2000AD Prog 1590 - 11 June 08

Cover by D'israeli

Robert Frazer: "Weird", certainly. The design of the froggy is definitely an unusual one, and it's difficult to comprehend - the misplaced limbs just cause your eyes to slide off of it. However, as bizarre as the froggy itself is, its puckered eyes, fanged teeth and knife all immediately convey the most important characteristic of "THREAT" for the hapless humans below. A consequence of its strange shape means that you're definitely studying and carnations - and appreciating - the cover, not just glancing and disregarding it as you move onto the next magazine on the shelf.

To study the cover, you'd have to notice it in the first place, though, and due to its restrictive colour palette this is regrettably indistinct. scrutinising action-adventure comics may not the largest category on the shelves of your newsagent, but nonetheless I wouldn't have noticed this at first if I hadn't seen the title banner. I doubt that a casual reader or someone yet to be introduced to 2000AD would have even blinked at it.

John Amans: Showcasing the bright colour styling of the Vort, this cover offers a teaser of what is in this week’s episode. However, it’s not overtly striking and the monster rather gets lost in the blur of red colour. That said, it's not exactly a disaster.

The Edgar Case - Part 2 Script: John Wagner Art: Patrick Goddard / Lee Townshend Letters: Annie Parkhouse Colours: Chris Blythe

Dredd's reforms weren't widely accepted...

Synopsis: Dredd looks at the file from Edgar and sees tapes of Judge Ramos indulging in an affair over 30 years ago. Dredd can't work out why Edgar feels that the file is so important so goes out to help put down the violence that has broken out since the mutant laws were repealed. Unable to track down the identity of the woman, Dredd decides to check with Texas City, whose pre-Apoclaypse War records are still intact. He discovers that she was Angel Alice Deine a model who was supposedly shot dead by gangland figure Jimboy Boden. Boden was killed not long after this...

RF: This strip makes me mindful of "Origins". There was a palpable sense of anti-climax when following that story - we were promised the seismic revelations of Judge Dredd's hidden history. When it proved to be so... well... mundane, I was left holding the Prog and wondering "is that it?".

My heartfelt commendations to Wagner, then, for taking that earlier flaw and turning it into a deft stroke of reader-wrongfooting chicanery here. Our own disappointment is tangible - a tantalising tidbit from the very deepest recesses of the PSU closet, and the only skeleton rattled is a musty relic of a spot of illicit fraternising? Come on, Edgar, love, you can do better than that!

The difference this time is that we're echoing Dredd, rather than opposing him, and that establishes a rapport that makes the story strong. That rapport is additionally important when considering that the majority of this strip is taken up with Dredd's personal reflections, so it's important that we sympathise with him. Wagner thus dextrously fields some readers' inevitable disappointment that the secret isn't (yet) who really shot JFK, while still setting up a mystery to thread through later parts. It's an expert narrative arrangement.

There are a few nods to continuity in this strip. The cameo of Walter and Mrs. Gunderson (maybe to coincide with the new Henry Flint graphic novel?) and the reference to the damage of the old Apocalypse War. These are both pleasing and rewarding in and of themselves and are also telling indicators that this Thrill will be a significant pillar bearing up the Dredd mythos.

I greatly enjoyed Goddard's art in "The Guv'nor", so I'm glad to see him back in 2000AD so quickly. There's little to fault - his characters are solid, the computer screens naturally cluttered, and Angel Deine's vehicle has a little futurist flair while still looking genuinely sporty. The design of the Texas City judge is also an effective variation on a theme. Blythe also does good work with spot lighting in this strip.

And ooh, there's a thought bubble - haven't seen one of those in a while! Tantalising...

JA: Ah good old Dredd. Never disappoints just keeps on giving us more of what we want.

I seem to have these kinds of Dredd stories to review a lot. The art is ok, but that’s not the beauty of this. This is one of those Dredd tales that pulls in a lot of different elements; the Judge Edgar thread set against the “Muties Out” landscape of MC-1 and a slow burning detective story that you hope is going to end with one of those really awesome earth shattering changes in the Dredd world. My only fear is that as the tale unfolds it doesn’t lead to one of those really disappointing and predictable “well we didn’t see that coming did we!” endings and nothing really changes.

Please don’t disappoint me, Mr Wagner!

Part 2 Script: G Powell Art: D'Israeli Letters: Simon Bowland

Bless makes friends in the jungle...

Synopsis: Meridien Bless goes out with the squad on a hunt. She discovers that Crispy has been on the Vort longer than any of them, but has been struck down with amnesia. She's also told that the Chairman's people believe the Vort is powered by an energy source - which they want to find and exploit.

They are suddenly attacked, but manage to drive off the froggie, only to return to base to find the Chairman being attacked by a group looking for froggie freedom. Soldier Veldt appears to unwittingly go into a trance and shoots some of the attackers, the rest of them flee...

