There are times when the Meg is so good it sets Orlok’s hands ablaze with thrill powered goodness. This is not one of those times…
That’s a lovely image and sets a nice mysterious tone for the story inside.
In an unfortunate turn of events, Parr covers up part of the logo, which is likely to cause rage in some quarters, but still it is good to see him grace the cover.
I like the faint glow of the runes on the mask and playful blood spatter that gives a mere hint at the horrors within.
There’s also something a little bit Skyrim about that mask too.
Colours fine, composition fine…liked it.
The art hurts my eyes after a while and is really not to my taste at all, and reminds me of coming out of a bad migraine. I can recognise some really good aspects of this work despite my misgivings and personal preference. In particular the throat slash (on the run) on page 2 and the huge mutant fish that the locals have landed scream attention to detail. That fish is about the same size as a Manta Tank so they could have dragged that out of the sewer.
That last page is very beautiful too with the rendition of the fire, the look of the water and the play of light all being real high points in what is otherwise and muddy and unpleasing palette.
It’s certainly atmospheric, but then again so are my farts after eating pickled onions.
The big reveal is that the woman we saw in the first part turns out to be Doya Meekins from Blood Culture who I thought was taken back to the city to give birth to her non mutant baby.
It appears she did not stay once she dropped the sprog, who I seem to recall was potential future Cadet material. It also transpires that Meekins is required to be kept alive by Krait since she is an expert on Sovsec. I must have missed that part of the continuity.
As luck would have it, Joyce knows one of the guards and that affords him and Dredd entry where they get the skinny on the plan before being killed (in Joyce’s case) and captured (in Dredd’s). If Joyce is actually dead I may have to eat one of my own balls in a pie. It’s a fairly safe bet he isn’t but we’ll see next month. For some reason Dredd isn’t killed outright and is just given a ripped uniform like a gnarly Jim Kirk. He’s even allowed to keep his helmet and badge too, which is jolly decent. I’m struggling to find a reason for Dredd to still be alive other to ensure he escapes next issue.
Krait is planning a big raid against Sovsec which is either brave or foolish depending on how you look at it. To do so he needs weapons that will work in the Gyre, no hang on, that doesn’t matter does it since Sovsec is not the Gyre? He just needs any weapons that will get the job done.
So the script isn’t perfect but is simply adequate and it was nice to see Dredd crack a funny with his “Irish eyes” comment.
Throwing the Lawlords tech into this is Carroll connecting all of his disparate stories and creating his own continuity (which is bold) but none of these stories are wowing me at the moment.
REALM OF THE DAMNED:
Well this gets off to a colourful start given the first page contains both C, S and F-bombs. The irony is that the interviews are censored for sweariness but this isn’t and that happens so often in the Meg that it makes me wonder if it is assembled in different buildings or if the interviews are cribbed from somewhere else with more censorship.
I don’t know if the story is trying to shock (I’ve never seen someone pissing blood, let alone into someone’s mouth, in a comic before) or if it is just hard hitting but it has some real life parallels with those fucksticks in Norway who decided it was a good idea to torch a church or two as a statement against a made up sky daddy and in support of their own made up nonsense. Of course I don’t recall that particular tale ending with a demonic entity sprouting wings after some crimson watersports, but you never can tell in Norway. It’s an odd place.
Balaur seems very much a creature out of time and there’s a few tantalising clues as to a whole pantheon of dark gods who have been vying for worship.
I’m sure this tale will be divisive and though I stand by my old staple that as a non-Dreddworld story it does not belong here but regardless of that it certainly grabs the attention. We’ve set the scene and the characters have been introduced so we’ll see where this goes next and if the momentum can be maintained.
The art is very drab in colour and punctuated brutally by the red when it all kicks off. That’s a good artistic style and really serves to push those scenes out.
The backgrounds too are very well done with either landscape work or blood spatter to compliment what is happening in the panels. You’d expect no less from Parr.
I like the expressions throughout too so the art gets top marks.
Maybe it is the art, maybe it is the dullness of the story but I just don’t care about this one at all.
From what I gather, Rybakov is making a play for world domination and so wants to control the cyborgs and knock over Sovsec as the first big step. It seems everyone wants a pop at that place so they must have some really good restaurants or something.
Of course he’s keeping Demarco alive to explain his supervillain plan and because she has some “attributes” he can employ. Yeah, I have no idea either.
Oh and all of his people are apparently in on the plan and are apparently completely fine with it.
Luckily Pax and Demarco overpower the guards and scoop up some luckily un-palmprinted shooters before warning the department.
This doesn’t help Pax who is crushed to death by a Lawmaster. Shit, that’s her and Joyce killed in the same strip and potentially another testicle for the pie.
The art is meh. Samefaces abound and you can only tell one character from another by clothing or hair styles. For some reason one of the cyborgs is a huge giant without any lower body simply because the perspective is for shit.
Characters also appear to get from one place to another without any form of transition or explanation.
In the hands of another artist this may make sense but sadly Yeowell is a bad fit for this strip.
The story seems to be floundering a bit and we are not really any further along than we were last month. The investigation takes a procedural turn “off camera” and this instalment seems to be merely showing off the Cursed Earth to Conti and exposing the dust devils as semi-mythical in nature.
The big draw here is the art. They really need to let Willsher loose on the tech for this movie universe as the quads, VTOL and radwagons are all fucking awesome.
And that’s one hell of a splash page in there which is complimented by a Judge Pilot with a really cool name.
Best of all is the sheers dynamism in that last panel as a jumping Dredd and Conti are seen from below. It makes my heart leap to see such artistic might pumped into this strip. Just compare this one image to anything passing itself off as action in the Demarco story and see the world of difference.
The comparison is harsh perhaps but it does show the variance in artistic competence for action scenes.
A mighty stack of interviews this month with 11 pages being devoted to chattiness. That’s a good chunk of my money on material better suited to a Comics Review magazine. Yes, I know I have said this before but it is 11 fucking pages.
And Dr Who? Yeah, that can fuck off.
The Meg is a poor cousin to the Prog at the moment but the best of the bunch is the new strip, Realm Of The Damned.