2000AD 1398 - 14 July 2004
Cover by Clint Langley

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

Summaries and reviews contain spoilers for this issue.

GH: Clint Langley always seems to be the artist on call whenever a "spooky" cover is needed. While this uses some clever effects to depict the ghosts in the background, the foreground image of Sinister and Dexter seems a little too static for my liking. Nice tagline, shame about the image.

PW: I didn't like this one bit. Langley has obviously taken to being the 'scary' cover artist with recent-ish Cab Inc. efforts, but I find this cover doesn't really hit the spot and is far too familiar. It's too similar in style to prog 1332 with the ghoulish background and Sinister looks too much like a Hugh Jackman Wolverine for my liking.
Add this to a CGI style Dexter looking like something from the horrific (and never to be repeated) Dredd vs Death cover, this makes it poor in my books.

Terror - Part 7

The only way out for Total War...

Synopsis: Total War members are closing in on Zondra, but Dredd is the only judge close enough to respond.

Meanwhile, the judges have hemmed in Sonny’s vehicle with a fake accident as they clear the area. When Sonny sees the judges escort robot juve stand-ins past his truck, he loses faith and runs off.

Dredd is still too far away from Zondra so he orders control to contact and warn her, even though it will wreck the operation. But Zondra’s in the shower and can’t hear the call. The Total War members break in and execute Zondra. Dredd arrives, killing one terrorist, while the other commits suicide. As Dredd finds Zondra's body a call from Castilenno comes in, leaving a message telling Zondra that he wants to give up Total War for her…

GH: After the slow build up to the latest of Total War's atrocities, this issue comes as a complete shock. I fully expected Dredd to come in at the last minute and save Zondra, but the vicious execution in the shower, horrifically rendered by MacNeil, has taken the strip to new heights (if that's the right attitude to take here). This week's strip is also peppered with other classic moments such as Dredd's willingness to throw away the whole operation, the judges witnessing the execution via their spy cams but unable to do anything about it, and Sonny's reaction to the staged "evacuation" around the accident. The strip feels like it's all coming together in a way that Wagner hasn't managed to pull off in a Dredd tale for a good while. It really does feel like the master has got his mojo back, and this story should remain a Dredd classic for years to come.

As for the artwork? Mac Neil's colour coding also comes to fruition in this issue, with panels intermingling and showing different perspectives throughout the episode. He really goes overboard with eh gore this week too, gut given the horror the episode is meant to convey, it seems apt.

PW: 'Terror' has been trundling along quite nicely without me ever expecting some kind of guns/action overload. This understated and thoughtful tale has been exactly what Dredd has needed of late, and I've appreciated the 'realistic' tone and Dredd's grim but constant determination. I reckon everyone reading would have guessed that there would be no happy ending, but it's been a joy to see the relationship unfold, while in the back of my mind I've been thinking 'it'll never work!'.

This week we get to feel the tension as Zondra is scheduled for a terrorist termination, and the many colour-coded locations and 'views' (Dredd / Zondra / Sonny / Killers / SpyCam) all adds to a satisfying climax. I love the different colour 'tinted' scenes as they convey (well, to me at least) the quick movie style zipping from one scene to the next, each one easily identifiable, and the overall plot understood. I especially enjoyed the last panel - the we-know-something-you-don't aspect means that we're in for a treat as it all wraps up next week - i'm guessing the leniency isn't on the cards for Sonny, despite his girlfriend being blown away.

Dredd would be too heavy if every story was like this, but every once in a while... brilliant. One small gripe though - storywise, it seems a bit too convenient that the Block Judge had been withdrawn... is this part of an ongoing storyline or am i being too picky?

Scare Tactics - Part 2

A new look for the gang...

Synopsis: The gang look round at the wall, but the faces have disappeared. Dexter is getting fed up and thinks people are playing games – even though the person they were chasing has completely disappeared.

