Reviewer: William Cooling
Editor: Matt Smith
Publisher: Rebellion
Judge Dredd
Title: Master of Fear Pt. 3
Written by Alan Grant
Art by: John Burns
Lettered by: Tom Frame
Last week, we saw Dredd put through the hideous torture of listening to the usual East Meg sob story from number 2143 in the Shrieks R Us Halloween Costume Catalogue. He was also being subjected to mind-warping technologies that amplified his fear from a magic glow in the dark staff! At the end of last issue we saw Dredd being attacked with a scythe! Well actually that turned out to be a mind trick (something that both shocked and surprised me) and Dredd is forced to fall back on, yep you’ve guessed it, his usual defence for his mass killing of East Meg 1, a defence that can be boiled down to “well you started itâ€. The way this affects and defeats the villain would be boring and predictable if well-written, but, in this story, it’s reduced to a joke with appallingly hammy dialogue and actions from the villain.
Even worse, we get the usual Dredd rejection of fear, which is a further sign of the idiocy of 2143’s plan, which bears all the hallmarks of something that Austin Powers’ Dr. Evil would do. Increasingly, throughout this story, I’ve begun to wonder whether Grant is being fully serious with aspects coming across as a parody of Dredd, or Bond movie villains. If so, Burns’ majestic classical painting is inappropriate due to its serious nature. All in all, this is a poor conclusion to what would have been the worst multi-part Dredd story for a long time if it hadn’t been for the ever excellent John Burns’ art.
The Red Seas
Title: Twilight of the Idols
Writer: Ian Edginton
Artist: Steve Yeowell
Letterer: Annie Parkhouse
Last week, our heroes successfully defeated the enemies of Aladdin and retrieved the second half of the map of Laputa. With the map in their hands they now know where Laputa is…providing of course that they can read it. This is a real change in pace to the usual Red Seas part of 2000AD. Its entirety is given over to dialogue and plot development with absolutely no action. Of course Edginton excels at this, just as much as the action. There’s a very efficient and well designed piece of exposition moving the plot on quickly.
In addition, we again see the strengths of his characterisation, with Aladdin being worthy of a special mention. Throughout the part we see more and more signs that he is not trustworthy via increased signs of impatience with his crew and to get to Laputa. This impression is solidified by Steve Yeowell’s portrayal of him, which never fails to give him slippery look on his face, almost reminiscent (well to me at least) of Oliver Twist’s Fagin.
Edginton also develops the minor characters in particular the banter between them and their phlegmatic approach to the wonders they are confronted with, for example their reaction to the Map. He also shows how Dancer straddles their attitudes and Aladdin’s with his mixture of pirate banter and attitudes with an explorer’s knowledge and appreciation of the world and its wonders. It is this duality at the centre of his character, in addition to his sheer likeability that propels this story on and makes it an enjoyable read. Another great part of what has been a reliable series with enjoyable and unpretentious writing mixed with simple but lively art.
Valkyries
Title: Untitled Pt. 1
Written by: Steve Moore
Art by: John Lucas
Coloured by: Len O’Grady
Lettered: Ellie De Ville
Before I start the review of this story I cannot resist noting the amusingly hysterical editorial that attempts to get in a pre-emptive defence of this story’s rather sanguine attitude to female nudity and its “feminist†(male sex-fantasy and patronising could also be used) portrayal of women in action hero roles. Smith makes points about the level of male nudity (thereby breaking the unwritten contract that 9/10s of male readers make with Anglophone comics that they do not mention the attractiveness of their male heroes) and a feminist point about equality of the sexes. While it doesn’t bode well for a story’s success when such a defence has to be taken it’s a jolly fun read.
The story in question centres on a decadent women governed Norse society that after 1000 years is on the brink of nemesis with various neighbouring planets threatening to invade. Thankfully we don’t get the usual idea of “decadent society†contained in comics i.e. a society run by big oil companies and fiendish Americans. Instead we get women having a lot to drink, talking about sex a lot whilst not wearing a lot (all of which is central to the plot). The central character is Kara, who after retiring to her room for…er…er…some machine assisted pleasure is kidnapped and taken to a spaceship…run by a man. This raises the alarm of the police who fly to save her.
Steve Moore (who used to be such a po-faced writer) continues his growing interest in postcard humour by taking the idea of a decadent women-led society to the very boundaries of what 2000AD can show with Janet Jackson style clothed breasts aplenty and even some bare ones as well. The dialogue is sexually explicit with quite frank descriptions of sex, something matched by an interesting picture of a machine…and stuff.
Now, I’m going to go against the grain of the 2000AD message board and the fairly hellfire and brimstone conservatism I’ve adopted in recent reviews and say that I don’t have a major problem with any of this. The dialogue simply has an energetic and charming style to it, while the written content of the story gives the story an almost Caligula feel, which of course is entirely in keeping with the theme of an empire being drunk and orgasmed away.
Whilst there are certain developments in the story that could lead to disaster the major problem is that the art doesn’t create the macabre and burlesque tone that is needed to make this story worthwhile. Instead Lucas gives us a cartooney style that is similar in tone and style of Georges Jeanty’s art in Devil’s Night Annual 2000’s Angie (The Authority) story. Whilst the art is good this tone is mistaken given the explicit nature of this story and the conservative attitude of 2000AD fans, it also pushes the story into a rather smutty corner. If the cover artist Frazier Irving had painted it, then the story would have been far better as it would have given the sexual content a real edge, rather than a near postcard porn feel. Still it’s an enjoyable enough read.
The V.C.s
Title: Book III
Written by: Dan Abnett
Art by: Anthony Williams
Lettered by: Ellie De Ville
Last week, we saw the VCs led by Kali enjoy some downtime as they met up with Bill Veto’s crew. To the surprise of everyone (not least Ryx) we saw at the very end of Part 7 him and Linfu get it on (have sex that is). This week we get a transitional part, as Kali and Veto’s squad’s moves out to the Mining Station whilst Jupe and Keege make their way to the Keege prison that is holding Smith.
Despite minimum amount of action or plot development Abnett moves writes a nicely effective part that should act as a good set up for this story’s conclusion. His characterisation is particularly sharp in regards to the tension between Veto and Kali, with Veto once again proving a welcome character with an enjoyable lack of morality. What makes it all this all the more impressive is that he doesn’t stop the action by having them sit down and talk to show this, instead its conveyed entirely by the odd line as they proceed with their mission. I’m less sure of his characterisation of the happy couple with Ryx coming across as annoying, desperate and not the least bit attractive (although to me he’s never came across as anything more than a poor man’s Wolverine) although that would be justified if a horny Linfu just used him as a moving dildo on what could’ve been her last night, something that her distant attitude to him in this part suggests could happen. Anything else would be completely unrealistic not only in the context of their relationship but also how BLOODY WHINY Ryx is.
Williams’ art is as excellent as ever with the semi-naked Linfu being a good example of his thoroughness and thoughtfulness as she has clearly lost weight since her and Ryxs’ introduction in Book II, a logical consequence of having being stranded without proper supplies. His characterisation is excellent throughout in particular in the way he captures the near “School-Boy†glee of Ryx in having finally bedded Linfu. This is another thoroughly readable part of this excellent story that despite being a set up to the conclusion is excellent in its own right.
