2000AD Prog 1509 - 11 October 2006
	Judge Dredd (Wagner / Ezquerra) Chiaroscuro (Spurrier / Smudge) 86ers (Rennie / Holden) Harry Kipling (Spurrier / Cook) Sinister Dexter (Abnett / Williams) Synopsis by Adam Crabtree 1st opinion by Adam Crabtree 2nd opinion by Joe Saxton Summaries and reviews contain spoilers for this issue. Cover: Boo Cook

Cover Review

AC: An alluring Boo Cook cover this week, with a typically creative rendering of a fantastical beast. Initially clapping eyes on the form of the birdlike Bellin-Bellin, I was excited to see Harry kipling’s return this week. I can’t really go into whether or not this would have drawn me in as anew reader ‘cause I’m a subscriber and I’m having thrill power forced on me every week whether I like it or not. This country, eh?

JS: I’m usually a big fan of anything Boo Cook draws, but this is a bit of a disappointment. The rendering of Kipling is fine, but the god behind him looks washed out and the pose confuses the image. Considering it takes up the majority of the cover it might’ve been nice to see the focus shifted with a blurry Kipling in the foreground and a more impressive god.

Origins - Part 5 - Fargoville

Dredd looks into his family tree...

Synopsis: Dredd and a detachment of the convoy fetch up in “Fargoville” after receiving further directions through a third party. The town is the birthplace of Judge Eustace Fargo, and its residents claim to be the only bastion of civilisation in the Cursed Earth. Their preoccupation with their most famous resident sees everyone being named Eustace, a rigid adherence to law and order being observed and an extensive museum being set up in the town.

Dredd finds that he suddenly must deal with the concept of a heritage, of real blood ancestors. Footage and pictures of his “parents” visibly shake him up (by his standards).

Meanwhile, an elderly resident of the town fetches up outside the museum and decries Dredd for having “stolen” the very genes of their beloved founder, what with Dredd being Fargo’s clone.

AC: It seems fairly at this point that Origins is a bit of step back, in more ways than one. This is not necessarily a bad thing: I shall explain. With the use of old school devices such as thought bubbles (which are pretty scruffy looking, I must say), fairly explicit dialogue and veins of humour that wouldn’t have been completely out of place within the pages of The Cursed Earth or The Judge Child, Wagner has made something of a cycle.

Think about it; Hershey’s initial, dramatic declaration in the first instalment, the faintly melodramatic inner monologues… this is a world we thought we’d left behind about twenty years ago. That is, as I say, not a bad thing, indeed I find it rather poetic. Bit of a faux pas on Wagner’s part not to alert anybody that he was doing it that way though!

The museum scene is compelling; and there’s a genuine sense that this is the emotional background to the main revelations, and that, slowly yet surely, we’re going to be drawn into a far larger story. There’s also a skilful rug pull at the beginning as Dredd and company get a welcome different to what they expected…

JS: It's good to see origins actually getting into motion now, the past few weeks recap of how shitty the Cursed Earth is could’ve been handled along the way instead of giving the biggest story in ages a false start. Fargoville is a nice return to the one gimmick towns seen in previous Cursed Earth outings. Story-wise it's fine, though I do feel that Justice Department is a bit lazy not to have visited the Fargo museum in the past. Lon’s knowledge of trivia is a nice nod to those that get it. Dredd’s line of ‘just watch’ also leaves me waiting for next week more than the last three episodes did.

Ezquerra’s art doesn’t really need comment, though Fargo’s mum looks a bit blokish.

Getting closer to the truth...

Compelled to explore the darker side of him brought out by Mortal Coil, he seeks out the reel of “Chiaroscuro” at the British Film Institute. The film was checked out of the archives in 1985 but was never returned, so says the attendant. Frustrated by failure, Elvy tries to enjoy a night out with his girlfriend. Back at the BFI, the attendant sees a shrouded apparition… and is brutally killed by forces unknown.

AC: While I complain about the meaner elements creeping into Harry Kipling (see below), Chiaroscuro is mean, it knows it, and it likes it like dat. Smudge’s art depicts a very raw and stark little world of nightmares that wake you up screaming (and foaming, somewhat, see page one) and violent, ignominious death.
And that sing-song? Scared the crap outta me!

