Reviewer: William Cooling
Editor: Matt Smith
Publisher: Rebellion
Judge Dredd
Story title: Brothers of the Blood: Pt. 2
Written by: John Wagner
Art by: Carlos Ezquerra
Lettered by: Tom Frame
Last week we were introduced to Cadet Dolman, who, while being the latest in a developing line of Dredd clones, wanted to quit his Judges’ training. His distressed and desperate Principal called in fellow Dredd clone and Dolman’s pseudo big brother to show him a Judge’s patrol and so hopefully change his mind. This week, in a part that deftly mixes action and dialogue, we see Rico and Dolman tackle Mega City One crime Dredd-clan-style and also meet the family dropping in on Dredd’s niece Vienna and then later the old man himself.
Wagner is really hitting his stride on this story, which is just oozing instant classic. This story again brings to focus the astonishing compression to his writing with him being able to present Vienna and her relevant back-story so that we can care about her without smothering the page with exposition, something that is amazing considering the complicated storyline she was involved in last year.
This compression is further shown in his characterisation with the odd line, action or facial twitch giving you an insight into that person’s character. In particular he is excellent at developing the character of Rico who is again shown to be a slightly more liberal and fully rounded character than Dredd. Speaking of the great man himself, Wagner is able to introduce him in such a way that it actually means something; even to those, who like myself, read his adventures every week.
To be fair, this introduction is given genuine dynamism by the superb art of Carlos Ezquerra who manages to pack so much anger and authority into what is relatively simple frame. Ezquerra is great throughout this with his art being of his usual brilliance, with his cartooney yet earthy linework (similar in many ways to Darrick Robertson’s Marvel work) made a feast to the eyes by his amazing computer colouring that gives real energy and verve to his artwork.
These two are the Stan Lee/Jack Kirby of 2000AD and with this story they’ve hit gold again as they produce a story full of both action and characterisation with crackling art.
Valkyries
Story title: Untitled Pt. 3
Written by: Steve Moore
Art by: John Lucas
Coloured by: Len O’Grady
Lettered by: Ellie De Ville
You know what always annoys me come Oscar time? The short-changing of comedies in favour of “serious movies,†which is so annoying because comedy is infinitely more difficult to get right than a serious movie, as comedic tastes are so different (and its so difficult to stretch a good comedy idea over 90 minutes). One of the big problems with comedy is getting the balance right, so that the whole doesn’t collapse under the weight of its own ridiculousness.
Unfortunately no one told this to Steve Moore as this week Valkyries does indeed collapse under the weight of its own ridiculousness as Kara and her crew try to escape the clutches of male terrorists. While he’s a good enough writer to make it superficially readable the absurdity of it has ceased to be farce and now acts as a barrier to any lasting enjoyment. In addition, the move to six pages seems to make the story less effective, perhaps, as it brings to your attention how needlessly decompressed this story is. Still, it’s not out and out awful by any means, and the art is perfectly good cartooney stuff.
The Red Seas
Story title: Twilight of the Idols: Pt. 10
Written by: Ian Edginton
Art by: Steve Yeowell
Lettered by: Annie Parkhouse
In a SHOCKING development, last week, it was revealed that Aladdin was actually a bad guy having indeed tricked his “genie†into giving him a limitless amount of wishes. This multitude of wishes has left Aladdin a shell of a human being and his desire to reach Laputa was to access the magic contained wherein to restore himself.
This all came from Aladdin’s enemy Sarita who it is revealed (along with Dancer) was a member of a family that had been chosen to ensure that Aladdin would never reach Laputa. Unfortunately she had failed with Aladdin having just escaped to Laputa, and as we left last week, she and her crew had formed a reluctant coalition with Dancer & crew to confront Aladdin.
And by confrontation I mean a confrontation. As, this week, we get a glorious eight-page battle between the Coalition and Aladdin. This really shows Edginton at his best as he elevates Aladdin to an excellent magical villain lending the character demonic gleefulness as he tries out his new powers. What adds to the enjoyment of the battle is the fact that its twists and turns do build on each other with our heroes’ eventual victory not being due to a Mark Millar style “and suddenly the heroes were strongerâ€.
Steve Yeowell’s pencils are equally excellent with his simple, detailed style depicting the action perfectly. The subtle facial characterisation are vital to the action sequences while all the time maintaining the same pulpy, pirate tone that this story has consistently had. This is a great climax to what has been a great story and is a must read for anyone who enjoys such comics as Rucka’s Wonder Woman and Fables.
The VCs
Story title: Book III Pt. ~ Pt.10
Written by: Dan Abnett
Art by: Anthony Williams
Lettered by: Annie Parkhouse
Last week we saw Smith and Keege leave the Jupe to fight the Geeks off (he was being kept alive artificially anyway) and so make good their escape. That leaves, for this conclusion, the squad led by Kali, who having broken into the mining station and those led by Veto to watch their backs, now attempt to send the warning to Earth.
Abnett’s writing fails him a little here as he delivers a standard James Bond style challenge against the clock, this is in particular because he seems to loose the ability to take the story seriously midway through: i.e. having characters make tongue in cheek remarks about “saving the world†and the playing of Ryx as comic relief (which makes no sense given what happens later).
This subversion of what has been a serious space solider story does seem a little nonsensical especially at a story’s climax when a writer should be trying to make us care as much as possible. That said the meat of the story is fine and sensible with two big developments contained that offer plot lines to develop in Book 4.
Anthony Williams’ art is, on the whole, fine. Although in places it does seem to be lacking the quality of his earlier work with some of the character’s looking overly cartooney and lacking the muscular bigness that made his earlier work so appealing. Again, on the whole, it’s good, but there are panels that let him down. And that’s really the story of this climatic part; its, on the whole, strong but there are a few silly flaws that diminish it (the ending’s too inconclusive and insubstantial as well).
