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¦ Reviews ¦ Progs
1410 - 1415 ¦2000AD Prog 1412

2000AD 1412 - 29 September
2004
Cover by John Higgins & Len O'Grady
Synopsis by
David Knight
Review by Gavin Hanly
Summaries and reviews contain spoilers for this issue.
GH:
Higgins and O Grady herald the start of Higgins' long-in- the-making "Faces".
It's one of those covers which depicts the series inside in a more abstract way,
and successful primarily for that reason. We may never get to see this scene in
the comic, but it does it's job of hinting at the themes behind the series. And
it's by John Higgins, which should be enough on its own...
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Script:
John Wagner
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Art:
Henry Flint
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Letters:
Tom Frame
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| Total
War - Part 5
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Total
War strikes again... |
Synopsis: The
news media reports the detonation of the nuclear bomb found in Ezra Pound Block
in Sector 276. It is estimated the bomb was ten times more powerful than the first
one, and casualties are believed to be in the hundreds of thousands, perhaps millions.
Dredd reviews the
tape of Oddie Radley’s interrogation. Judge Stuyvesant is sent to interview
his widow, while Roffman at the Public Surveillance Unit traces Radley’s
recent movements recorded on camera. Road routes north out of the city to Canadia
have become gridlocked and closed to new traffic; and the price of radwagons is
soaring as thousands flee into the Cursed Earth. Vienna Dredd dismisses the idea
of leaving the city, even though her family connection to Judge Dredd might secure
her a flight out. She intends to visit Nimrod the next day, having been asked
to sign his termination order.
The discovery of
a communicator outside Oddie Radley’s apartment enables PSU to pinpoint
when Radley may have gone to meet his contact, an important lead in the judges’
investigation.
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GH: Much of the initial impact of thins week's episode is down to Henry Flint,
backed up by the considerable might of Blythe's colouring. This week's art provides
a stark counterpoint to the scenes from last week of the crowds being calmly led
away from the impending disaster. Flint managed to get across the almost impossible
task of getting everyone out in time last week - something which is emphasised
this time around by the 2nd and 3rd shots of the same scene, eventually leaving
devastation and the charred remains of the unfortunate citizens behind. Will there
be another explosion after this? I'm rather hoping not, as the point has been
well and truly made by the first two, and the story needs to move onto a more
personal level now.
And that personal
touch is helpfully being provided by Vienna, who's being drawn into Justice HQ.
Now does that mean that the next bomb is going to be there, and Dredd will finally
have a personal interest in saving his city? If so, it'll be worth watching to
see if the po-faced judge manages to keep himself as bottled up as he did on the
vid phone. All-in-all, a masterful epic is building up. At 12 episodes, it might
not reach the length of earlier epics, but Wagner is fitting so much into what
we've seen so far into a densely plotted tale, that might lose its pacing if spread
over a longer run. So we should be thankful for what we've got.
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Script:
John Higgins & Mindy Newell |
Art:
John Higgins |
| Letters:
Tom Frame |
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1
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Kilquo
has plenty of eyes, but apparently not in the back of her head... |
Synopsis: Earth-bound
alien actress Kilquo of Kakkak tells a television interviewer of her relationship
with dot.com millionaire Carl Woolf. Woolf was abducted by aliens aboard a spaceship
disguised as a bus, and subsequently blamed for the death of Kilquo’s father.
Framed for murder by the Kakkakian General Stunal, Woolf fled back to Earth accompanied
by Kilquo, who found work in the film industry. Woolf has apparently become a
drunkard, and is in a pub pitching a business proposal to a potential investor,
that involves Kilquo exploiting her shape-changing abilities on the Internet.
The ‘investor’ claims not to know Woolf, who is thrown out for making
a nuisance of himself and owing the landlord money. Kilquo, meanwhile, is acting
the part of a hostile alien in a sci-fi film when her agent telephones. Following
Kilquo’s appearance in a cosmetics ad, a disgruntled customer is suing the
manufacturer, the ad agency, the star of the ad and her agent, who fires Kilquo
and proposes to sue her too. On her way home, Kilquo is followed by mysterious
men in black.
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GH:
As a follow up to a (frankly) long-forgotten tale from Milligan and Higgins, this
is something of a curiosity. Thankfully, we get an update in the Nerve Centre
(although I can't help feel that this should have been given better prominence
- after all, who reads the Editor's letter first?).
But the tale itself
is promising enough at this early stage, with a pleasant grounding in ugly reality
contrasted with the obvious strangeness of Kilquo's appearance and the apparent
indifference among her peers and indeed the general public. It's somewhat difficult
to tell where the series is going at this early stage, but the early signs indicate
that it's worth sticking with. Certainly the art from Higgins is as impressive
as you'd expect from a 2000AD veteran, with the grey tones particularly suiting
an artist whose most recent work has generally appeared in colour.