OK, so there was no rousing rendition of “Teletubbies Say Eh-Oh”, but we got an acceptable substitute in the form of a startlingly well realised story (the references to the BFI were a nice touch) that effectively combines the mundane with the chillingly otherworldly. And a film librarian (beyond geekdom) is totalled by the very films he was stocking the night before!

This is unfolding in a properly grown-up way and one truly gets the feeling there’s a truly intricate mystery that is uncurling itself like some monochrome serpent before our eyes. One night I might have to sit down and see if I can work it out before the end (I’ve always wanted to do that).

JS: I have to keep reminding myself that this is set in Britain because the image of a soulless, plastic movie industry has been ingrained in my head as being Hollywood. Beyond this the sense of intrigue is growing, although after twenty pages I’d like a bit more feel for the direction this story is taking. I’m also finding the lead character a bit hard to relate to as his idea of a nightmare seems to be remembering his childhood, still his overly forgiving girlfriend has probably made him weak.

Artwise I’m getting the impression that Smudge can draw a cracking set piece, e.g. the last panel, but the less exciting panels are a bit lacking in imagination - oh and there’s a bit of inconsistency in faces.

Interference - Part 2

Becca joins the action...

Synopsis: Becca sleeps after a night with a fellow squaddie. Her dreams are filled with an earlier incident (presumably the one that got her relegated to the 86th) in which she destroyed a Nort ship after its surrender. She is woken by a surprise Nort attack on the Citadel, and she rushes to the flight bay where she commandeers the ship meant for Rafe. Joined only by the three former Norts of the 86th, Becca goes up against the attackers, under orders to track and capture.

Meanwhile, within the Citadel, the first missile fired into the base is still intact. It opens up to admit a human hand, gloved in the Nort insignia.

AC: I must confess… I didn’t remember this was in this week’s at first. I had to flip through the mag to find out which one I was missing. That said, this is improving; we’re finally seeing the 86ers getting into their ships and doing some actual flying. PJ Holden’s colourful artwork does a lot for the outer space surrounds; the colours featured, such as the red of the clouds, the yellow of the explosions and the blue hues of the flashback, are all effectively utilised.

There’s a tendency on the boards to take an almost fatherly, “that’s-our-boy” approach to PJ’s work, owed somewhat to the artist’s insightful participation on said boards, mingling with his audience and absorbing their critiques. There’s been a perceptible incline in the quality of his output over the past year, and though I do pine for the very little seen Karl Richardson who teased us with the first two parts of Touchdown, Holden shows a definite flair for aerial action.

Gordon Rennie’s scripting is also getting more assured and less finicky; he’s created a much more fascinating character than Rafaella Blue in Becca, whose pathological hatred of the Norts is a pretty daring study of the kill-happy veteran, although the constant flashing back to her parents’ demise is unnecessary (we’ve got the point!).
The 86ers, it should be reflected, is a particular kind of sci-fi, a more measured, “realistic” vein of the genre is being observed here. I’m a particular fan of this sub-genre, which I feel is under-represented in the Galaxy’s Greatest, though I do wonder if, as above, it’s too easy to forget about it in the more ideas-centric content of other strips.

Still, there’s no call for complaining when this strip is most certainly in the ascendant.

JS: I’m sure I once heard this touted as a space opera, so its good to see it emerging thus. In my opinion, space operas should be grand, sprawling stories that have seemingly mundane points emerge as massively important later. Needless to say I quite like this. It's got enough action to maintain suspense when the storyline occasionally lacks and it also looks like ending no time soon (the whole thing, not this bit). I also think that the Nort/Souther dialogue differences are excellent, conveying a real separation while using the same language.

Pj’s art is spot on, strengthened by not coming in halfway through a story, letting put his own stamp on it.

Long live the 86ers.

The Hitman and Hermoth - Part 1

Kipling feels a plan coming together...

Synopsis: On a vaguely Aboriginal planetoid, Harry continues his quest to track down the Soma supplier. He is allowed access to the local authority, a giant crow beast, though it involves a little trickery on his part. After a short battle with the crow, Bellin-Bellin, Harry, Neela and Klux manage to subdue him. Harry forces Bellin-Bellin to keep an appointment with Hermoth, the supplier of the Soma.

