Orlok is back and brings with him cheer, philanthropy and a huge misunderstanding of the first two words…
Fucking hell, Alex Ronald is a bit good, isn’t he? A gorgeously painted piece in burned brown sees Serge Pizzorno facing off against some UKIP voters. Full of menace like a trip to the beach in Gaza, this carefully leaves the logo untouched which is helpful as it stands out showing this is 2000AD producing some quality and being proud of it.
He’s a seriously great talent so give him a regular gig and get him on the podcast!
Inside Paedo Tharg gives us the great news that Michael Dowling is helping out on the next series of Ichabod Azrael. Win!
Persistent sex pest McTick comes a cropper.
Odd story this. I don’t think I’ve seen the plot before but it seems very familiar, but maybe that is more to do with Wagner’s writing style and the typically thoughtful Mega City ending.
Or maybe it is the artist choice that leaves me feeling mixed. Regardless, this is a little unsatisfying. I didn’t quite get the point of this one so maybe that was the point…?
Cook does a good job here but his art is not well suited to the dark path the story takes. His work can seem far too busy at times, detracting from the story, but here he keeps it level and there were some nice touches. These were….the hammer on the nose to press the point on page 1, one of the cannibals carrying a rake, the panel of Dredd silhouetted against the sun, a shitload of skulls showing that the cannibals have many victims to their name, Dredd looking in from outside of the panel on page 4, the headshot with McTick choking in the same panel and Dredd firing his Lawgiver without even looking and killing more of the scumbags.
I’m giving him extra points for the Space 1999 Eagle on the top right of page 1.
With little knowledge of the harsh realities of life, McTick is robbed, beaten and left to the mercy of cannibals.
When Dredd catches up he manages to assist the mutant but only far too late and proceeds to execute the cannibals with the kind of ruthless intensity I would reserve for ridding the planet of James Corden.
Rathbone fittingly survives being run over and after his mates finger him as the main offender, Dredd makes a somewhat odd sentencing choice. It makes sense in a way, but there seems to be no real justice, even by Big Meg standards. True, Rathbone’s new body makes him even more repellent (his so called friends reveal that he was not liked when he was normal) and Dredd probably knew that would transpire but he still deserved encubement rather than the shunning of the popular crowd as the sole carrier of justice. He was after all complicit in the events that led to McTick’s death.
It was also nice to see Dredd reflecting that his own people still harbour mutant prejudices when he perceives they are not that arsed about finding McTick and that he once would have thought the same.
The doctor’s speech to Rathbone’s parents was nice too as he lays out the stark realities of Welfare budgets.
Our intrepid heroes encounter another group of WITSEC hit men.
The art is once again beautiful and my only quibble (though this could be script driven) is the strong resemblance of Teddy Behr to one Walter White, late of Albuquerque. Breaking Bad references are about a year out of date so that one just fell flat.
In a story twist that nobody really cares about we discover that said WITSEC hit men have been hired to protect the bad guy our dynamic duo seek.
The name puns come thick and fast like a bad case of diarrhoea and we are treated to a self-indulgent and overlong use of air quotes. It is amazingly overplayed for what was a meagre delivery in the last few panels and this serves to highlight the lengths this strip is going to in order to pad out.
Bottom line, this story was “worth reading”.
The Nubian goes after some Christians. Michelle Bachmann will be pissed.
We are treated to a gorgeous splash of the hippodrome as Leigh Gallagher continues his brilliant work. It’s brutal, gorgeous and beautifully coloured.
Nero’s cruelty knows no bounds and his crack about changing up the crucifixions was both funny and cuntish in equal measures.
There’s some nice dialogue here (Jove’s your uncle) as all bullshitters diviners are forbidden from leaving the city and the appeal system involves a shoeing sandaling by the Empire’s finest.
It remains to be seen if Aquila will decapitate Peter before or after he gets nailed down and quite what effect this will have on the Catholic Church.
The Diviner reading the augurs in shit and piss was a really funny moment and I haven’t seen the future written in excrement since I last viewed the words “Sinister Dexter will return”.
The jackanapes attack until the Captain comes up with an alternate strategy.
The art is still gorgeous. I cannot fault it really and the panel layouts are lush.
The Captain’s grand plan is to move the vessel from one danger to another hoping the two will conflict. Fuck it, it’s worth a shot, and if it means Wren getting poisoned then all the better.
Those are some cool electrical guns too. Might be useful to keep my cats off the fucking surfaces. Little shits.
I do like Brass Sun but it needs to up the ante here and be significantly more engaging lest everyone get bored with it.
A washed up (literally) bastard comes to the land of his father.
This is some nice and very much more detailed work from Yeowell and it really soaks up Blythe’s deft use of colours. That has been a game changer and it’s wonderful to see. If he can keep this up then it’s a winner.
It was also clever that we didn’t really get a reveal of the size of the bad guys until the last panels.
Still some sameface action going on here though so the only differential appears to be beards; black, white, brown or none.
In the strip, Serge Pizzorno has travelled all the way from East Anglia to come up against some mutated monstrosities. Oh the irony…
I’m still reading it and though it seems fairly bland at the moment I’ll persevere in the hope it doesn’t become an Eaters Of The Dead homage.
An unsatisfying Dredd leaves the way clear for Aquila to romp home.