Reviewer: Will Cooling
Editor: Matt Smith
Publisher: Rebellion
Judge Dredd
Title: At Home with the Snozzburns
Written by: Alan Grant
Art by: Ian Gibson
Lettered by: Tom Frame
In the last of this current run of comedy Dredd one-offs, the always-comedic partnership of Alan Grant and Ian Gibson grace Dredd with a light and affectionate parody of the Osbournes. Now, of course, we all know and er I guess love the Osbournes (although in Britain Lenny Henry at the Queen’s Jubilee concert managed to destroy them for most people) but in reality what really draws them to us is not their personalities or their talents (methinks there’s a reason neither appeal) but their constant swearing. Of course, 2000AD doesn’t do swearing, so we get an amusing construct to take its place; namely giant noses. Yes that’s right all the analogues except Sharon have giant hooters. From this simple and so, so, so cheap gag form three gags storylines. We see Kelly (Konk) try to escape her dad’s image, Jack (Hooter) attempt to score a fix and Ozzy’s oats being exposed as having been spread. All this whilst Dredd has been brought to investigate a series of death threats labelled at Ozzy (Snozzy) that have been stopping him singing.
Hmm, well I wonder how long this took Grant to write? Don’t get me wrong it’s a pleasant enough read with decent gags and comedic jingles (can’t forget those) but this is seriously by the numbers Alan Grant/Dredd comedy one-parter. The plotting is kinda all over the place as well although that is probably a subtle dig at the Osbournes show itself. Where this does score highly is the art with Gibson being up to his usual high standards with a great line in exaggerated, cartooney contortions of the human physique-his large noses are a work of genius whilst Dredd is the best he’s done in ages. In addition, this is all coloured with his gorgeous lush and bold colour scheme that brings out the best in his art. The art perfectly captures the gags in the script and takes an average script and provides a thoroughly satisfying read.
Savage
Title: Book 1 ~ Taking Liberties: Pt. 5
Written by Pat Mills
Art by: Charlie Adlard
Lettered by: Ellie De Ville
Last week saw the action shift gears as the series finally entered “real-time†(as opposed to a series of flashbacks) with Bill leaving as his brother Jack manipulated his simple collaborator brother Noddy to access secret information on the resistance and then getting a tasty shot on a Volgan soldier on his way to meeting up with the resistance. We see him meet up with fellow members of the resistance (including some kids that were close friends of Jack) as they plot an attack on local Volgan forces. All of this is brilliantly done with Mills capturing perfectly the ruthlessness and ingenuity of Savage and his complete tunnel vision with regards to his mission. In many ways, Mills’ Savage reminds me of Ed Norton’s tour de force as Derek in American History X with the same cold stare, utter hatred and “conservativism†with a scene involving drug abuse that has an exact parallel in American History X. All of this is perfectly captured by Charlie Adlard whose chunky, detailed artwork perfectly captures the war-torn feel of London and provides for some great action panels.
If there was one criticism I have about this otherwise excellent story is the resurgence of Mills’ homophobia with the “evil faggot Volgan boss†returning at the start to fantasise about having sex with Savage and then some gentle “queer†jokes at the end that wouldn’t cause me to bat an eyelash usually but given the context of this part and Mills other work it’s a concern. A big shame that this nasty side to Mills’ work is continual resurfacing and is being allowed by 2000AD.
A.H.A.B
Title: Untitled: Pt. 5
Written by: Nigel Kitching
Art by: Richard Elson
Lettered by: Annie Parkhouse
Hmm, very strange; you see, last week after the installing of A.H.A.B as captain, we saw (well strongly implied) that he murdered the six leading scientists (including his boss) by exposing them to the HFV (subtle man) virus. We closed with Jane seeing the six men all dying amid pandemonium among the crew. Yet, this week, we start with an entirely unconnected panel about her packing to leave. It all makes sense eventually but the way that Kitching sold the death at the end of the last part seemed to be as a cliffhanger. Anyhow this week we focus on Jane and her decision to leave due to her desire to rescue her son from his alien Dad. Yet, at the same time, Tashtego (who happens to be the same species as Jane’s former sweet-heart) is leading a revolt against the leadership of A.H.A.B. All the while, the doubts about A.H.A.B’s motives and his lack of concern for humanity grow.
