Reviewer: Will Cooling
Editor: Matt Smith
Publisher: Rebellion
Judge Dredd
Title: Terror: Pt. 6
Written by: John Wagner
Art by: Colin MacNeil
Lettered by: Tom Frame
Last week the noose tightened round the neck of Total War’s Gil (or Sonny if you use his real name) as the Judges kidnapped him and successfully replaced his eyes with cameras giving them the inside knowledge as to wherever he goes. Worse, his peers in Total War heard of his little fling with Zondra, and even worse, how she had been meant to be collateral in the pub bombing and see her and by extension him as a loose end. They intend to see off poor Gil and in doing so disprove the old adage that turkeys do not vote for Christmas by selecting him for a suicide-bombing mission. Now he prepares for his last mission whilst trying to keep up the pretence to Zondra that he’s quit Total War, unaware that the Judges and Total War are watching him.
Oh man, oh man how excellent is this! Wagner’s writing is just superb as he crams so much into six pages. He’s managing through the compelling script to illustrate the strained relationship between Gil and Zondra, Gil and Total War and the brooding presence of the Judges plotting the downfall of Total War. The characterisation of Gil in this part is brilliant, with this prospective suicide bomber being fleshed and made a sympathetic character with a look at his history and his fears, and his regrets over the mission. Gil is at the heart of this episode and the fact that what in most writers hands would be a one-note villainous character is strong and broad enough to carry a part, the fact that his inner narration is interesting enough to draw the reader in, the fact that the prospect of his death is not to the reader just a statistic but stirs feelings of regret at a talent lost, a life wasted is testament if further testimony is needed of the quality of Wagner’s writing. His script is subtle, it’s nuanced and above all, it’s damn moving.
To make matters even better, the art manages to meet the standards set by the script. Unlike most painted artists, MacNeil has a natural style that allows the characters and scenarios to breathe. His paints don’t distort or smother the linework but compliment it, allowing them to tell the story instead of being pushed into background by the stylings of the superstar artist.
In an industry full of inert, thirty year old characters it’s a relief to see that at least one is as relevant today as he was when he was created.
Sinister Dexter
Story Title: Scare Tactics: Pt. 1
Written by: Dan Abnett
Art by: Cam Smith
Lettered by: Elle De Ville
One of the things that have hurt Sinister Dexter’s reputation is Abnett’s willingness to use them to deliver filler stories often pun filled, unfunny and insipid comedies. So, with a note of trepidation, I approached this filler story that centres on the guys being sent to check out a haunted house in the belief that someone with a grudge against the owner is trying to stop development on the site. Yet, to my relief, it’s a good story with Abnett delivering a funny story reminiscent of Sinister Dexter at their debut. There’s a fairly hokey premise of the three walking into haunted house with only one believing in ghosts, while the other two take turns to exploit it.
What this shows in particular is what a boon Veejay is to the series, with him playing the perfect straight man as the other two take turns to play jokes on him. What makes them great is not only the fact that jokes are all fairly funny and well done but also the characterisation involved. Abnett really brings out the friendship and banter between them with the two of them playing off each other in their torment of Veejay in a way that couldn’t have been done if it was just the two of them there. What’s more, Veejay is again shown to be a great character, with his scaredy-cat routine and his whispered bitter aside offer some good entertainment.
The art is good too, Cam Smith’s black and white art is in many ways very similar to the great Ron Smith albeit a bit more naturalistic and restrained. He manages to adopt and maintain a tone that suits the b-movie horror comedy tone of the script.
All in all, a good opener to what should be solid filler.
Tyranny Rex Redux
Story Title: The Comeback Pt. 3
Written by: John Smith
Art by: Steve Yeowell
Coloured by: Len O’Grady
Lettered by: Tom Frame
Last week, Tyranny touched down on a planet with a stupid name to retrieve a probe that has some sort of organism on it that her bosses want. She meets with a contact to hire transport only to be sort of betrayed, as a gang has his son and now they want her. Cue this week five pages of ass kicking! Tyranny is forced to fight the gang single-handedly to save the boy and get her transport. A fun part with Smith giving us some choice action, which is competently drawn by Yeowell even if his linework seems almost rushed in places.
That said, despite its readable nature this story hasn’t yet lived up to the promise of the opener nor answered why Tyranny’s been brought back after so long. Still nothing offensive in it and there’s still half the story for it to play catch up.
There may be spoilers ahead!
Tharg’s Future Shock
Story Title: The Mainstream: Pt. 2
Written by: Colin Clayton & Chris Dows
Art by: Andy Clarke
Coloured by: Gary Caldwell
Lettered by: Annie Parkhouse
Last week, in a rare (perhaps unprecedented two part Future Shock) we saw Mike, the writer of a massive literary franchise detailing the battle between humans and the robotic clench give to his editor the last book of the series, where the leader of the humans is assimilated by the clench. However, amid digs at the Internet bullies that gave the writers a bloody nose a few years ago (get over it all ready), and the editor trying to persuade him not to knacker the franchise, Mike is surprised to look up at the sky and see the Clench attack a nearby skyscraper.
Okay, I would review the writing in this part, but it’s largely incomprehensible as the writers take an overly complicated route to deliver a simple twist. The twist appears to be that the war between the Clench and Humans is real, okay dokey aside from one problem. If that’s the twist they virtually gave us it in the opener making this part irrelevant, which surprise, surprise it is. The writers basically kill time with a nonsensical confrontation between a comatose Mick and something/one else, more sinister clichés from the evil editor and er the ending from Matrix Revolutions done right. All of which given some context could be interesting but there’s none that I can tell, none! We have virtually no idea what the hell the writers are talking about, and worse, from the small idea we do have, it’s blatantly obvious that neither do the writers. Take the ending where after the writer dies his masterful ending is read by a delighted fan. But wait he’s dead and yet his ending’s being used, meaning that all the hand-rubbingly evil mutterings of his editor are for naught. Yet they must have taken a quarter of the story and all for no apparent purpose.
Still at least Andy Clarke’s art is nice.
Low Life
Story Title: Heavy Duty: Pt. 1
Written by: Rob Williams
Art by: Henry Flint
Lettered by: Ellie De Ville
In the Big Meg there are those who are called fatties who instead of making overrated and overblown movies criticising the establishment instead do such good and pure activities as eating competitions. However, despite the fact that being a fatty is a sure way to get a job in the Big Meg (okay it may be illegal but so what?) some do actually want to loose weight and some take it a step further and join gyms and what have you. Well one called Low-Cal inspires utter devotion in its customers to an extent that its arousing the interest of the Judges who want Aimee to investigate. There’s however one problem…she’s thin.
A good starter for Aimee’s second story, as we see her take on an original investigation. Williams’ writing is excellent with the characterisation at the level of the previous story and some interesting sci-fi concepts introduced leading to one of the most hideous and well introduced panels in comics history. All this is brilliantly drawn by Henry Flint whose scratchy linework perfectly captures the mood of the story with awe-inspiring backdrops and pitch perfect characterisation.
A very promising opener.
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