2000AD 1544 - 4 July 07

Cover by Henry Flint

Gavin Hanly: What in the name of....? A typically mad cover from Henry Flint, but I'm just not sure what to make of it. Is it actually good or just a mish-mash of pychedelia? That said, it certainly seems to evoke 70's the conspiracy paranoia that Greysuit is evoking and is eye-catching enough for a passing punter to pick it up in-store.

As an aside - I see the old style "in this issue" banner makes a return here - but I can't help but think the version used in 1542 was an improvement and something they should explore. I.e. a banner that just lists the remaining 4 stories along with something like a "new 86ers strip starts inside" heading. It seemed like a better use of the space to me.

Richmond Clements: Nicely psychedelic cover from Flint. Eye catching and intriguing- and I love the pink logo! Good as it is though, I can’t help but think that it would have been better to cut out the middle man entirely and just hire Brendan McCarthy in the first place.

Mutants in Mega-City One - Part 3 Script: John Wagner Art: Colin Macneil Colours: Chris Blythe Letters: Annie Parkhouse

Dredd puts on the frighteners...

Synopsis: Dredd follows up a lead on the Murfy case and is led to a suspicious looking flat. He soon discovers that it's a hideout for mutants, and that the Murfys are indeed there. The baby's psi powers kick in again, throwing Dredd to the wall - he thinks it must sense its mother's distress. The Murfys try to escape, but Dredd halts them with a warning shot. Dredd tells them that the boy should be sent to a research facility where he and the parents will be treated humanely.

Dredd gets ready to question the Puccinis, who ran the safehouse, and warns the other judges not to deport anyone until after the council meeting...

GH: Having just read the Origins collection (review to come soon), it's clear that the epic left a number of very large unanswered questions. One of them, being addressed head-on here, was Dredd's comment about it being "time things changed" with regards to the mutant "problem". It came early enough in the epic that one can only feel it's the tip of the iceberg with regards to the changes Dredd might be bringing to Mega City One following Fargo's final words. In many respects, it's not that Dredd now sees the need for change following Fargo's advice, but that he's using Fargo as confirmation of what he's been beginning to suspect himself.

In many ways, Dredd's been one of the stronger proponents of the need to judicial change over the years. The mentioning of "tight boots" in last week's episode was a direct reference to earlier concerns, and there have been many occasions where he's been far more lenient than one would expect from Mega City One's toughest cop (see this month's Megazine for another example).

No-one manages to put across the character's struggle between the letter of the law and real "justice" better than Wagner himself. Perhaps because he's personally seen the character through so much upheaval in the past 30 years, he's better placed than anyone to see that all those events wouldn't leave evan as hardened a man like Dredd unchanged.

So, Mutants in Mega City One seems to be the first step of part of a major game plan by Wagner. Assisted by the exemplary art of Colin MacNeil, you can sense that he's slowly bringing things to a boiling point. I doubt that this present series will be see a massive change of direction from Mega City, or indeed Dredd himself - but I'd be very surprised if this wasn't Wagner seeding the beginnings of another major Dredd epic at some point in the future...

RC: Well, this is all a bit good, isn’t it? Makes me wonder just what Wagner had in mind with Origins. Was it just a precursor to what’s going on here, in a Block Mania/ Apocalypse War stylee?

Whatever, this is comic storytelling at its very best. Every single panel is compelling the reader on to the next one with that most magical of questions: ‘What happens next?’ And I for one, cannot wait to find out.

My own personal theory? Since you didn’t ask, I’ll tell you: I find it hard to believe we’ll finish this tale with a repeal of the mutant laws. It would be such a huge upheaval in the status quo of, well, everything, that I reckon it would be an editorial nightmare to police it in the years to come. But whatever way this ends up, I think we can be sure that it will be a hell of an exciting ride getting there.

1666 - Part 5 Script: Pat Mills Art: Leigh Gallagher Letters: Ellie De Ville

Defoe prepares for a fight...

Synopsis: Newton reveals a prototype flying machine. Hooke is afraid that the people will see such devices and believe that Newton and his compatriots brought the comet down on them - but Newton says that they must defeat the zombies by any means necessary.

Elsewhere, at the wasteland, the zombies descend on St Paul's - with the defense mounted by Defoe and Ketch. The zombies break through the mayor's glass protection and kill him - while Ketch is soon over-run with zombies himself. Defoe goes to help...

