2000AD 1545 - 11 July 07

Cover by Nick Percival

Pete McCosh : It’s got zombies and they’re revolting. What could be finer? It’s a nice enough picture of some decomposing nasties, but it really doesn’t capture the USP of the story. These zombies are from the past; at least give one of them a tricornehat or something. The execution does make it stand out, so expect an influx of Bizarre magazine readers and other people with an unhealthy interest in the decomposition. 

David Knight : It’s got zombies on it, and they’re well drawn. What more do you need to know? It’s good enough to be a 2000AD cover, and will no doubt pull in a few casual browsers too, which is all to the good. 

Mutants in Mega-City One - Part 4 Script: John Wagner Art: Colin Macneil Colours: Chris Blythe Letters: Annie Parkhouse

Familial resemblance...

Synopsis: Dredd's relatives arrive and, after initially being treated harshly, are allowed to wait in for Dredd's arrival.

In the meantime, Dredd puts forward his case to remove the ban on mutants, but the vote goes against him. Dredd has no choice but to ask his relatives to leave - as he had to do his duty for the city before thinking about himself.

PMC: Dubious kneepads on the opening page but, apart from that, it’s all good. I’ve not usually anything good to say about Colin MacNeil except that he’s a very pleasant man. However, the art here and in the recent Cadet story in the Meg has been excellent: very clear and simple with some quality big chins. Whether by accident or design, Macneil’s presence on Dredd usually indicates a significant storyline and that’s certainly the case here. One of the great things about the epic Dredd stories has always been the follow up stories and once again Mr Wagner is showing the masterful ability to weave his long-running plot strands into an enjoyable story and bring something new to the character without making it seem contrived.

Top class. 

DK: Not a very action-packed 6 pages of Dredd, but solid, and a more convincing take on Dredd’s world than many of the criminal escapades, police procedurals and 12-page Megazine adventures that struggle to imagine a future that doesn’t frequently fall back on bulky 20th century technology in defiance of story logic. Why do so many perps get away with it because Justice Department fails to make use of surveillance technology being developed even now; and why are 22nd century security systems so unsophisticated? 

Anyway: top-drawer, dependable artwork by Colin Macneil adds finesse to a story wherein the drama arises out of Dredd’s battle with his own conscience, and Macneil must have had fun drawing all those chins. 

I, Jailbird - Part 1 Script: Alan Grant Art: Ian Gibson Letters: Annie Parkhouse

Prison hasn't tamed Sam...

Synopsis: Samantha Slade is currently in prison after being framed by a criminal playing card. She's made 3 friends, Ellie the Needle, Anna and Frenchy DeBrie. After another inmate hits Ellie and then Samantha with a ball, Sam starts a fight, but is immediately restrained by the guards.

PMC: 2000AD seems to have gone stir crazy lately, with the recent Sin/Dex storyline, Stone Island, Dredd off to the mutant camps and now this. The nicest thing I can say about this is that it’s a bit better than previous installments but that’s hardly a recommendation.

This continues to be a case of two of the best droids out there scribbling down the first thing that comes into their heads and laughing all the way to the bank. Definitely more Dead Men Walking than Harry 20 on the High Rock. 

DK: Because I don’t really pay much attention to previews of forthcoming attractions, the reappearance of Samantha Slade in 2000AD’s hallowed pages came as a complete surprise to me. Am I glad to see her back? Well, yeah, I suppose. No more so than I would be to see the return of Nikolai Dante or Sinister Dexter, but more than I would Low Life, The 86ers, or The V.C.s. 

The automated robo-cell is nothing new, and serves as an illustration of the dangers of relying too much on automation, like in those future shocks where someone’s computerised house murders them or else takes care of them until they die from over-attention, and then takes care of them some more… 

I liked the introduction of Samantha’s yard buddies, which reminded me of the Cell Block Tango number out of Chicago that introduces the death row inmates charged with murdering their husbands. I don’t feel particularly gripped by this story, and don’t much care where it’s going, but I feel like I’m being entertained, and that’s all I want. 

Project Monarch - Part 6 Script: Pat Mills Art: John Higgins Colours: JH & SJ Hurst Letters: Ellie De Ville

The bad guy...

Synopsis: After his eavesdropping, Blake now knows that he was the victim of brainwashing. He gets some information on the minister from a friend, unaware that a fellow Greysuit, Zil, is following him. Blake discovers that the minster is going to an illicit meeting in an antique shop and walks in using a stolen password...

PMC: Not enjoying this one much either and I actually found reading this episode to be quite a strange experience. The way it’s being narrated seems really unnatural, as if it’s a first draft rather than a finished script. With all the flashbacks we’ve had, I’ve also lost track of what events are supposed to be happening now and which in the past. I have been liking Higgins’ art on this series and our man’s bloody knuckles were a great touch this week, but it’s not enough to keep me interested. I sincerely hope we aren’t going to be getting a book two. 

RC: This series hasn’t been all that well received, has it? At least we have John Higgins wonderful heavily inked artwork to admire, as well as scenes of exploding faces every time the hero dispatches a villain with his bare hands. No fisticuffs this week, just more psychobabble as John Blake (I had to look up his name on the contents page) wakes up in a sweat and there’s some tosh about psychosomatic toxin production. The Portstock Institute sounds a bit like Porton Down, which is the sort of place the Greysuit experiments might have been conducted – not subtle, but this is a story written by Pat Mills, remember. 

