Reviewer: Will Cooling
Editor: Matt Smith
Publisher: Rebellion
Judge Dredd
Title: Terror: Pt. 7
Written by: John Wagner
Art by: Colin MacNeil
Lettered by: Tom Frame
This section contains spoilers…
Last week, as Sonny set off on his suicide mission, the agents of Total War set off to ensure that the other loose end was cut as they departed to assassinate his ex-girlfriend Zondra Smith. What follows is perhaps the slowest, most agonising pages in recent comic history, as Wagner refuses to up the tempo and so overload our sense with the crash, bang, wallop of Dredd’s desperate last ditch attempts to save Smith. Instead we are giving the comic equivalent of a slow motion view of a car crash as the deliberate pace allow us to view every last impact and facture caused by the impact. What’s more, Wagner cruelly juxtaposes Dredd’s efforts with Sonny’s final fate and when redemption finally comes for one of them he quickly undercuts it with nemesis for the other.
This is truly heartbreaking with the build up agonisingly slow and the pay off perfectly executed. So many themes are covered here but perhaps the one that stands out is (slightly perversely in a strip about the Judges omnipotence) is their absolute impotence when it mattered and how their machinations in their War Against Terror had resulted in a preventable death.
Sound familiar?
Sinister Dexter
Story Title: Scare Tactic: Pt. 2
Written by: Dan Abnett
Art by: Cam Smith
Lettered by: Ellie De Ville
Last week, the boys starred in what seemed to be a throwaway comedy story as they investigated a haunted house to discover who was running a haunting racket to stymie building work. What we got was basically a Scooby Doo opener with one believing in ghosts (Veejay) and the others taking turns to tease him. And as in all Scooby Doos the middle section is the part where we discover there might just be some truth behind it all, with Sinister coming to share Veejay’s doubts despite Dexter’s rational explanations. Then there’s that shocking reappearance…
This is an improvement on last week’s enjoyable opener with a solid horror plot once again forming the basis for some light hearted banter and characterisation between the leading trio that shows Abnett is back on form especially in regards to making us buy Sinister and Dexter as best friends. What improves this story is the upping of the tempo towards the end, as the story shows promise of being more than just a throwaway comedy story. Although we’ll have to see next week if Abnett can fully follow the Scooby Doo storyline arc. Cam Smith also produces some sound art that compliments the story well.
Tyranny Rex Redux
Story Title: The Comeback: Pt. 4
Written by: John Smith
Art by: Steve Yeowell
Coloured by: Len O’Grady
Lettered by: Tom Frame
After last week’s fight to gain access to the informant, Tyranny has to endure a desert storm to reach the area the probe landed and converse with the scientist who discovered it. However, there are others who wish to gain access to the probe and they’ll do anything to deny her it.
This is an improvement on last week with Smith’s script sparkling with good touches as his excellent characterisation of Tyranny takes centre stage with her mixture of sarcasm and empathy producing a beguiling character. Also the elements of mystery and intrigue present in the script play to his strengths as a writer more.
Steve Yeowell’s art is also excellent in places with his approach to some of the supporting characters almost coming across as a low-fi version of Frank Quitely. Where he seems to be struggling a bit is his characterisation of Tyranny, he seems to be unable to fully capture her larger than life nature.
Still a good part that builds things up well for next week’s climax.
Tharg’s Future Shocks
Story Title: Red Moon
Written by: Andy Diggle
Art by: Kev Walker
Lettered by: Annie Parkhouse
Tharg’s Future Shocks has two historic roles; one the blooding of new talent and the second is a showcase for established talent that no longer have the time to commit to a longer series for 2000AD. This is such a story with the long gestating Red Moon written before Andy Diggle signed exclusive with DC now finally being published. And man oh man, in a comic with a top-drawer John Wagner/Colin MacNeil story it takes a lot to steal “best of the week†but somehow this manages the feat. This reads less like a Future Shock and more like a Metal Hurlant short whilst still staying true to the purpose of the former, to deliver a twist ending. The story concerns a man stuck on a desert planet with only the carnivores Piranha Dogs for company. Whilst waiting to be rescued he is forced to kill said Piranha Dogs and try to overcome his feelings of guilt over the death of his family.
Andy Diggle’s writing is a thing of twisted beauty with him expertly characterising the harshness of the planet and the slipping sanity of the surviving human. However, where his writing excels is in the delivering of the twist. Truth be told it’s probably not the most original twist but the way he involves you in the story and gets you to sallow the narration hook, line and sinker left me totally and utterly surprised when he reveals the truth.
Combine that with Kev Walker’s amazing art that with its Mignola influence and expert colouring perfectly evocates the desolation of the planet and the survivor. Add to that Annie Parkhouse’s euro-style lettering and you have a gorgeous looking five pages and a true triumph of storytelling.
Lowlife
Story Title: Heavy Duty: Pt. 2
Written by: Rob Williams
Art by: Henry Flint
Lettered by: Ellie De Ville
Last week, Aimee Nixon was forced to go deep undercover, about 300 pounds to be precise. You see, after a spat of suspicious killings amongst fatties (citizens of the Big Meg who top say 300 pounds mark) who use the Low-Cal fitness regime, the Judges decided to send a Wally Squad Judge in to investigate, only for him to wind up dead. Now, Aimee, complete with body change technology (they pump ex body fat into the body), has been assigned as a second attempt. This week, we see her mission begin as she is inducted into the fitness camp.
Rob Williams was obviously a mean, mean bully as a kid seeing as he has plenty of fun with fat gags including quips about carrying weight, difficulty running and breaking door ways. Luckily these don’t overwhelm the script, which includes some nice digs at the body fascism of fitness trainers and their ilk whilst still developing the mystery of the deaths.
Then there’s the art of Henry Flint that as usual reduces me to a gibbering wreck when I try and explain why it’s so good. So I’ll limit myself to saying that I hope DC saw his image of the fitness boss, which is damn close to being an even better version of the Joker than either Bolland or Miller’s.
Top quality.
