Showing posts with label mark harrison. Show all posts
Showing posts with label mark harrison. Show all posts

Thursday, January 12, 2012

160. It's not dark yet, but it's getting there.

January 2006: The year begins with a pretty strong lineup of four popular returning series and one new thrill, a fairly typical breakdown of stories for a relaunch period. Judge Dredd is investigating a serial killer in a six-part story by John Wagner and Patrick Goddard, and Slaine is at work in a carnival-set storyline only notable for the appropriation of a Bob Dylan lyric as the cliffhanger to the penultimate episode. The Dredd story is reliable and engaging, but it's the other three stories that catch my eye this time out.

The Ten-Seconders is written by Rob Williams and illustrated by Mark Harrison. It's set in a grim future, where pockets of surviving humans manage a meager existence in the wake of the planet's devastation. Some years before, a "family" of powerful aliens arrived, affecting the appearance of angelic superheroes. They were hailed as saviors, but turned on the world and left it a wreck. The series, therefore, explores a possible future in the wake of the sort of carnage depicted in previous iterations of this kind of story, such as Alan Moore's Marvelman or Grant Morrison's Zenith. The color, the fighting and the mayhem is all in the past, and the gray, miserable present is all that small outposts of survivors have left to them.

The series, for one crafted to avoid the "hook" of watching the superbeings betray the planet and destroy it, is nevertheless written very effectively. It is one of the most promising series to emerge in the mid-2000s, and that's despite some surprisingly ineffective art by Mark Harrison which threatens to sink the whole thing. Normally a very reliable and engaging artist, Harrison's work here doesn't move me at all. Perhaps he's guilty of overthinking things, but while it's certain that a world this devastated would exist in a permanent state of clouds and darkness, it's no fun looking at page after page of battleship gray backgrounds. Men no longer able to reliably find disposable razors probably would have trouble shaving, but it doesn't help readers determine who is who, when, in a main cast of four, three of them are older fellows in fatigues with full facial hair. So it's the story of Beardie, Beardie, Welsh Beardie and Teenage Girl in Ball Cap.

Occasionally, we cut to see what the aliens are up to, and Harrison's panel compositions are bizarre, to say the least. Throughout the story, nobody is posed in a conventional way, and the "camera" is never at the same point that any other comic artist would consider placing it. It is a huge challenge to follow, and things will get much more difficult when the second story, in 2008, sees three separate artists assigned to it.



Still, despite all the many problems with the art, readers who persevered found something exciting and different within. Given an artist more inclined to follow expectations and play this safe, this might be better remembered, and not quite so much the near-miss that it's considered.

Running alongside it is an extremely interesting six-part Caballistics Inc. adventure. "Changelings," by the regular team of Gordon Rennie and Dom Reardon, sees the writer feeling very confident that his readers are ready to follow along without question, and he quite safely throws the expectations of narrative right out the window. For fans who have been around since the beginning, knowing the characters and the subplots, this is business as usual, if more frenetic than some earlier adventures. I accepted all the goings-on without question, and it was not until I sat down and looked at it before I realized just how weird the structure of the story is.

Take this week's episode. It moves through four separate scenes with different sets of characters with just a single caption. Not a "Meanwhile, back in London..." and not even a "Meanwhile," just abrupt transitions from one place to another, expecting the readers have read the previous episodes carefully. Anybody coming to this as their first episode of Cabs would be hopelessly lost. And that's an overused cliche, but I mean that on a slightly different level than usual. This week's episode, as it jumps from scene to scene, does not even have a single narrative clue or establishing shot to allow readers to understand that the incidents are happening in different places.

Over the course of the story's 30 pages - and I use "story" pretty darn loosely, as it's really more "a chunk of narrative time where various subplots are recounted and expanded somewhat" - we catch flashbacks to 4000 BC, 1672 and 1922, and see members of the team kill a rakshasa. Chapter and Verse meet a little girl who sends them on a quest into the underworld kingdom of fairies, Ravne shows Jenny "his etchings" and we see that he's got the supporting player, Mr. Slater, in a tank of some kind, Dr. Brand finds clues that their benefactor Ethan Kostabi is many hundreds of years old, and then, in one of the comic's all-time classic cliffhangers, he gets pushed to his death in the London Underground, brutally murdered by his teammate Ness for as-yet-undisclosed reasons. Over the last two pages, the long-imprisoned Magister, a character introduced a year and a bit previously, is seen to have escaped his island prison. Now, the first of these two pages is pretty striking and the last is absolutely glorious, but at no point does the script pause even a breath to explain who this character is. Strangely enough, this will be the last appearance of the series for more than a year, as it takes a very disagreeable hiatus until late 2007.

The Ten-Seconders, with its unconventional artwork and after-the-fall premise, is challenging to anybody who tries it. Caballistics Inc. , with its unconventional script, is challenging to anybody who comes to it fresh. From the perspective of knowing the characters, the Cabs "story," despite giving no quarter at all to its audience, is certainly terrific, and only has one flaw: the plots do not appear to proceed across the same length of time. There is, for example, a necessarily large gap in time between the death of Dr. Brand and the questioning, by Inspector Absolam, of Ravne and Jennifer about his death. This gap is not matched at all by the concurrent plotline with Chapter and Verse and the fairies, which continues as though everything else in the story was happening at the same time. This is a common danger to comics that I don't think writers ever even notice while they're constructing them. David Anthony Kraft, writing Marvel's Defenders, did this once in the 1970s, where a single fifteen minute chase-and-fight scene between Valkyrie and Lunatik in New York City was taking place just one "meanwhile" caption away from the B-plot in Russia, which stretched over the course of several days. Suffice it to say that once a reader notices this, it's not possible to ignore.



