Dear Lord Jebus this is late. Orlok takes on 1892…
There’s something refreshingly old school about this and to have a circle cover must fair get The Whittle excited in an unnatural way.
MacNeil pulls off another beauty that could easily grace an annual or t shirt.
The colours and composition are all spot on as you’d expect and my only quibble is Joe looks far too young.
Walter with his beer has shades of Bender about it.
Inside Paedo Tharg thrusts a mildly amusing Droid Life at us about a year too late. The self-referential timing gag hammered that home.
Joe investigates a series of robberies by a Judge Death impersonator and crosses paths once more with Walter and Mrs Gunderson.
The art is lovely with a slightly lighter feel and MacNeil starts us off with two Big Lebowski references with the block name and bathrobe.
Funny too are the alcoholic drinks on show…Cy Dur and Wine-O. Groan!
I do love the MacNeil bike and his layouts are astonishing. He gets a lot of the story across without the need for explanatory boxes and that’s a tremendous skill indeed.
Circle panel too=Whittle squee.
It was also really good to see the return of the old Judge Dredd logo as a tribute to the late Jan Shepheard. I’ve missed it.
Walter malfunctioning in a way that of course has gone undetected by Mrs G (except the bedsock omelette) is just hilarious with an undercurrent of sadness, even though the character annoys except in the strictest moderation. The presence of dog food in his shopping (“Walter has a cat”) as well as the third person speech lends itself to senility which of course robots don’t get but Walter is like a VCR in today’s world and malfunctions must be more common and less fixable.
Maybe he’s just been driven bonkers by having to wash Mrs Gunderson’s pussy.
The Bible selling scam (it’s a mug’s game) was nicely done as was the reference to a 3D printer being used to knock up some Dark Judge accoutrements. Targeting the defenceless and bonged up hippies pays off until one victim carks it, and since this is told in the past tense I assume he’s already in custody. In which case he’s remarkably candid about regretting not killing the witness.
Our heroes meet Lane Closure who wants to know why they’re working pro bono.
Well I have to say the art on this thankfully short run has been the best in ages. If anything it has shown that Lynch can pull off Prog work with style. He also gives us a nod to the oft used Nighthawks diner, which is nice.
It’s not overly busy and has some really good angle use, capturing a noirish feel to the events.
The panel of Ted holding a smoking gun is very Frank Miller.
We’re not that lucky with the story which is like the Sharknado 2 of the prog, especially since Lane has no intention of giving the address to our heroes yet brings it with him anyway. This latest run is surely all based on an unoriginal story idea proposed by Dan Abnett’s accountant.
Dear Lord Jebus, let it end.
With the Christians in a bloody heap, Aquila is going to grant Peter a swift death. Until interrupted by a rock troll.
Said troll is from someone on Aquila’s list who has gotten wind of it for story reasons and because it was necessary for Aquila to get interrupted.
We then get a coincidental backstory of Aquila being a quarry slave like Spartacus so he can demonstrate his ability with a handily placed hammer.
The only plus point here is that Christianity’s not on the rise through divine power but rather by the actions of Rome. Which of course is exactly what happened when you think about it.
The art simply cannot be faulted and the dust up between Aquila and the troll ends with a gorgeously rendered hammer to the chops. Leigh isn’t shy about splashing the claret around either.
Holy fuck. After a poisoning, Wren meets the Blind Watchmaker.
It’s gone all Matrix with a white suited higher intelligence explaining everything to our bemused hero. There’s even a simulation of a city for Neo’s sake.
All of the orrery folk originally came from New York which explains fuck all. The Watchmaker appears as various famous people (Samuel Clemens, Robert Oppenheimer and Kurt Vonnegut) to bring to the fore the aspects of his arrival, ill-judged contact with and subsequent destruction of Earth. He reformed the solar system into the orrery and seeded it. This act took his life and he exists now as an echo.
Now that it is failing he reveals the key is a secondary operating system that will reboot everything. Sounds a lot less shit than Windows 8.
The moon of modernity has become self-aware and must be stopped before Trinity dies. I hope that makes sense to some of you, cos it’s batshit insane to me.
The art is still nice and this was a cool diversion from what we have had before.
Loved the touch on the forehead that replicates the touch that started this all off.
Shuck gets stuck in and chops away but learns that as Crown Prince he is subject to a curse. A curse to have a face the same as everybody else’s.
Shuck is revealed to be a maniac in combat.
With troll parts flying around like rumours of Cliff Richard’s sexuality there is another flashback to how our titular hero got free. Well, sort of. In a nutshell his captors are attacked by a shitly drawn beast which they set ablaze.
In the daylight the troll parts become as stone, which is nice and in keeping with the generally accepted mythos.
There’s the actual phrase of “Odin’s Beard” so anyone playing a Ron Burgundy drinking game can clear up. The dialogue is a bit ropey in places and I think it is trying a little too hard.
The art is still ok despite Steve Yeowell not being able to draw an effective or scary monster.
Dredd hit all the right buttons this week.