Then there’s all this stuff about paedophile government ministers. Why on earth 2000AD needs paedophile villains now I’ve no idea. First it was shitting vicars… I kind of get the feeling I’m being made to care. But I’m convinced that the reason why more child molesters aren’t brought to justice is that not enough of them are caught, not because I, 2000ad readers, or the British public don’t care enough. 

Grendel - Part 2 Script: Gordon Rennie Art: PJ Holden Colours: Eva De la Cruz Letters: Simon Bowland

Bound to be trouble later...

Synopsis: Rafe tells the commander about her suspicions - that the one killing the Norts is a Grendel - a genetically modified assassin sent after the Norts. Another Nort is dead and the chief still hasn't had any luck in finding the killer. So the Norts turn to Rafe and ask for her assistance in tracking down the grendel...

PMC: Mr Holden’s art really does get better every time Tharg wheels him out and he does a particularly nice line in thick-browed heavies here.

By focussing on a completely different theatre of war, the 86ers has escaped the dreary Rogue Trooper spin-off fate that it’s first couple of outings suggested. Instead it’s starting to feel to me much closer in style to Caballistics: an intriguing, multi-stranded ensemble piece with enough plot threads already set up to last a good long time and a big enough cast that any one of them is expendable.  

The lack of background detail in the original Rogue Trooper does allow any writer with the inclination a lot of scope to play around with the world and giving some depth and history to the Nort characters seems to be Rennie’s plan here, although mixing in a whodunit with some brutal violence is helping me enjoy it.

I really wish they’d stop saying “genetik” though. 

DK: I really don’t care about this one. Last week’s opening shot set up a good premise – shadowy killer stalks military outpost in space – but next to nothing happens in part 2. I’m sure this sort of thing pleases some people, whether it’s because they like future war, shadowy assassins, or just anything set in the Rogue Trooper universe because they recognise the uniforms and insignia – a bit like Star wars nerds who’ll buy any old crap comics, licensed novels and merchandise just because they feature Storm Troopers, Boba Fett or the rebel Alliance – but it leaves me cold. 

1666 - Part 6 Script: Pat Mills Art: Leigh Gallagher Letters: Ellie De Ville

Defoe prepares for a fight...

Synopsis: The Zombies close in on Ketch and Defoe, but they are saved as Robert and Isaac drops bombs on the zombies from his flying contraption. Robert has been sent by Boyle to tell Isaac to destroy the machine as it has Alchemical properties - much like the comet that caused the disaster. He warns Isaac that Boyle had better not discover the "secret of the tower".

GH: In stark contrast to Greysuit, I’m already anticipating future runs of this one. It’s good, old-fashioned daft fun with lashings of the old ultra-violence, which reads like it’s written by a totally different person. Leigh Gallagher’s art has been a real treat too. The heavy black and white really brings out the maggoty goodness in the undead hordes and the retro-tech like Sir Isaac’s aeroplane this week look like they must have been really fun to come up with.

DK: Currently the best thing in 2000AD, Defoe has caused quite a stir with the very enterprising idea of inflicting a zombie plague upon Britain following the end of the Great Plague, and featuring the efforts of numerous historical figures, contraptions and institutions to deal with it. Whether or not the Great Fire of London is held to have taken place in this alternative history we have not yet been told. Pat Mills keeps the story interesting my making it rich with incident and throwing more ingredients into the pot with every page turned, and Leigh Gallagher is set to become a fan favourite for his evocation of 17th Century attire, architecture and technology. 

Part six starts with an improbable feat: Defoe leaves his safe position to come to the aid of a comrade whose own position has been overwhelmed. This seemed illogical to me until I remembered that thanks to Isaac Newton’s alchemical cordial, Defoe is immune to zombie attack. His invulnerability makes him a less interesting character for me, as I think there would be more drama in him watching helplessly as Ketch is eaten alive by the undead. I was quite niggled by the rapist’s mark (F.U._.K.), which speaks loudly of Pat’s cavalier and flippant approach to history. I remember the Slaine story where gays were called faggots forevermore because they were burnt at the stake by religious zealots, when in actual fact the word used to be a disparaging term for an old woman. 

Nevertheless, it’s a ripping yarn, and almost every panel his something exploding, rotting, getting chopped off or shot, and sometimes even the writing is very good indeed. I liked the panel where Defoe, Ketch and Fear-The-Lord Jones looked up and speculated about the power behind the machine that had come to their aid. More of this, please. And then more still! 

PMC: 2000AD's gone slightly off the boil after what was an incredible start to the year but the quality of Dredd and Defoe is keeping Tharg's head well above water at the moment. Meanwhile, the rubber ring of The 86ers is helping to counteract Greysuit's concrete overshoes but I'm afraid the only thing I'd throw Samantha Slade is Hoagie and Stogie.

Best Story: Defoe

DK: A very pleasing Prog. Defoe was the highlight for me, as it has been since it first appeared. Even the weakest strips have something going for them, apart from The 86ers, which is really not my cup of tea. 

Best Story: Defoe