Cover by Colin MacNeil

Synopsis by Gavin Hanly
1st opinion by Adam Crabtree
2nd opinion by Stephen Watson

Summaries and reviews contain spoilers for this issue.

Cadet - Part 2

The cadet proves her mettle

Synopsis: Dredd and Cadet Beeny head out to see Fido Kefler, aka Pooch. Dredd assigns an air unit to cover the penthouse suite (which is too pricey for someone on welfare like Pooch) and they see two surfers head into the appartment. The appartment's AI warns Pooch that the judges are on the way and tries to stall them while Pooch gives all his drug merchandise to the surfers. The surfers try to leave but are turned back by the H Wagon. One of the surfers is shot dead by Dredd and crashes into him while the other escapes into the hall, only to be subdued by Beeny with a knee shot.

Later Beeny interviews the surviving surfer and finds out about the drug deal. They soon come to the conclusion that Pooch is a drug dealer and nothing more. They consider that the restaurant could have been used as a dead letter drop and Dredd thinks the case is getting cold, although Beeny thinks otherwise. She heads alone to meet Delong again and asks if anyone could have been a contact for Portnoy, leaving him an address where she can be contacted. Delong's brother, Jobey, watches Beeny leave...

Beeny heads to her dad's old place and re-reads the letter he left for her. She soon discovers that his robot butler actually wrote the letter, putting into words that which the older Beeny could not. Beeny, meanwhile struggles over Portnoy's motivations.

Back at the diner, De Long chastises his brother for staring at the picture of America - saying he'll give the game away. But Jobey goes mad, shouting "Wannn errr!"

AC: This really is a cracking police procedural story, with a host of distinctive characters (Jobey is a gem) and even if you haven’t seen the previous two books of the America saga, there is a palpable sense of history in this strip that lends an extra gravitas and sense of importance.

Colin Macneill’s art is a welcome departure from the duskiness of Fiends and Shimura that has dominated the Meg for the past year or so; not that there’s anything wrong with that style, which is one of Fiends’ greatest strengths, but you can get to much of a good thing. The colouration and more traditionally ink-work definitely counts as a plus for America III.

Wagner laces in the first elements of tragedy with all the expert care we’ve come to expect from him, tragedy in the classic sense of inevitable disaster; the references to the chequered and harrowing stories of Beeny’s parents (as documented in the previous books), and this month’s genuinely touching exchange between Beeny and her father’s old ‘bot serves to ladle another layer of humanity onto the strip (it’s like the pinkinest, delicousnest, icing you ever had).

The dialogue is flawless (even that thought bubble works!) and the art is highly pleasing; could THIS, in reality, be the Dredd swansong people have been expecting?

SW: As a certain perceptive letter in the Dreddlines section points out (!) the return of America Beeny was an unexpected but entirely welcome occurrence. ‘America’ was without doubt landmark Dredd with the sequel falling someway short of its predecessor. The whole concept of ‘The Fading of the Light’ appeared to be hung on the flimsy ‘she’s rejecting me again’ premise, but happily there appears to be a lot more meat on the bones this time around.

The set-up jarred somewhat with several hitherto unmentioned conventions being muscled in to make the plot work - never seen a cadet being given carte blanche over an investigation before, have we? If you ignore this and simply enjoy the story there is a lot to savour. Unlike Dredd’s usual shotgun diplomacy here we get a police procedural in the style of an old Ed McBain novel. The scant evidence has been shaken for a while and now the pieces are starting to fall. There are still loads of unanswered questions but no sense of contrivance or padding.

Beeny herself has yet to emerge as a fully formed character, but as a rookie judge this is understandable as she comes to terms with the occupation that was thrust upon her. Colin MacNeil’s art is sumptuous and the excellent colouring enhances it to the same degree as the poor job affected the last America outing.

It was surprising to see that cadets are allowed out of the academy and presumably still own assets such as articulate letter writing droids!, but nitpicking aside this is top notch Dredd and several steps ahead of the highly trumpeted ‘Origins’ in this reviewer’s opinion.

Stalingrad - Part 7

The golem rises...

