worry that there's only 3 episodes left and that the story won't be resolved properly (double-size in 1395 anyone?) as I hope there's slightly more than simple 'revenge' going on. Ishamael appears to have so much more yet to offer that I don't want her to suffer ignomy of being a second-rate incidental female character (part 1001). I have faith in Kitching, and his willingness to offer his views (with indecent haste I might add) on the official messageboard shows that he cares in the story he's crafted, and I get the feeling he's itching to drop some spoilers as there is more excitement to come... this is in the 'read now but *must* read again once finished' category, where I feel that some of the more subtle aspects will shine brighter...

Paranoia - Part 6

Nothing gets past Dirty Frank...

Synopsis: Cracker holds a gun to Nixon’s head but she feels that she’s a major part of his plan and as such he probably has orders to leave her alive. A gunfight ensues, but Nixon is brought down with a shot to her robotic arm. Cracker tells her that the rest of her Wally Squad is beign wiped out. Elsewhere, Dirty Frank returns to his apartment, but senses someone else there.

Back at the mansion, Cracker tells Nixon that deep down she’s just as much a perp as the rest of them, but she refuses to accept this, pushing him away. He leaves her, and she desperately tries to get her arm t work again. Finally, it starts up, and we see thatshe has put a tracker on him as she pushed him, which she uses the computer on her arm to trace…

GH: I’m sure I echo the thoughts of many readers when I say that I hope this isn’t the last we see of the wonderful Dirty Frank. It’s astonishing how a simple method of having a character talk about himself in the third person can endear him to the masses, so let’s hope there’s more of Dirty Frank’s wisdom in future episodes and series of Low Life. As for the main story, it really doesn’t move on too much to afford much further comment. It’s still a good read, and backed up by the ever-great artwork of Henry Flint, but let’s hope the story begins to unfold a little faster next week.

PW: I've lost interest and have no feeling for any of the characters here... I usually love Henry Flint's work (and can't wait for his ABC Warriors return), and appreciate that grey-tone will work better on a story like this rather than colour of 'plain' b&w, but it's not for me I'm afraid. The story seems too light, and now that we've moved away from the gritty first episode into cliched 'I didn't do it but everyone thinks I did' territory, i'm a bit bored. However, i really liked Rob Williams' Family (in the Meg) and will definitely give this another look once complete (so long as the ending isn't pants).

The Big Meg - Part 6

Chopper sticks it to the man...

Synopsis: Chopper grabs the box from the glass case and the sirens sound. He shoots out of the vault before the doors close, and past armed guards firing at him. Popp is informed that the formula is being stolen – and Calista seems surprised by this. He says it’s the secret formula of “Popp’s Pop” and starts having a heart attack. Meanwhile Chopper makes for the lifepods, and manages to abandon ship. The judges are tracking him on the outside, however, and begin chase. Chopper seeks cover in some batgliders, spiralling into the lower city, with the judges in hot pursuit. The crowd begins to cheer Chopper on as he outwits the judges…

GH: Finally this series is beginning to find some of the spirit of Chopper that has been missing from the earlier episodes. Clearly this series is about getting Chopper back "on form" and as a hero of the oppressed, and this episode brings back the flavour of earlier series, with Chopper’s clear enjoyment at his evading the judges. Can he keep this up? It doesn’t seem likely that he could remain in Mega City with al the judges after him, but I can’t quite see this being the end of Chopper either. Hopefully this series will be a bridge to a greater one in the near future which uses the anti establishment nature of the character to better effect than seen in this series so far. A good read – just not the blockbuster than many may have been hoping for.

Goddard is on fine form here – with the art proving to be much more kinetic than the rather disappointing cover.

PW: Another story I've lost interest in. I'm pretty sure that Chopper knows he's being played but doesn't care anyway as he's bored and needs to reaffirm his anti-establishment status in the Meg. But he's a bit too great and cool and such a bloody hero that I've rebelled against him myself. This doesn't actually read like it was written by Wagner ("it's crushhinggggg meeee!"????) and the only way i'll be happy with any outcome is if (a) the final panel of the final episode shows a massive "Chopper" scrawl to signal he's back to stay, or (b) he dies... I'm not holding my breath. The artwork is good without being exciting, and to me would have benefited being in black and white with heavy shadow rather than in colour.