2000AD 1543 - 27 June 07

Cover by Steve Yeowell

RC: Two eyeless robots hold a staring contest. That’s just great'

Mutants in Mega-City One - Part 2 Script: John Wagner Art: Colin Macneil Colours: Chris Blythe Letters: Annie Parkhouse

Dredd gets ready to meet the relatives...

Synopsis: Dredd visits Nolan at the Mutant Information Bureau, a possible link to the Murfys, who tells him that his own brother was taken to a mutant farm where he died after three days. Elsewhere, the Murfys are put into a safehouse and introduced to the other mutants and their families staying there. Oddy Murfy is still concerned with the superpowers that the baby exhibited and thinks they need to get out of the city.

Elsewhere, Dredd is having a crisis of conscience since receiving the letter from his cousins - and he realises he's going to have to make a choice soon.

Meanwhile, Oddy Murfy contacts his friend Jewy, who works at the harbour, trying to organise transport out of the city. But the judges are listening...

RC: There was a lot of discussion about who would take over as main Dredd writer after Origins and now we know – it’s John Wagner. One day I’ll get fed up with writing about Wagner’s mastery of lean, pacy and intelligent storytelling and make up something bad just to be different but not today.

Here we have Dredd showing his human side. Not in an embarrassing touchy feely way but with conflict between his pride in his work and doubt in its ethics.

There are ominous echoes of "Tale of the Dead Man" - my all time favourite Dredd story. Tight boots, an unwelcome letter and friction between Dredd and his superiors

Refugees hiding in secret rooms and talk of camps draw clear parallels between fiction and history but with a typically deft touch. At this point, I have no idea where this is going. What will happen when the Fargo clan turn up?

I like the McNeil Dredd, too. Other artists, with more extreme styles, simply couldn't work with this storyline. I wonder how he will depict those mutant chins?

This is a big storyline that apparently can't be resolved without big
changes. A potential classic.

Part 10 Script: Ian Edginton Art: Steve Yeowell Art: Chris Blythe Letters: Ellie De Ville

The Detonators get up close and personal...

Synopsis: Holt starts attacking Mackay and the Detonator X. However, Dr Chung had a plan as the Detonators get into a grapple. Chung ejects the Detonator X's pilot's area where Jared is and shuts down the coolant system in both his and Holt's Detonator. The resulting explosion closes the rift.

Afterwards, all the other generators are shut down, and Earth starts teaching the colonies about recycling. Jared becomes president of Earth, and gets a new Detonator X, with the memory engrams of Chung as his VP.

RC: Remember the cover to Prog 1534? A colourful retro affair promising a good old-fashioned SF adventure. Dinosaurs? Big robots? How could it fail?

I meant it as a rhetorical question, I didn’t want a demo.

Three words: repetition, repetition, repetition. Previous week's summaries could have all been - "there's a big punch up, then something happens." The something leading onto another punch-up. This week the need to wrap the whole thing up means something had to go. But not the climax, Ian, not the climax! The ubiquitous disembodied voice – I vote we impose a limit of one per issue – informs us that the excitement has already happened. Then we get a one panel explosion, an eco-message (I think) followed by a lame and unconvincing coda.

Yeowell's artwork is thoroughly uninspired. Perhaps he was bored by the story but I don't think he helped himself with the dull robot design.

A perplexing disappointment.

1666 - Part 4 Script: Pat Mills Art: Leigh Gallagher Letters: Ellie De Ville

Less-than-dandy highwaymen ...

Synopsis: Defoe and Jones head through the devastation of the comet site towards the wreckage of St Paul's, where the mayor in his glass case is meeting to discuss its rebuilding. John Ketch, the government's executioner is mounting the defence with more explosive weapons, the Landships, which are just as likely to explode as kill the zombies. One of the contraptions is thusly destroyed and the Mayor asks Defoe to help with the defence - although the remains of people killed by Ketch are descending on them.

In Whitehall, Sir Isaac is testing more weapons on the zombies, as well as protective armour. But Isaac has also another secret weapon he has yet to unveil...

RC: Two doses of Mills lately. One Squaxx's idea of Heaven, another's of Hell. This is the Mills who likes a good joke and has a real vicious streak.

My initial thought on this story was, “what, zombies? Again? What’s left for them to do?” Firstly, when it’s done well, alternative history can make just about anything interesting. Secondly, Mills has gone way over the top, creating a kind of evil twin for “The Red Seas.” He indulges his taste for ultra violence in a series of inventive ways, most notably the bizarre weaponry and Newton – a very different character from
Edginton’s version – and his sadistic experiments. (This is typical Mills’ science bashing, of course.)

Gallagher’s artwork is classy and eye-catching but what is it about black and white that invokes the past? Surely, they had colour in the 17th century?

Delightfully demented and very amusing, too, with a real zinger of a cliff-hanger.

Project Monarch - Part 4 Script: Pat Mills Art: John Higgins Colours: JH & SJ Hurst Letters: Ellie De Ville

Greysuit in action ...

Synopsis: Another of the bank robbers was dealt with by Blake in typically violent fashion. The remaining victim was called the Don, who had supposedly gone legitimate. After he enters a club, he is moved into a room by Blake at gunpoint. But the Don shows him the pictures they took from the scene, and Blake hesitates...

RC: In my opinion, MACH One was the first great 2000 AD story. I was intrigued by the prospect of an update, just to see what the cynical 21st century would make of it.

I thought the social services scene was very funny, and counterbalanced the following sequence nicely. This appeals to a part of me. The part that likes seeing arms snapped in half like twigs, obviously. This is definitely the Savage Mills.

The main annoyance is the idea of a top-top-top secret organisation known only to a few leading politicians and bank robbers. Also, we seem to have had quite a lot of things explained to us twice, I can’t help feeling we’ve taken an issue too many to get here.

Art-wise I’m not too keen on are the panel layout and colouring. Higgins' work is otherwise good.

Things could go either way. So far, so good, but there’s plenty of potential for preachy Mills to ruin it.

Thieves' World - Part 6 Script: Robbie Morrison Art: Simon Fraser Colours: Gary Caldwell Letters: Annie Parkhouse

Dante walks into another trap...

Synopsis: Dante takes over the Thieves' Council and all their operations. Later, the Countessa contacts him, when Dante tells her that he knew that she was the one behind everything. However, the Countessa has captured Elena and tells Dante he has to steal the money as agreed or Elena will die.

Elsewhere, Arcady visits the recuperating Jena, and leaves a recording of Dante with her.

Back in New Moscow, Dante has stolen the War Chest and returned to meet the Countessa. Surrounded by the Countessa's people, he's forced to throw away his rifle. But the crest brings in his ship by remote and Dante orders it to open fire...

RC: Business as usual for the Russian Rogue. Intrigue, action, humour – all done with an insolent swagger. Various facets to his character: looking cool with a cigar, pulling off a daring robbery (seemed a little rushed to me), and taking on impossible odds. Although, the biggest event was his love life going all pear-shaped back at the palace – a terrific little scene, by the way.

I hope Elena won’t make a habit of being captured. I just don’t see her in the damsel in distress role.

Personally, I prefer Fraser's cartoon Dante to Burns' visually richer version. The mood seems lighter and the action more actiony.

Perhaps it’s a little too easy. Morrison is cruising when he should be going into overdrive. At the moment, this is the most constant strip going.

RC: A week of ace cliff-hangers and one goodbye-and-don’t-come-back. The weekly still provides high levels of thrill power in a variety of genres and styles.

Best Story: Dredd.