Synopsis: Richter continues his story saying how he and Constanta searched Stalingrad to find out where they were building the golem.

Finally, Constanta discovered the location although Richter complained that there were only a few of them left for the fight. But Constanta had resurrected the men who had died in battle to fight as zombies beside them.

He sent them in first to thin up the numbers, then the vampires and finally the few living troops. They managed to kill everyone, culminating with the rabbi who was creating the golem, but it was too late as the golem had been brought to life, killed two of the troops and went after Constanta. Constanta, instead of fighting, let off a grenade, apparently destroying him and the golem and blinding Richter...

AC: Again, there’s something about this that just makes it a bit too nimble on its feet. It’s in and out and you’re left feeling frustrated that it’s gonna be another month before more of the same. I dunno; are the panels too big? Is there just not enough dialogue to chew over?

This is a particular fault when we come to what appears to be the climactic battle, with just not enough space devoted to the conflict; there’s no sense of kinesis, of fluid movement, just static images of the intruders being at different stages of their campaign.

I can only say again that when it’s all done, this’ll probably be best absorbed as one spookily atmospheric half-hour’s reading.

SW: This slow moving but effective World War 2 saga draws towards its conclusion with perhaps the best episode yet. I like the narrative device of the blind survivor recounting events and the last line of ‘that was the last thing I ever saw…’ brought things full circle. It could be argued that this whole strip could have been edited down to a three parter but I do like the atmosphere evoked by the slow build up and occasional outbursts of violence.

This episode things took their furthest steps yet into the world of the supernatural with a vampire raising zombies to fight a Golem! It may not have anything to do with Judge Dredd but it certainly ticks a few boxes in many other categories.

Colin MacNeil again delivers a top notch art lesson with the black and white fitting the story perfectly and contrasting sharply with the bright lights of Mega City One in his previous outing. The scene with the zombies attacking the sickle wielding Russians was excellent although I was less impressed with his Golem design. Golems are made from mud so why has he muscled arms and metal hands? A better depiction was given in the Judge Anderson story ‘Golem’ in the 1987 2000AD annual and yes, I should get out more. I assume next month’s episode will be the last of this run, but hopefully not of the series.

Return of the Jester - Part 6

Finally Mirabai opens her eyes...

Synopsis: Kanak throws the knives at Mirabai, but every one misses until Black Siddha attacks him and tries to save her. However, Mirabai thinks he's a pervert until Kanak throws a knife into Siddha's shoulder. He calls out after Mirabai and she wonders why he knows her name as Kanak pulls her away.

Kanak hides with Mirabai on one of the carnival floats as Uncle David stops Siddha and pulls a gun on him. Siddha merely heat butts him unconscious and continues the pursuit. They head into a reclamation yard and Kanak shoots dead the two guard dogs, finally showing his true colours in front of Mirabai. She tries to escape from him but fails - just as Siddha catches up with them and knocks Kanak to the ground.

However, Kanak pulls out his boomerang blade and starts slashing at Siddha while chanting something about how he'll be "hurt by his own blade..."

AC: This actually started out fairly linear to my eyes; a quirky kind of world with much manic decoration, but generally a narrative that you could stay on top of if you were willing to enter the Black Siddha world.

This installment comes across like it was written in a rush, as in five minutes before going out to catch a bus. The most effort Pat Mills seems to put in this week is to come up with the little poems that Jester says, which are alright, (decoration, as I say) but other areas need closer attention.

Firstly, I think Mills just chose the wrong character to centre this tale on; granted Jester DOES get a lot of screen, er, panel time, but every moment we centre on the Siddha is just another moment that ISN’T centred on Jester. It can’t be healthy to be so openly rooting for a dirty street performer who is also quite evil, and a complete badass.

It all seems a bit arbitrary this week. Rohan taking on Uncle Dave in a confrontation that lasts all of two seconds is rubbish and a poor send-off for one of the better characters (again, rushed!). Jester shoots a dog, a DOG mind, and this is the catalyst for Mirabai suddenly realising the knife throwing gangster is actually not all that great, which means Jester has to suddenly reveal his true characters and make boring Rohan look good by extension (again, RUSHED!).