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Script:
Simon Spurrier |
Art:
Carl Critchlow |
| Letters:
Ellie De Ville |
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| Tooth
& Claw - part 2
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Random
remembers... |
Synopsis: Lobster
Random is one of an elite fighting force created thirty years ago by Professor
Cadmium Redd. Five years later, Redd died in a thermonuclear explosion. Now, his
widow, whose disembodied brain lives on in a feminine robot combat chassis Lobster
Random finds irresistible, has come into possession of her husband’s incinerated
remains and his last will and testament. The Professor’s wish was to be
buried on the planet N-19, known as ‘Nixx’, where he conducted his
military experiments. The Professor’s widow needs Lobster Random, as the
only survivor of his platoon, because Redd entrusted his company of military experiments
with an abort code to disable a grid of hungermissiles protecting Nixx from visitors
and thus keeping his unethical experiments secret. Lobster Random is reluctant
to return to N-19, and flees to a backwater planet, where he is tracked and cornered
by the bounty hunters Hogg and Pinn.
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GH: Ah, flashback time again (and great to see the "bang goes the colour"
introduction). Spurrier is really finding his feet at the moment with Random and
the Simping Detective and should certainly concentrate on his fiction as opposed
to the rather lacklustre articles in the Megazine. He manages to weave in yet
more Random backstory, while keeping the plot moving forward in the present. Indeed,
any writer who could make a "torturer for hire" a sympathetic character
deserves much praise. Even the contrivance of the huge character who happens to
be the intelligent one (and vice versa) shows promise in Spurrier's hands.
And all this is
backed up with the ever excellent work of Critchlow. Having just re-read the Batman/Dredd
collection featuring his painted artwork, it's easy to see how his style has evolved
in the right direction, with his artwork being far more fluid and expressive than
the painted style allowed. Truly an excellent artist who deserves as much work
as Tharg is able to force him to draw.
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Script:
Rob Williams |
Art:
Boo Cook |
| Letters:
Ellie De Ville |
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Part 5
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The
aliens attack... |
Synopsis: In
Sydney, the alien known as Run is flagging under a hail of gunfire, but is nevertheless
surrounded by the dead bodies and mangled vehicles of an entire battalion of soldiers.
With the alien known as Spore on his back, Run heads for Sydney Harbour Bridge
to gain height for Spore to release a toxic cloud to its most devastating effect.
Holt and Buchanan
pursue the rogue aliens by air, and Holt takes aim to shoot them before they can
cause more carnage.
Back on the aliens’
island, a burrowing alien distracts the soldiers for a surprise attack led by
winged aliens, organized by Skunk, who takes twenty-six hostages and proposes
to kill one soldier every half hour until the humans bring help and supplies for
the alien refugees.
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GH:
While Boo Cook's art continues to be the main attraction of this story, I'm
still unsure of the direction of the plot. That said, things are improving this
week with the events on the island coming to something of a head and the face
off between Holt and the two renegade Aliens also reaching a climax.
One of the main
drawbacks to the series seems to be the character of Holt, and his continuing
manipulation by Buchanan. Holt's character is becoming less sympathetic the more
he "ums" and "ahs" about just where his allegiances should
lie. Hopefully he'll actually make a decision soon (as Skunk has back on the island)
and this series will have a little more balls.
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Script:
John Wagner |
Art:
Carlos Ezquerra |
| Letters:
Annie Parkhouse |
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| Traitor
to his Kind - Part 5
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Alpha
takes shotgun.. |
Synopsis: In
a souped-up aircar, Johnny, Wulf and Spider are pursued by police. Johnny and
Wulf deter their pursuers with gunfire while Spider shakes them off by maneuvering
under a flyover and following the road from underneath. Spider leaves the bounty
hunters outside Shrewsbury and returns later with their next contact, a travelling
salesman, who will take them to King Clarkie. The King is at ease with his captors
and makes himself at home. Dai the Death’s men have no qualms about trusting
Johnny Alpha. Meanwhile, in London, Walton Fuzz is thrown in a cell with Billy
Glum. At Upminster, the Home Secretary tells Police Superintendent Nelson Culliver
that Lord Negus has made allegations against him in relation to his interference
in Alpha’s mission. Home Secretary Hay tells Culliver they can’t afford
for Johnny Alpha to save the King. It would be more to their advantage if the
King was killed in a rescue attempt and his death could be blamed on mutants.
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GH: While there is the odd bit of action in this Strontium Dog tale, it's
the low key character work that is the attraction of the series. As with Judge
Dredd, Wagner is showing his skills at weaving large amounts of characters without
ever leading the reader to wonder "now who was that again?" Now a great
deal of the reason for this clarity lies with Ezquerra and the fact that every
mutant is going to look particularly distinct help too.
But it's a refreshingly
slow paced tale, especially for 2000AD these days, and feels like one to be savoured
than rushed,with the political machinations being particularly fascinating. As
mentioned elsewhere, the fact that you know Alpha's eventual end doesn't seem
to matter any more, when Wagner's proving that there are huge possibilities for
the character that will hopefully continue to be mined over the coming years.
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Overall
GH:
The removal of the
unimpressive Robo Hunter from the mix has brought with it a rise in the quality
of the comic. Every story has much to rate it, even Asylum which is yet to completely
find it's feet. But with a Dredd story that makes me rush to read the comic every
week, how can this be anything but top entertainment.
Best Story
GH: Judge Dredd
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