Hermoth turns up astride the eight legged horse of Odin, Sleipnir (stolen) and demands a sacrifice of three thousand humans in return for the goods.

AC: I hope this’ll carry on for a bit longer than previous instalments; Harry Kipling appears to be entering the crux (or perhaps the climax) of its first real story arc, and it has yet to be tested in a story longer than three parts. Spurrier’s dynamically dotty saga continues to develop a slightly darker streak showcased in the last adventure, which I’m not sure is entirely suited.

Harry’s inherent lovability is compromised when he’s tracking down drug peddlers (through a pretty unrepentant deception) and putting the smackdown on “junkies”… surely “sots” would be more appropriate, wot wot? These elements are still a bit out of synch with the more robust and, dare I say, innocent charm of the earliest adventures.

Having said that, the final reveal of this instalment is very effectively judged.
Nonetheless, Boo Cook is exemplary as always, attacking Spurrier’s concepts with great relish, although that eight legged giant horse could have used with a bit more page space. Plus, what’s with Neela? Mohawk, earrings and leathers? Is it ten years ago?

Incidentally, try entering “Soma” in Wikipedia…

JS: I didn’t expect to see this back until Christmas, but I was clearly wrong. Opening out with Kipling taking on a god is hardly new ground in a strip that’s only had 50 pages since it started, and it already feels fairly clichéd - hopefully the appearance of hermoth will herald a bit of inspiration for a strip I’ve usually enjoyed until this episode. It's a shame to see the female character (forgotten her name) reduced to extra muscle in this issue as early episodes had her looking like the main viewpoint for the series, possibly a more interesting prospect than the vaguely detached one that we see here.

I know it sounds like I hate this, but I really don’t. I’m inclined to say that if I went back and read all the Kipling so far in order it would be quite good, but the short stories on their own can seem a bit weak. For instance, I reviewed the first part of the last Kipling and didn’t like that, but found the entire story to be quite good in the end.

Boo Cook's art is still excellent and stands out among the rest of 2000ad. It might be nice to see the odd episode escaping the rainbow palette when the story allows it though.

Places to go, People to do - Part 2

Kal lends a hand...

Synopsis: Kal Cutter and his new partner, the intimidating Cane Broadus, carry out a hit on Charlie Bigelow, a big noise in Appelido’s camp. They do this at the behest of the Mover (Holy Moses), whom they report back to upon completion of the job. Back at Haul You Ever Wanted Inc. Kal is disturbed to discover another supposedly dead man, Sinister’s mentor John Croak, is alive and on Moses’ payroll. Moses decides it’s time to let Kal in on a secret…

AC: An improvement on last week’s instalment, this week’s (tellingly) doesn’t feature Sinister at all. The Eradicator from Eire (I’m on fire tonight) has not come out of the harrowing events of the past year any wiser or deeper I’m sorry to say, and his dialogue hasn’t become any more scintillating. No matter though, because we have the exploits of Kal Cutter and his new partner.

Their entrée mission isn’t exactly an epic throw down, but is nonetheless rather cool; not “cool” as in “coolamundo”, you understand, but “cool” as in “cucumber” (voorm). While Abnett’s tendency to shove very mild expletives into all of his dialogue extends to Bigelow (I breathed a bloody, buggering sigh of bloody relief when bloody Kal bloody Cutter bloody shot him, I’m bloody unnerved to say), the scripting redeems itself in the intriguing lead-in to next week’s (hopefully) revealing instalment.
I hope he knows what he’s doing, getting into alternate dimensions and semi-necromantic doin’s when SinDex has always been rooted in the “identifiable future” sub genre, but I’m excited to find out if he does.

JS: Wow.

Okay I’ll elaborate. The storytelling skills displayed in this issue are cinematic, suspense filled and just wonderful. Aided by the fact a lot happens in 5 pages this is a huge step up from last weeks mediocre opener.

Anthony Williams’ art fit’s the fast pacing of the script well and I just can’t imagine Simon Davis’s work moving this fast and keeping the story as tight. On a small side note, Cal Kutter now looks like Prince...