RF: I suppose I've spoiled this story a little for myself by reading D'Israeli's notes over on his blog. He says that it's a tale of "corporate imperialism" and so I'm reading this strip with a degree of boredom (and it's only part two) half-predicting what's going to occur. Veldt's "they want. We fight" speech wearily conforms to type, but seeing the Chairman being brutally beaten by the peaceniks definitely cuts a few holes into the template and indicates that this story won't be so simple and dry as a neat worthy allegory. The prospect of mixing things up a little retains my attention - "War's not like you think", not just "war's hell".

The worldbuilding under the main plot continues to be quite novel and ingenious - Bless's typed monologue sounds honest, the "E-Mag" effect is implemented well, and the suggestion of both mind-control on Veldt (something inflicted by the Chairman or the Froggies?) and Crispy's hidden nature stoke interest in future instalments.

Having an opportunity to see a Froggy in full here definitely allows a better appreciation of their form and physiology than the cover did, and the biotechnology aesthetic continues to be attractive and have a genuine application (the space-slugs seeming to generate some sort of shield from panel 4.2).

JA: Our obligatory “newbie” story is a rather strange affair. Part of it reminds me of Glimmer Rats but without the disjointed art and convoluted story and adding the “technology won’t work” tagline. What we do have is a very colourful affair with a mix of character introductions and appearance of the bag-guys. This is a lively mix of action and back story told via the narrator. It’s a little early to form a proper judgement but it’s readable and has enough to it to give it a fair chance.

This could be the potential weak-link in the line up, but thankfully doesn’t yet come up to that description.

Brethren of the Night - Part 2 Script: Pat Mills Art: Leigh Gallagher Letters: Ellie De Ville

One of Defoe's workmates...

Synopsis: Defoe and his crew continue to clean out St Paul's. We are introduced to more of his crew. There's Ezreel Tonge, a "Tomb Rat" who crawls through the tunnels and lives in a tomb himself. Tomazine Scarlet was a pirate and was pardoned when she joined Defoe's cause. She also fancies Mr Bodie, an ex Aether marine with a dark secret, seconded from the corps and who has an Aether weapon that renders the zombies unconscious for an hour.

Defoe and the crew start destroying the bodies while, elsewhere, the wounded Jones it still looking for Defoe. He decides he must speak to his brother "Damned" instead...

RF: In addition to Goddard, I'm pleased to see Mills featured in 2000AD so soon as well. "The Guv'nor" was an eminently enjoyable Thrill that was given unfairly short shrift by the readership, so it's only proper that Mills has an opportunity to come to fore again and brush off the undeservedly cool reception he endured with Savage's latest adventure.

I've also been looking forward to a new "Defoe" Thrill with some eager expectation. To provide a recap for those who may have missed the first series, "Defoe" was the strip where the soul of Oliver Cromwell sold himself to the Devil in order to revenge himself against the Restoration. At the head (literally) of a zombie horde, he attacked King Charles II while the latter was in coitus.

Read that back to yourself. Now do it again, slowly. You won't find that in "The Uncanny X-Men", let me tell you...!

Being a religious warrior, the character of Defoe himself naturally reminds us of Mills's earlier work, However, given that Defoe is depicted as being on the side of the angels than the devils, he more recalls Klovis than Torquemada. This is no bad thing to me, considering that "The Redeemer" remains to this day one of my favourite comic strips. Despite the allusion, readers shouldn't confuse the two characters. Defoe's clipped, stern, upright New Model Army officership is a world away from Klovis's raucously melodramatic scourging and purging. This is no bad thing, as it allows Defoe to stand on his own merits and not just be cipher for nostalgia.

This instalment introduces the new of the Worshipful Company of Barber-Surgeons, and they set themselves down to scything down the undead with some flair. Their ostentatious gear is juxtaposed comically with their businesslike manner - they don't immolate the zombies to fumigate lairs laden heavy with noxious evil and repurify hallowed ground, but to clear away room for building work...!

Bodie and Scarlet sharing a tender moment over a decapitated head can't help but elicit a belly laugh. Gallowgrass's "Pernicious" perhaps too obviously references Gollum, and Scarlet's own buccaneer chic looks out of place amongst all of the buckles and kohlers. Beyond that, they're an interesting gallery of worthy rogues, all told, and I'm definitely interested in seeing where Fear-the-Lord Jones's dark hints will be leading them to.

I'm pleased to see that Ellie de Ville has rectified the problem of too small a font for the journal captions that tarred last week's instalment, and Gallagher's art remains suitably mucky for a tale that wades deep in the dank and grime.

JA: I rather enjoyed the “zombie hackfest” that was the first Defoe. It was a nice introduction with enough warranted to have another series. What this story does have is a wonderfully atmospheric artist that really complements the story. It’s the usual Pat Mills clunky script but hey, its zombies in 17th century London, which wasn’t exactly a nice place anyway.

This has a fine mix of wanton violence to the undead of St Paul's and a little more “guts” to the story and ensemble cast of zombie killers. Compared to some of the extremely disappointing fare that has been served up in the last six months (e.g. The Ten Seconders) this is rather good.

Yer Ass from Yer Elbow - Part 2 Script: Dan Abnett Art: Leigh Gallagher Letters: Ellie De Ville

Cutter literally plays his hand too soon...

