It’s late in the week so here is Orlok with his take on 1880.
I found this one a little uninspiring, which is a shame as it is a beautifully painted piece of work. There is definitely an America Indian (I’m using that term instead of Native American as I was once told by a member of the Hualapai that they were never consulted about arbitrarily being called the latter. He had a weapon and I wasn’t about to argue.) vibe going on there.
Her name could be Licks Piss Of Nettle.
Or maybe it’s a stamp vibe since the head and shoulders thing looks a little like some of the early Queen Victoria side shots before she got into the cannabis and gained 5 stone.
It looks ok, it just isn’t very interesting and I think I’d leave it on the shelf. Personal choice, I think.
The logos are damn near perfect though! They stand out well and advertise the brand for all to see.
Inside, Paedo Tharg grins his way through another heavily edited episode of TOTP2.
More slaughters draw the attention of Joe, who finally begins to understand that a mass killing is about to occur.
Jimmy Zane hunting down and popping a cap in his grandma was actually quite chilling, considering he had exxed nearly everyone else in the household. It was also disturbing that he was holding conversations with other shooters at the time, detached from the morally abhorrent act he was committing.
We get a lesson in the ethics of the spree shooter and a clue is revealed in the form of group therapy, where these fucking jizzbats could potentially fuel each other into their wanton acts.
This is grim stuff and leading to a showdown where someone is going to get shot. Hopefully it will be the “right” people.
Loved the art again and spotted the Chopper graffiti on the bottom panel of page 3. Also loved that the apartment Dredd raids in his investigative capacity is 222b. That’s just one digit away from a Conan Doyle nod.
The panel of Dredd finding the corpses in the apartment and his reflection in the shattered mirror was sublime, as was the way he silently went from room to room gun ready for action.
The panel with the baby will probably split the readership a little. I have no kids of my own since I find them to be the ultimate illegal immigrants (they often show up uninvited, they don’t work, they live off the state and get an education for nothing and then they have the cheek to complain) but even I gasped a little when I thought the kid was dead. There was a small relief when it was revealed the baby was alive and rattling. However, I could not understand why the killer would spare the child. The grandma was just as helpless as the baby and she got a round in the face. Granted the wrinkly could call for the Judges but it would not take a genius to work out who was responsible for the act and culpability doesn’t seem to be an issue for Zane.
The death of the sprog could have been show “off camera” with Dredd standing by a bloodied crib.
I’m not saying it should have been but it would have been a braver move and to show a killer utterly devoid of mercy.
In alternate Earth, as hinted at in a previous series, it’s all gone a bit David Icke. Nick Fury Major Arcana to the rescue.
Fuck me. The art is amazing here. I don’t know what Lee Carter has been doing since his last run in Toothy but this is absolutely stunning and the man has clearly found his niche. There’s not a Ben Affleck face in sight.
Everything has incredible detail about it from intricacies of fly wings to the gigantic nails used for pinning a Nazareth do-gooder to a plank for shooting his mouth off.
The skull on the hill did not go unnoticed either. Golgotha was well named.
The colours are also a revelation as is the mixed media use blended seamlessly into the surroundings.
The party at the Palace is also well done with natural poses from the guests a far cry from the stilted catalogue postures of Necrophim. The swastika shaped hors d’oeuvres were utter genius as were the Von Hagens display cadavers of Liz and Phil The Greek. As an anti-monarchist even I’d draw the line at stuffing the bastards and gazing at their genitals while I’m chowing down on my Nazi themed canapés.
The last splash is jaw dropping in terms of detail and colour. Just look at that leaden sky, too.
As for the story, I seem to remember the Fourth Reich reptoid pricks getting a nod in Anthropocalypse and the inclusion of death obsessed artist Viktor Schroeder is unusual to say the least.
The rest of it, being standard John Smith fare, is like a symphony in crazy minor.
Slaine crosses the causeway and chops up some mooks while doing so.
This does seem to be dragging a little but on the plus side it gives us a bit more of the good stuff from Davis. There’s only so far that will stretch, though, so hopefully we’ll have some plot development.
It remains to be seen if the voices heard are the offspring of Slough Feg but one of them appears to have the voice of a famously loyal Scotsman living in Spain to avoid taxes that might help out his deep fried Mars bar eating kinsmen. Thatsh double shtandardsh.
It also remains to be seen what they want with Slaine. If they wanted him dead they could have just drowned him, so they may have something else in mind and this has been a set-up from when Sinead “escaped”.
I’ve only just realised that the Isle of the Monadh is the Isle of Man. What a fucktard I am. It was the coastline that finally did it for me.
The art is once more glorious. That procession across the causeway was a stunner featuring as it did monsters, giants and a particularly chipper looking sheep.
The close up of Slaine’s angry mug on page 3 is a particular stand out for me as it tells you everything you need to know. Drop out the words and the passion, expression and intent is all there.
Not since we saw a close up of the Little Dragon splintering the cervical spine of Robert Wall under his angry mandarin slipper have we witnessed such pent up aggression.
The splash page of Slaine riding into the sunset with a pile of corpses in his wake was unbelievably good. Coupled with the blended colours of the eyes in the sky this was a masterstroke and Slaine has never been artistically better than this. Never.
Davis doesn’t take his foot off the gas and we’re gifted a lovely splash page of the barbarian nutjob traversing the causeway as the waves splash and crows circle overhead.
I’ve seen that basaltic hexagonal stuff in the flesh and Davis really pulls it off.
In an alternate 1957 Siberia, some political prisoners get caught up in what looks to be an alien invasion.
Some lovely art here by Vince Locke with decent colours to match from Adam Brown. Good panel layout too and though it doesn’t have anything to wow me it’s top notch.
I know a bit about Sergei Korolev having once written a long essay on the Soviet Space Programme so luckily I spotted the mismatch in the alternate history. Here the great man is made a scapegoat for the failings of the programme and is booted to Siberia to see out his days.
This 1957 appears to be at least 6 years ahead of the real thing and the Colonel Titov mentioned is probably Gherman Titov, the pilot of Vostok 2.
There, having bored the living piss out of you, I’ll move on with the story.
The red shit on the capsule appears to be a contaminant of some kind and this is enough to drive at least one of the inmates to violence via a spoon in the eye socket. It’s sort of like an interplanetary Stella Artois.
At the end Korolov also seems to be affected and apparently drops some of it into the soup. Or it could be some rohypnol.
Either way they’re in for an unforgettable night.
I’m picking up shades of “Who Goes There?” about this one.
I wonder if the Lem mentioned is Stanislaw Lem?
Everyone assembles at the island fortress while Caul manages to break in.
This is really boring me now. I’m almost flicking through it which isn’t very fair.
The sentient architecture is a nice touch but the fact that it can shift and leave members at the mercy of a predatory alien smacks somewhat of the pyramid from the godawful AvP film.
And why would an impregnable island fortress have an underwater vent?
Carcer suspecting that Ramona was behind the killing of Arlo was timely and Ramona sacrificing Gabe to keep Caul busy was a nice story idea.
The art was ok. I liked the fishtank with the skull in it but Fishy Caul looked ridiculous.
On the whole, I’ve lost interest.
I have to award to Slaine this week as that art saw off Wagner’s script and Lee Carter’s Nazi Lizards.