They walk past a mirror and see themselves as skeletons momentarily, just before Dexter’s headcase starts playing up. When it clears he thinks he sees John Croak and starts firing, even though the others can’t see anything. They run down a corridor, but the layout of the house has changed, and they get lost. Suddenly all the doors in the corridor open and zombies led by Croak start towards them…

GH: This story misses a few marks with me - one of them being because of the character of John Croak. I can barely remember him, but as Sinister Dexter is so often a throwaway strip, it becomes difficult to read when they bring up past characters who have long since been wiped from your mind. As for the spooky aspect of the story - it all seems a tad too contrived for me, all adding up to a fairly standard "things that go bump in the night" for me. I can just see this leading up to a Scooby Doo style ending too...

PW: Unfunny storyline complemented by hard-on-the-eyes artwork, with
characters and situations I don't care about makes this a must-not-read story. Cam Smith's work is too far-removed from the 2000AD style (if such a thing exists, and with the wide ranging art usually on offer, that's saying something) and looks more Marvel UK if anything. The story is going nowhere, and is yet another excuse for some silly pun and games. I'm all for stories appearing for 2/3/4 episodes (like in the old days) to fill the gaps between longer stories, but I just wish they weren't all Sin/Dex. i'd rather have double-length Tyranny...

The Comeback - Part 4

Tyranny meets Dr. Hansen's killers...

Synopsis: Tyranny forces her way through the storm, and the next day makes for higher ground to look for the probe. She discovers the crater left by the impact, beside an abandoned ghost town of clay dwellings. There, she finds the body of her contact Dr Hansen. Her body is burned, and her fingers severed, as Tyranny realises that the doctor might have been tortured for “fun”. The doctor’s notes remain, and Tyranny reads that she found the black egg shaped pod while investigating the ghost town. She couldn’t penetrate it, but sensed that there was intelligence coming from it. Tyranny gets to higher ground again and tracks down the aliens who have stolen the probe and are dragging it away with some Taurochs. Tyranny attacks with her ice pistol, but the probe is unstable – “is awake!”

GH: Highlight of the episode is Steve Yeowell's rendition of the cliff dwelings (also ably coloured by O'Grady), which makes for a fairy stunning double page spread. As for the story, despite trying my best to keep up with it, I find myself wondering who this Dr Hansen was, and if I should have been paying closer attention to her introduction earlier on in the series. Despite this "hang on, what's going on?" moment, there's still a good deal of John Smith ingenuity to enjoy here, and it doesn't seem quite as "out there" as some of his previous series, mixing some ingenious science fiction with his new-found ability to write a god action scene.

PW: On the surface, there's no reason why this has to be a 'Tyranny' story instead of some other hard-edged sci-fi babe, but then it *is* John Smith, and I'm glad he's back with one of his creations. No-one quite does made-up names like Smith, but then no-one else seems to have his warped imagination and 'universe building' skills either, and even though it's only scheduled for a short stay i'm enjoying this immensely. Steve Yeowell's art seems 'lighter' these days (I was only today re-reading Pussyfoot 5 by the same creators by way of comparison in which the inks and colours were a lot heavier) and after initial misgivings, I've decided I like this look. I don't know if this is down to the art itself of the colouring, but in any case it makes the story more readable and easy to follow.

Story-wise i'm genuinely intrigued as to the outcome and after she found the mutilated and burned corpse, I'm betting that there's no forgiveness from Tyranny as
she takes what she needs and leaves bodies in her wake. Previous stories ten (yes, really) years back have mostly left Tyranny winning comfortably with a wink and a cheeky/sexy smile. I'm not sure that this is going to happen here, but I'd like some vestige of the original character back and it'll be interesting to see how it's wrapped up next week. In any case, welcome back... it's been too long.

Red Moon

The rescuers are about to make a big mistake...

