The second of two Prog reviews this week for the non jump on Prog 1934. This time from Orlok who is following on from the returning Rich, which is a little like going after John Holmes at an orgy to be honest…
Nice pun, although warp factor ten is impossible according to my pedantic Trekker nerd pals.
The brown and red painted goodness here is stunning and the whole thing has a sense of blurred movement akin to the face changing scene from Innerspace.
The cover of course features the warp spasming Slaine in terrifying aspect. Or it could be Miss Swansea.
Regardless it’s something that I have been aching for Simon Davis to draw and now he has it was well worth it.
Inside, Paedo Tharg tells us that the Summer Special is on the way and there’s another risible Droid Life. I’m not even bothering reviewing these now.
Right, so Carroll is back on deck and starts this with a bang as his character of Fintan Joyce is waylaid by a hard as nails
I’m sure there will be a reason why an apparently invisible killer has to be hired to bump off Joyce rather than just knock over the bank. Regardless there is something in the late Joyce’s safety deposit box that is drawing all sorts of attention.
The action scenes are well done, with Stonefish being particularly bad ass, slicing a helmet in two and having all manner of tricks up his sleeve.
The best line was the delivery robot with the “So are you going to sign for this or what?”
I think this is the first pairing of Carroll and MacNeil, so that’s exciting stuff. That first panel looking up at the block is lovely and I’m looking forward to seeing MacNeil’s take on Murphyville.
There needs to be some outrage about the gratuitous shot of Dredd’s steel buns on page 3.
We open with a lovely bit of scene setting as a parkour juve is put through his paces by escaping some demonic scrotes. With at least one priest overseeing it, it seems he is being groomed as a holy warrior of sorts. The connection to the previous case is also a nice touch.
This continues to be the best thing Rennie has ever done and he puts aside his normal social engineering to bring us a fully rounded Harry, full of intolerance and bigotry. His slagging off of both the Scots and the Geordies was funny, as was the Dusty Springfield crack.
So yeah, ticking all the boxes.
The art is lovely. Page 2 is a typical estate playground complete with a sodden mattress and smashed up swings.
Loved the Chicken-ish shop on the Newcastle street and the uncomfortable stares from the local plod.
Let’s start with the art, which is bloody gorgeous.
The colours are stunning and the frame layouts are so subtlety brilliant that the whole thing just leaves you feeling like you have watched a Miyazaki film. My top pick is the lovely scenes in the council chamber with light flooding through windows.
Was that a rescue suit attached to the ring?
The story is a world building start and a decent one at that. There will doubtless be comparisons to Leviathan but that will soon pass and I can understand if people sense a familiarity in the concept. My gut reaction is that this is more than just a re-tread of the Edge’s past glories.
Some 300 years have passed since a shit kicking fight and it seems two different cultures have been separated by the lethal fugue produced, each perhaps unaware of the other, though there are clues that may not be the whole truth and the animosity to Hodge may be a reflection of that. Her paler features suggest that she may have been born in the world below the fugue, a world without sun.
With 18 vessels gone and the White Hart Line (nice) about to stick a corporate oar in, it’s up to copper with a past Hodge to sort this shit out.
To make matters worse, her deputy is a revenant; a cyborg abomination that terrifies children. Every home should have one.
And that tank that comes up the mountain out of the fugue…smashing!
Dredd was a cracking start, as was Helium but I’m giving it to Absalom which is fab.
Strong proggage this week.