Once you get over the strange starting point, this is a nicely written story with some strong characterisation in the humane and concerned Jane, the thoroughly amoral and mercenary Tashtego and the mysterious and ominous A.H.A.B. Kitching shows a good ability of weaving different plots together in a convincing manner building to an effective climax. In addition, his dialogue whilst nothing spectacular, is perfectly sound and concise.
Where this series really improves is in the art. Elson’s art is gaining a bit more substance especially with the improvements in the colouring, the bolder and more developed inking and the extra focus on the brilliantly designed Tashtego. He’s particular good at the mutiny scenes, which showcases his talent for detail and large-scale violence.
An up-turn in the art and writing ushers in a greater sense of reader engagement with the series after a solid but slight uninspiring start.
Lowlife
Title: Paranoid: Pt. 5
Written by: Rob Williams
Art by: Henry Flint
Lettered by: Ellie De Ville
After last week’s weird part, where, amid the general context of the Meg’s mobsters being wiped out one by one, we saw Aimee being brainwashed to (perhaps) murder and (worse) dress like a hooker we now see her facing the ramifications. Biggest of which was the startling cliff-hanger last week that she’s now a millionaire with someone having placed a cool 2mil in her back account. She realises that this means her cover’s been broken and attempts to warn her associates starting with Parker. This is excellent! Williams delivers a taut, effective mystery whilst establishing a chaotic, desperate atmosphere for Aimee to panic in. His characterisation of Aimee is excellent, really developing her as a blunt, unorthodox yet dedicated Judge that is also a great bullsh*ter (nice joke with that).
The art is unbelievably excellent. Flint excels in the very dark, intimate and gritty scenes he has to depict. This really has been the coming of age for him as an artist; the excellent character design, panel layouts and landscape shots show that he has the versatility to depict anything asked of him (this is actually a change in pace for him as he’s usually on more cosmic/action packed stories).
These two have really gelled and created an effective cyber-punk mystery thriller that once again ends on a great cliff-hanger.
Chopper
Title: The Big Meg: Pt. 5
Written by: John Wagner
Pencilled by: Patrick Goodard
Inked by: Dylan Teague
Lettered by: Tom Frame
Last week, we learned that although Merci’s mum Calista’s life is not in immediate danger, she is in a difficult position due to scam that went wrong. You see, Calista lives her life like S. Weaver in Heartbreakers; she basically attempts to scam men out of their money. Unfortunately she’s met her nemesis in the 90-year old heir to the Cola fortune Augustus Pop who managed to obtain some dirt on her and is now blackmailing her to be his sex slave (think Kane/Lita). Chopper after getting a night of hot sex from a 90-year old’s prostitute (and when you think about it like that who wouldn’t say yes?) agrees to help this confessed scam artist; someone who her daughter had warned was not to be trusted. This leads to this week’s episode that is split between Calista going through the plan whilst Chopper enacts it.
Sigh, I love John Wagner and will loudly call him the best, most consistent writer in comic history, but my god, does that plot stink. Firstly, Chopper has known her for what a day and already he’s risking life and limb to help. Secondly, perhaps if she was a latter day Cher the risk would be worth it but she’s a self-confessed scam artist, surely if you’re a fugitive with a 28 year sentence hanging over your head you’d be putting as much space as possible between you and her. Thirdly, whatever the flaws in the plot, they’re realised even worse with Calista getting way too hard-headed too quickly as she unveils a detailed plan for Chopper to follow.
Now, despite these flaws, this is still readable with good sky-surfing action. Chopper does his best Catwoman impression, which the art, although still lacking in bigness, does capture these scenes well. And one can’t but hope that Wagner is building to some sort of swerve as Calista’s untrustworthiness is really being hammered home.
Disappointing yes, but perfectly readable nonetheless.