Synopsis: A downed ship's captain spends his days trying to stay alive in a wasteland, kept company only by his android, praying for a rescue ship. He spends his days fighting off piranha dogs, the only thing he knows how to do. But the fight goes badly and he has to sacrifice his transmitter to destroy one of the dogs. As the remaining dog closes in for the kill, a rescue ship arrives at the last minute to pick him up. One of it’s crew asks him if there are any other survivors – but the captain says its just him and the droid. The surprised rescuer says that the droid is long gone, and then uncovers a pile of human skulls. The Captain kills his rescuers, all the while musing how the dog’s flesh is toxic, but the crew's flesh and the food the ship is carrying will sustain him and let him keep on killing until the next ship arrives. “And the next ship. And the next…”

GH: A genuinely surprising future shock by one of those writers who has gone off to greater things across the pond. I can only surmise that this tale was written before Diggle's golden handcuff deal with DC, and if so, I'm surprised this took so long to get into print. It's some leagues ahead of recent future shocks, showing a welcome lightness in the storytelling, and a "surprise twist" that isn't too heavily signposted all the way through (although the indications are there if you look back a second time). A finely crafted tale matched up with some wonderful Mignolaesque artwork from Kev Walker, one of 2000AD's best artists who hasn't graced the comic for far too long. Get him back on a multi part series asap...

PW: Reading the name 'Andy Diggle' and 'Kev Walker' on the credits gives a
pointer to the fact that this story has probably been sitting there waiting quite a while for an airing. Well, I can't think why as it's the best future shock (style story) we've had since 'Cosmonaut X' in 1396. The story is good without being excellent, and is pretty much standard sci-fi fare if being truthful, but it's the art that stands out for me.

In my absence from the prog i missed all of Kev Walker's Tor Cyan and Sin City, but i made sure i got all the back progs when i realised what i'd missed. The art manages to be clear and colourful at the same time as being muddy and grim, and it's something I'd very much like to see more of (how about a Walker VC's?). I was also intrigued to know exactly how he did for his family (nice bloody flashbacks - i can almost hear the screams), but I suppose that's the nature of the 5 page 'shock' in that it leaves certain questions open... More one-offs like this wouldn't go amiss (even if it was just for the art).

Heavy Duty - Part 2

Nixon has difficulty adapting to her new look...

Synopsis: Tyrone Appleby, leader of Lo Cal says he was once too a fatty, but Lo Cal helped him change. He puts Nixon to work in the gym, where she quickly makes enemies by punching the insulting fitness instructor. She starts exercising, and dieting, while avoiding eating the pills that are given out and seem to keep the other fatties sedated.

She makes friends with a fellow fatty, Holly, and tells her the place was recommended by a friend, Orwell Green. Holly tells Nixon to talk to Chico, who was friends with Green, but Chico panics and runs off. Holly tells Nixon that it’s rumoured that Appleby has a client hitlist in his office, and suggests that Nixon checks it out.

Later than night, Nixon does just that, but finds nothing and is surprised by a security guard. She bursts past him and goes on the run, but… “How the hell am I supposed to outrun him in this body?”

GH: The lighter touch evident in this Low Life mini-series indicates that this tale should be around for a good time yet. When a character is able to fit into the more lighthearted stories such as this, as well as the hard-boiled style opener, it's clear that you're onto a winner. Rob Williams is starting to shine as a writer. too. Having previously been "almost there" with his efforts in Asylum and Family, this strip is staring to show his evolution as a writer, an could see him being marked out for much bigger things in the future. Like the best of 2000AD's writers, he knows that economy of storytelling works best in these 5 page strips, making them a joy to read.

And the art's still bloody good too. But you already knew that...

PW: I didn't much enjoy the first story that introduced us to Aimee Nixon,
but this one appeals to me more. It seems to be more seated in the 'real' Mega-City One as opposed to the newly 'discovered' (and low down and dirty) underbelly that is the low life. It's always nice to greet the fatties once again, and Henry Flint's McMahon-esque art is perfect in both capturing their disgusting overblown physiques as well as transporting a long-time Squaxx back to the 'old days' of Dredd. Like Tyranny, this looks like it may suffer if it's not wrapped up with care or given a double episode next week, but even this short-sharp shock is more enjoyable than the lengthy introduction and whodunnit that preceded it... low-life is perfect as the re-occurring 4/5 parter to fill those gaps between offensives, and at the same time
could finally see off the festering sore that is Sin/Dex.