GH: Much has been said in past weeks about the surprising decision to put two Mills stories up at one time. Mills is, of course, a writer that can viciously divide the 2000AD readership, and even those who enjoy some of his work have a problem with the rest of it. I myself can't stand Black Siddha, but thought that Savage was one of the best things in the comic in years.

Luckily, Defoe seems to be a positive move for Mills. It's as if he's seen the work that many other writers are doing with the merging of historical fact with science fiction and thought "I can do that!". And indeed he can, with reservations. The strip seems to be teeming with historical references and could almost do with a supporting document to give us all the necessary background. I can't help but feel that I'm missing a large amount of nuances with regards to the historical references, but in the meantime - the overall "zombies in olden Britain" is a great idea all by itself. So far, Defoe is one of the most enjoyable pieces that Mills has done since Savage.

Mills is backed up by some fantastic work by Leigh Gallagher - an artist who had previously only done a Future Shock all the way back in 2003 before heading off to Vertigo. Whatever his reason for returning to 2000AD, it's certainly one that we've benefited from - as he turns in the best zombie artwork seen since Adlard. Everything is astonishingly detailed - and Gallagher seems well at home with both the historical elements as the flesh-eating zombies. Hopefully this is the beginning of a long association with 2000AD.

RC: Erm… I like the pictures. Gallagher draws a mean zombie, and has a great grasp of what makes an exciting and dynamic action scene. As for the writing- am I the only one who is bored of characters that talk in nothing by exposition and loaded statements? Okay- they’ve a dark secret! We get it; just get on with things already!

As for Torqu- I mean Bil Sava- sorry, Defoe, He doesn’t grab me as a character at all. Yet another off the shelf Mills anti- authority voice of the ‘common man’.

And could someone explain to me just what’s going on exactly? If it is so very dangerous there, then why has the mayor decided to be carried across a field of zombies in a glass jar..?

Nice pictures though.

Grendel - Part 1 Script: Gordon Rennie Art: PJ Holden Colours: Eva De la Cruz Letters: Simon Bowland

Rafe is getting along with everyone, as usual...

Synopsis: A Nort falls into air conditioning blades and is shredded to pieces. Is it an accident or murder?

Becca Hunter and the other Southers joke about this incident in the bar later, but the Norts seems to be hiding something and Rafe, the station's female GI, listens into their discussion. Later, the commander interviews Captain Stalov - the Nort leader, who says he has no idea how the man was killed but that another of his men also seem to be missing.

Elsewhere, Rafe, is looking into the meaning of the word Grendel, which she overheard one of the Norts say - it seems to be a Nordland Assassin. Certainly, something seems to be killing off the norts (possibly whatever landed in the last series).

GH: The 86ers has continually improved with every appearance - but there's still one major gripe. Because it appears so infrequently - it's very difficult to remember who the characters are. So I'd say Tharg either needs to increase the frequency of the strip or ensure that Rennie does something that many 2000AD writers could do with remembering - make sure that the protagonists names are mentioned at least once in the opening strip...

That aside (and after some digging to refresh my memory), this is a welcome return for the strip that is finally beginning to distance itself from its Rogue Trooper origins. There's a good bit of backstory being laid down (if we can recall it) and Holden is fitting in comfortably as the main artist behind the series.

In all - very promising, but well worthy of a proper recap.

RC: It’s nice to see this one back. Rennie, once a staple of the comic, has been suspiciously quiet with his output of late. No doubt he’s been cruising around the Med on a huge private boat, partying it up, as I understand BAFTA nominees do. Whatever the reason, I’m glad to have him back. This first episode is a lovely set up, seeming to promise us more information on just what the hell’s going on in this station and how come there’s Norts there.

Holden’s art is great too. He gets better every time he appears in the comic, and the dark and moody atmosphere he manages to project with this strip is almost palpable. Lovely stuff, especially when he’s pared with Eva de La Cruz on colouring duties.

I can only hope that this particular adventure is longer than the last one, or if not, that we don’t have to wait quite as long for the next series. 

Project Monarch - Part 5 Script: Pat Mills Art: John Higgins Colours: JH & SJ Hurst Letters: Ellie De Ville

Greysuit happy slapping...