A piss poor installment to a series I’m rather fond of; I hope Mills wrote the closing installments AFTER he caught that bus. On the bright side, Simon Davis gives the story much more life than it deserves with his vibrant portrayal of the parade.

SW: I’m glad I was only asked for a review of this month’s Megazine because if I had to write a synopsis of what’s going on in Black Siddha I’d still be trying when next month’s issue hits my door mat!

Frankly this review will be short as I have no idea what is going on. I did try and pored over all seven episodes to date but I can’t give a definite description of what is happening or what I think will follow. I though at first it was just me, but on reading the boards it seems that only a few bluffers are pretending to know what is happening. I doubt Pat Mills knows either. I read comics for enjoyment and when I found my self struggling through it once again I decided to chuck it. Life is too short
and frankly I feel a burden has been lifted. So I’m sorry if you are reading this for some insight as I honestly don’t have a clue.

I can say the art is up to Simon Davis’ Siddha standard which is far more scrappy than his Sinister Dexter stuff. Still, next month’s episode is ‘The Final Cut’ - we can live in hope!

God of Gamblers

A deal with the devil...

Synopsis: The curator shows us the next item on the tour, a set of plying cards that were from the poker game between Satan and Ernesto Mozel.

Mozel's father was a compulsive gambler and was eventually lobotomised by the Justice Department after repeat offences - which led to Ernesto being sent to a Juvie home. But Ernesto was his father's son - an inveterate gambler, but one who was able to avoid the judges. He always won, and soon his reputation grew and he was deemed the God of Gamblers.

Ernesto longed for a challenge until one of his cronies told him about the devil held in cell block 666 (locked up in this month's classic Dredd tale). Ernesto plans for months and finally makes his move, managing to break into the cell block and challenge the devil to a game. The devil says he always plays for a soul and Ernesto agrees. The cards are dealt and the Devil eventually loses. But Ernesto has won more than the game, he has won the Devil's soul which has become bound to Ernesto for the rest of time, leaving him in eternal torment...

AC: Funnily enough, this is the second incursion of Old Nick into the Dreddverse this month, what with the reprint. It is enough to make one’s heart positively swell with joy to see none other than Al Ewing (one of 2000AD’s most dynamic rising stars), and Rufus (one of the most distinctive artists in the Tooth stable, last seen on that rather special “Regime Change” cover) tackling a Black Museum strip (easily the best series of one-shots I’ve ever seen from either prog or Meg).

Ahhhh….

So how does it measure up? Well, Rufus’ artistic skill experiments with the typically monochrome format of Tales… mixing in some rather eerie lime lettering, and generally looking a lot like Brett Ewins’ best stuff. Don’t see it? Check out the assortment of gangsters at the bottom of page two.

And is it just me or is there a cheeky Ezquerra effect on the Devil’s outline on five?

As for the story… man, what can I say? Al Ewing is a little genius, giving us an utterly compelling central character, building him up and getting us completely on side with him. I was rooting for this fictional character in a way that was mildly unhealthy… and that is always the best way to root!

The final, inevitable reveal often proves to be more than the equal of most Future Shock style writers, but Al Ewing just steps right up to the plate every time.

Brilliance.

SW: This was a clever bit of story mining by Al Ewing who unearthed a long forgotten Dredd and made something better from it. I remember reading the ‘Beat the Devil’ story when it was published and disliking it greatly, partly due to the rhyming narrative and partly due to the ridiculousness of the scenario.

Ewing wisely ditched the rhymes and introduced the eponymous hero, one of the best one shot characters we have seen in a while. The story covered a lot of ground in it’s few pages and it was clever to set the big game during the Narcos take over of MC1 - any other timeframe would have made the break-in implausible. Rufus’ black and white art had the perfect noirish feel that made the story look like a cheap gum shoe style paperback - perfect for this sleazy morality tale.

The only flaw for me was the pay off - what did the devil hope to gain out of living in someone’s belly? Are we to understand that the devil now roams free again? And what is the actual exhibit in the Black Museum? - a screaming corpse/devil hybrid?
Niggles aside this was a great strip and one that leave you thinking. The Black Museum strips have been a poor litter at best but this is certainly the best in show to date.

