2000AD Prog 1638 - 27 May 2009

Cover by Clint Langley

Robert Cornell: Langley. Wraparound. Ukko. Big gong. What’s not to like?

Gavin Hanly: Showstopping work from Langley, wearing a bit of influence from Rank Films on his sleeve. My only criticism is that I'd really like to see another artist, especially Henry Flint, tackle a wraparound cover once in a while.

It came from Bea Arthur Block - Part 2 Script: Gordon Rennie Art: PJ Holden Colours: Eva De La Cruz Letters: Annie Parkhouse

And here comes some exposition...

Synopsis: Leon tries to hide his growing hair from his fellow contestants and the hair zaps a med robot he tries to reveal it to. Meanwhile Judge Veesey at Med Lab has identified the other hair specimen as a highly intelligent parasite species, the Zmmm. Dredd realises that he ran into a likely candidate for infection when he saw Leon on immigration duty - he heads over to Bea Arthur Block. However, Leon's hair has already started infecting his fellow baldies...

RC: Although it's actually quite well done, “It Came from Bea Arthur Block” ticks too many of my pet peeves for me to enjoy it. I don’t like the title. It features that Dredd cliché of the alien invasion, which just doesn’t fit in my view of the Big Meg. And it has that annoying narration: “wake up Mega City! Alien nightmare in human form…” etc.

I do enjoy MC1’s crazy cults and hobbies and The Slapheads are a laugh.

Holden’s artwork is lively and dynamic. With De La Cruz’s changes of pallet he swaps location or mood really well. Good stuff, except for one panel, Dredd’s lawmaster looking very boxy on page four. Picky? Me? No way!

GH: A passable Dredd tale from Rennie - but nothing more than that. Its efforts to be zany in the introduction just feel a little too forced to me, and essentially it's a by-the-numbers Dredd. It is however, lifted by some dynamic work from Holden - an artist who I'd love to see on a more serious Dredd tale.

The Gong Beater- Part 4 Script: Pat Mills Art: Clint Langley Letters: Annie Parkhouse

Ukko should start the Slaine equivalent of a swear box for moments like these...

Synopsis: The rising Cyth attack Ukko's workers so Slaine charges up the gong with earth power and uses it and the hammer to destroy them. He tells Sabrina to put dead creatures around the pit to stop the Cyth from coming back and then leaves, with a disgraced Ukko in pursuit...

RC: Imagine: it’s 20 August 1983. Margaret Thatcher is in power, I’m still at school and four days ago, the Bill was shown for the first time. More importantly, a Conan knock-off named Slaine appears in 2000 AD.

If Slaine came in a tin that had “kills evil things” printed on it, he would do exactly what it says on the tin. Slaine fans would ask, not without reason, “what else do you want him to do?”

There are limits. This week, Slaine asks the Earth Goddess what to do. She says, “hit the gong, you moron.” He hits it, bad things die, the end.

With Ukko rejuvenated and Slaine wandering Continental Europe, it feels like that gong was a huge re-set button and we’re back to 1983.

Langley’s artwork couldn’t have existed in 1983. As always, it looks good enough to eat, especially the really big pictures. Lighter than the ABC Warriors and now the human faces look a little less human, they’re not so off-putting and he’s at the top of his game.

GH: Utter nonsense (not necessarily a bad thing) backed up with some wonderful art from Langley.

I normally don't have much of a good word for Slaine, but the shorter run does seem to suit the character much more. Now, if Mills could write a little tighter and avoid the Slaine book of clichés, I could grow to like this strip again...

Part 6 Script: John Smith Art: Edmund Bagwell Letters: Ellie De Ville

Mary gets some action...

Synopsis: Shane is introduced to Mary and feels woozy as Mary's tendrils reach for him. He manages to break from the trance, only to injure his arm badly by breaking a window as he tries to leave the house. He's taken to hospital to recover, while Cal introduces Shane's brother Craig to Mary. The next morning, Craig gets a message to warn Shane that Skully's out of prison...

RC: Variety has always been one of 2000 AD’s greatest assets. Cradlegrave has an unusual genre, unusual look, unusual setting and an unusual pace to the other stories.

The most striking thing is the convincing portrayal of the Cradlegrave estate itself. If you’re going to take your time, you’d better have something worthwhile at the end of it and the story is building towards the climax expertly.

Bagwell’s artwork contributes hugely to the unease and atmospheric setting but I notice I’m not the only one having trouble telling the characters apart. Their hoody looks and speech patterns are nearly identical. (Although, it’s just occurred to me that it could be satirical social commentary.)

GH: Engrossing stuff from Smith, with astounding work from Bagwell, who is surely to be the next big thing emerging from 2000AD. Let's hope he doesn't get lured into the world of superhero spandex.

This is also the most I've enjoyed a Smith tale since Leatherjack (which I loved), and it's almost a shame that the supernatural stuff is kicking off, as I was loving the slice-of-life nature of the strip up till this point. I'd love to see something in 2000AD (or the Megazine) that wasn't science fiction, fantasy or horror - but I fear I'm in the minority in thinking that.

1984 - Part 5 Script: Pat Mills Art: Patrick Goddard Letters: Simon Bowland

Perhaps we should all be introduced like this in meetings...

Synopsis: Savage lays out what he's learned to the Americans, who are being supported by Howard Quartz's fledgling Ro-busters outfit. Afterwards, Savage tells them he's returning to London to find out what General Beria is doing in St Pancras and to find out what The Beast is, before the Volgans perfect it as a weapon...

RF: Hm, Howard Quartz looks a bit different from when we last saw him. Is it the beard?

I’m split about this. Mostly I’m thinking, “ha, ha, amusing cameo.” The fanboy thinks, “oo, continuity, sort that one out Pat.” The Reviewer is cautious, “this is asking for trouble.”

That’s three reasons. I must be lying. I loved that bit. Is it true? It should be.

Next week, back to the old ultra-violence, no doubt. Hopefully, Mills will keep it at least grounded in the real world. There’s no room for Deadlock in Bill’s universe. Full stop. Otherwise, it’s a quiet, plot-building episode but an effective one that makes me want to know what happens next.

And, you just can’t help yourself, can you Pat? Yes, the Americans use waterboarding in interrogations. Isn’t Barack going to change all that? It seems like yesterday’s politics.

Goddard’s artwork is like the central character. Hard as nails. No thrills. Mean and moody. I love it.

GH: I started off hating Savage at the very beginning, but grew to love it through the first three series. However, things took a tumble after Adlard left. Goddard's an exemplary artist, and his works great here so I won't put the blame at his door. Perhaps it's that Savage sitting at a table discussing an invasion is exactly the opposite of what I want from this strip. It's much better when he has his own agenda, and is working against pretty much everybody.

Plus, the introduction of Howard Quartz was just awful, and I'd expect a writer of Mills's calibre to be able to pull off something like that with much more subtlety and style.

RC: What struck me this week is the quality of the artwork. One horror, one fantasy, one alternative history and two flavours of science fiction. It’s a good mix, Slaine and Dredd were OK. Savage is intriguing for various reasons. Zombo is the most straightforwardly entertaining story but Cradlegrave has real class.

Best Story: Cradlegrave

GH: Not the best mix of strips overall, to be honest. However, both Zombo and Cradlegrave are must-reads and save the prog.

Best Story: Zombo