Synopsis: Blake let the last robber go and warned him to leave the country - all the while his conditioning appeared to be breaking down.

Back in the present, the Greysuits are realising that the last robber was never a confirmed kill - and they are concerned that Blake could be going after the minister. They meet with a female doctor who says that Blake was one of her experiments - where they regressed the subjects back to childhood and induced a permanently high adrenaline flow - thus inducing "impossible" powers. But even if the training is breaking down - his own body will rebel against him as he won't want to remember the regression and the torture methods used against him...

GH: Greysuit has been, so far, a story of "ups and downs". One of the things going for it is certainly john Higgins' artwork - some of the best he's done in years. He really seems to be embracing the portrayal of this superhuman killing machine and goes to town as soon as Blake shows his powers. Higgins has aptly managed to convey Blake's impressive speed and strength in a number of situations so far in the series, and he's certainly been one of its strengths. That's coupled with some excellent colouring which seems to use a limited colour palette to tremendously good effect whenever Blake's around.

But then there's the script. One thing's for sure about Mills, he does seems to be brimming with ideas, and the nature of Blake's powers, as described in this week's episode is undoubtedly intriguing. But I still have that nagging memory of the robbers handily filling us in on the Greysuits' background. To cap that, in this week's episode a group of people sitting around having a cup of tea. Now I'm all for exposition, but can't all this be done with a little more finesse? Surely the 3 week flashback we've just been treated to could have been merged with some of the exposition this week to get things moving along quicker?

All in all - I'm willing to give Mills a bit of rope on this one, as he certainly managed to turn things around on Savage after a dodgy start. So let's just hope for the best...

RC: I want to like this, I really do. I love John Higgins’ art. It’s a thing of beauty, and the colouring is pitch perfect.

The script though, is utter tosh. It’s not often I find myself getting actively annoyed by a comic strip, but this one’s doing it for me. Last weeks social worker skit was bad enough- no not bad, it was ill informed rubbish for the sake of a weak joke, but as this week, Mills trots out some idiotic pop psychology that’s twenty years out of date and plays another of his trusty clichés- the Beautiful But Evil Female- I find any hope I had fading fast.

Not much here makes sense. After sneaking in the back, why does John Probe MkII wander out the front door, hammering bouncers as he goes. How did the government find out he didn’t kill the guy? And if this woman is such a shiv hot reprogrammer, why is our guy breaking it in the first place? Oh yeah, for that we can tick another Pat Box: ‘distressing childhood’.

If it wasn’t for John Higgins, this would be all but unbearable. 

Thieves' World - Part 7 Script: Robbie Morrison Art: Simon Fraser Colours: Gary Caldwell Letters: Annie Parkhouse

Clearly not long for this world...

Synopsis: The ship wipes out most of Solonkin's men and Dante finishes off Solonkin himself. Later, it turns out that Dante kept Papa alive and decided they would steal the war chest for themselves, split the money and Papa would remain head of the Thieves' Guild. They confront the Countessa at the spaceport and tell her that she's going to take the blame for everything. Dante hands her over to Papa.

Later, Jena is waiting for Dante in his room watching the recording of him and the Countessa en flagrante. She storms out...

GH: Not much to say on this one except that Dante's still on an extreme high - especially with Fraser now apparently back on art semi-permanently until the end. One of the best strips in 2000AD's history is really back on form.

One of the things that has really helped and something, as mentioned, that the 86ers could benefit from - is that the large gaps between series have finally stopped and there's real momentum in the saga.

Can't see things improving for Dante himself from here, though...

RC: Brilliant! What a treat this has been. Double and triple crosses ahoy! Just check out the scene in the space port. Brilliantly written, as we watching everything unfold around the Countessa. Just LOOK at that art! Superb expressions on every face, so much so that I couldn’t help but feel pity for her in the end. Then any smugness we shared with Dante is quickly extinguished on the final page, as yet again, Jena pulls the rug from under him…

I can only hope it’s not long before Dante returns.

GH: Despite the uncertainty surrounding Greysuit and the confusion over the 86ers - 2000AD is really riding on a high at the moment. Here's hoping Tharg has something equally strong lined up to take over from Dante.

Best Story: Dredd.

RC: This Prog has a fantastic beginning middle and end. It’s just a pity about the bits in between.

Best Story: Dredd.