Miscellaneous Material inc.

• D'israeli interview
• Small press
• Paul Gravett interview
• New movies
  

AC: And the rest: As a relative newbie, these reprints generally come to me as sweet, sweet manna, and this week’s Dredd, a stylishly poetic story composed in verse is no different. Carlos Ezquerra, I always think, should really be put on an exclusively supernatural series, just so he could have a catwalk for all his beautifully grotesque magical characters (Sabbat’s cloak of faces was one of the funnier things about Judgement Day, and it’s his rendition of it I remember the most). It should be reflected however, that his rendition of hell looks like a big, green room…

This strikes me as the sort of thing over which fanboys might dispute the canonicity, but I think it’s best to just take it on its own terms. This is BEFORE you come across this week’s Black Museum that is!

The small press piece is an impressively rendered piece of western Manga; very professional artwork, and a fiendishly clever story to boot, even if the stereotypical wrestler and gangster names are laughable as they are harrowing, and the stress put on some of the words is a tad eccentric.

The movie reviews are typically disposable fair. Give the page space over to the small press section, NOW. The D’Isreali retrospective is a decent read if you’ve got nothing else to do, as was the case with the other articles, and is a useful guide to the heady world of comics publishing. It’s also worth it for a short yet sweet look ahead to the new Edington/D’Israeli combo Stickleback.

SW: D’israeli interview: Although somewhat padded at seven pages I thoroughly enjoyed Matt Badham’s interview with Matt Booker, although he didn’t ask what would be my first question : ‘Why D’Israeli?’.

Of course no great interviewer goes down the obvious route and there was plenty of revelations here in what was a pretty frank outpouring. The news must have been bleak for wannabe artists though, with tales of poverty, rejection and ten year apprenticeships. Despite the moans and tales of woe D’Israeli came across as a genuine and likeable bloke who clearly enjoys his craft, although perhaps not all of the rewards.

The article was illustrated with a great selection of images that demonstrated not only the artist’s unquestionable ability but also his great range. The fact that the same bloke drew both the big eye monster on the first page and the Victorian bug fire engine surprised me at least! Leviathan was one of my favourite strips of recent years and I would have liked more focus on the genesis and hopefully future of this strip, but as an overview of the artist’s work the interview was most detailed. The
tantalising glimpse of ‘Stickleback’ certainly whetted the appetite and it’s good this great talent sees a long term home in the house of Tharg.

Small Press - Out of the Box: I haven’t really warmed to the small press section of the megazine and this month’s offering didn’t win me over. The proud boxer told to take a fall is a bit of a cliché with ‘Daredevil’ and ‘Pulp Fiction’ two examples off the top of my head. The microscopic twist didn’t surprise me in the slightest and the scrappy art couldn’t save the day.

Clearly the Megazine needs to fill the space and newcomers need a showcase, but this is a marriage doomed to fail if the strips seen so far are the best they have. We can forgive a non-Dredd world strip if it’s by 2000AD creators but what place does an amateuristic boxing tale have in the mix? Personally I’d like to see some 2000AD fan strips in this slot, possibly the best of the fanzines such as ‘Zarjaz’. I’m sure the creators wouldn’t seek a royalty in exchange for some exposure and a plug and the readers would get something relevant from some up and coming talents who already have a love for the comic. That said I’d still take the Small Press section ahead of more reprints or indeed of Black Siddha.

New films: This new movie column is a bit of a misnomer as out of the six ‘new’ films
reviewed only ‘Children of Men’ is still at my multiplex - and they have 18 screens. Out of the six I’ve seen four and the reviews were largely weighted along similar lines to my own thoughts. The fact that six films were shoehorned into the three pages meant that only a brief overview of each was given but a couple of decent points were raised. I thought he was too generous with ‘The Wicker Man’ (although he did mention a point I missed about Cage helping load the wood on the truck) and too mean to DOA which still warms my cockles on these dark Paisley nights! All in all a welcome column which was informative and well enough written to keep me interested.