Synopsis: Cutter visits the Mover, and tells him that he's going to prove himself to Sinister and Dexter by killing him. However, the Mover tells Cutter that they've taken Isobel and that he has to work for them otherwise they'll kill her. He says he wants Cutter to persuade Sinister and Dexter to work with him. John Croak then beats the crap out of him for pulling a gun on them...

RF:"Haul You Ever Wanted": I'm tempted to move into the freight business now just so I can run a company with that name! Puns are a key trope of "Sinister Dexter", but when they're genuinely witty it's nothing to complain about.

Now, I'll admit to never been a great enthusiast of Williams's artwork. Characters are fine from a distance, but as soon as a close-up panel occurs they start to take the appearance of melted waxworks. That's not so much of a problem in this particular instalment, but there is a striking continuity error about the size and positioning of doorways in both the second and third pages: some might say I'm nitpicking over minor background details, but it's not a minor slip like putting someone's ring on the wrong finger - it's striking and noticeable and just seems careless.

However, the shadows over the Mover's face in Panel 3.4 are a good reflection of his scheming nature, and seeing Cutter in the rain in the closing panel is a strong image of the poor fellow just seeming to be one of life's losers - only this time, he's not just dropping a two-pence piece into a penny arcade, but seeing his life savings tumble into the roulette wheel...

JA: Contrary to my comment reference the Vort, I have the suspicion that Sinister & Dexter are the weak links in the line-up.

Though S&D are loved by some they seem to be turning into the Gordon Brown of 2000AD. No-one is quite sure how they got popular and are now loathed by the majority. I’m not really one of the “haters” as I never really was wowed by the duo when readers liked them. Now the tables have turned, I’m rather ambivalent.

The current story-arc has Anthony Williams’ functional if not inspiring art and builds on the tale of two Moses, with lovelorn Kal having a particularly bad time. Though this isn’t terrible or brilliant it's just sort of middle-of-the-road, rather as it has been for the last couple of years. What it does have is an excellent character called John Croak, who I think is partially carrying this tale now. I’ll sit back and enjoy the mediocrity!

Amerika - Part 2 Script: Pat Mills Art: Anthony Williams Letters: Ellie De Ville

Dante proves a point...

Synopsis: We flash back to Russia, where the Tsar tells Dante and Jena that they must travel to America and set up democratic elections. All parties must swear loyalty to him - but otherwise he wants the bloodshed to stop. Jena is very unhappy at having to team up with Dante again, but has no choice.

Later, in America, they witness the Tsar's men beating up innocents and dragging off a girl at one of the checkpoints into Manhattan - now the capital after Washington was destroyed in the war. Dante and Jena intervene to save the girl, but Dante's crest warns him that the girl has nanites in her belly that are about to explode. Dante rushes to protect Jena from the explosion...

RF: Not wanting to be seen as promoting wanton promiscuity, but Jena's hostility towards Dante never really rung true with me. Everyone knows that Dante's a lothario, so should one video without context given by someone likely to be pushing an agenda really turn her so completely? Women, eh?

The flashback sequence to the Winter Palace is quite compelling, both for showing how Dante's hard living might finally be wearing him down, and the Tsar himself feeling the weight of years pressing down on him. He's quite compelling in this scene - statesmanlike in his policy for Amerika, rescinding power while still maintaining influence. He's classically depsotic in his caveats, nicely self-absorbed in saying that there's no need to occupy Amerika now that he's invulnerable, and convincing in his aged weariness. Wouldn't it be a remarkable twist if the Tsar shuffled off of his own accord before Dante got to work on him?

It's tempting to play down this instalment's climax - Dante has the restorative powers of his Weapons Crest to fall back on - but still, that's an awfully big explosion...

JA: As mentioned last week this current Dante story draws very heavily on the events in Iraq. This is not necessarily a bad thing as, rather than just some crass tie in to modern events, this story has been set up wonderfully to incorporate an occupied America with nods to insurgents, complex politics, “safe Zones” and suicide bombers. After a blip in Dante’s quality as the story got rather mired in the Pacifica story arc we’re back to the real thing.

It has taken a rather darker tone in the last year, and bravo for that. Simon Fraser’s art is just brilliant and the building blocks put in by Robbie Morrison over many years are finally starting to pay as Vlad realises that even he has bitten off a bit more than even he can chew. This is really set up to give us something to marvel at.

Ok, even as the blast tears a big hole in Dante in the last frame you know he not dead but it's times like this that you realise that this story will be worth the subscription fee alone.

RF: This prog is firing on all cylinders, with strong performances from every Thrill. Ending the comic on the dramatic cliffhanger of "Amerika" - we can see an awful lot through Dante...! - is good editorial work on positioning, and definitely whets our appetite to see what's around the next corner.

Best Story: Judge Dredd/Defoe/Nikolai Dante (tie)

JA: 5 really strong stories this week that made reading this week’s prog a real joy. There is very little “flab” with a real variety of old warhorses and semi-permanent furniture pieces with a splash of the new. Good stuff all round

Best Story: Nikolai Dante (just)