So these are two stories that I enjoy in spite of the obstacles thrown up by the creators. On the other hand, there is Strontium Dog, which is lovely, conventional and the great gag this time is that the characters don't look quite right. Working on a planet where the natives don't have hair, Johnny Alpha and Wulf have to go bald to fit in.

Their previous adventure, "Traitor to His Kind," was a mean, downbeat and serious political thriller. This, however, is one of the lighter Strontium Dog adventures. Assisted by a big fellow bounty hunter whose mutation is thick, white, Womble-like all-over body hair - he's one of the occasionally-appearing Fuzz family - they've tracked a criminal with the trademark-tweaking nickname of The Plastic Man to a planet where he's waiting out a statute of limitations, and where Fuzzy is wanted on multiple counts of bigamy. His hair has had the native girls swooning, but the local police take monogamy very, very seriously on this world, particularly when hirsute fellows come to town and woo princesses.

While the death of Dr. Brand proved to be among the most stunning dramatic cliffhangers in 2000 AD's history, Johnny and Wulf losing their hair, and Wulf's trademark bushy beard, is certainly one of the funniest. Prog 2006 had run the first two (produced) episodes as a single, double-part installment, and that's how that chunk of the story ended, with our heroes shorn and shaven and ready for action. I'd like to think that Carlos Ezquerra had to pause for a few moments and spend a little more time with his sketchbook than usual figuring out what Wulf actually looked like under the beard. It's terrific.

Stories from this prog have been reprinted in the following collected editions:
Caballistics Inc.: Creepshow (2000 AD's Online Shop)
Slaine: The Books of Invasions Vol. 3 (2000 AD's Online Shop)
Strontium Dog: Traitor to His Kind (2000 AD's Online Shop)


Next time, before there was Zombo, there was... Harry Kipling (Deceased)! See you in seven days, friends!

Thursday, June 3, 2010

137. Men and Women Without Many Clothes

April 2004: Well, isn't this a terrific cover? Chris Weston started his career working on Judge Dredd in the early '90s and he'd been contributing to various series here and there while also getting high-profile work for American publishers, frequently illustrating scripts for Grant Morrison. Speaking of which, a few weeks ago, I finally bought the first collected edition of Morrison's run on Batman, and, after my eyeballs got finished bleeding trying to decipher that godawful artwork, I concluded that as soon as I win the lottery, I'm going to pay Chris Weston his top page rate and just give him damn near every Morrison DC Universe script that someone from this battalion of chicken-scratchers has ruined - Batman, JLA, Final Crisis, the lot - and make it look comprehensible at last.

Unfortunately, Weston, who, in a perfect world, would draw damn near everything, is only handling Rogue Trooper on the cover and not the interiors. Artwork on this story is handled by a newly-constructed droid, PJ Holden, and it's not bad, though it certainly suffers by comparison with the cover! It's very much the work of a new talent and it's very rough in places, but any eyeball which would rather look at that garbage Adam Kubert drew for Batman, probably for a lot more money, than this deserves to bleed, frankly. Holden's work starts off pretty good and would improve greatly over the next several years, but this is still a competent and fine job, and a reasonable conclusion to Gordon Rennie's Rogue Trooper series.

If you recall your Thrillpowered Thursday lessons, Rogue Trooper had returned back in July of '02. The 25 episodes that Rennie penned - staggered out over an agonizing 85 weeks - proved to be mostly good reading this time around. Rennie elected to structure the run much better than I had thought, and it would have worked out very well, had there not been such enormous breaks between the stories.

After the four-part opener (#1301-1304), there was a one-shot called "Weapons of War," illustrated by Dylan Teague, which introduced some new supporting players on the Souther side who were looking for Rogue. Their arc, and that of a ruthless and bloodthirsty Nort commander, Arkhan, weaves through the series, and reaches a pretty satisfying conclusion at the end of "Realpolitik." Rennie did a good job with the task assigned him, but this really would have been a better series had it wrapped up in a single calendar year, and not been dragged out over... wow... 22 months.

Rogue will return a few more times, in late 2005 and the spring of 2006, in stand-alone stories designed to tie in to the forthcoming video game, but other than these, his story is over. And so, mercifully, is the story of Durham Red.



Thank heaven this is finished. Durham Red had been an occasionally entertaining space opera starring a bad-tempered, half-naked mutant vampire for some time, but this third major storyline, "The Empty Suns," is just unreadable nonsense. It had actually begun in October of '03, but artist Mark Harrison hit some delays and the story took a 14-issue break after seven episodes.

What remains is an in-one-eye-and-out-the-other melodrama in which Durham Red, her teenage son(!) and some other castaways from the earlier series get back together for one last go at saving the universe from the latest iteration of the pandimensional threat du jour, something whose name has already escaped me. Red rechristens her son Johnny, in honor of Johnny Alpha, whatever that's worth.

All the while, Red wears as little as the law will allow - her latest wardrobe choice is an unbelievable black vinyl loincloth thing that shows every legal inch of leg and thigh - and stays in a bad mood and basically proves to be as unsympathetic a star as is possible. This is absolutely a story where neither writer nor artist are bringing their best, which is a real shame since we know they're capable of far better. Dan Abnett's captions are overwritten and ponderous, and the visuals of outer space action are murky. It's almost impossible to follow the action, and since the lead is so unlikeable, nobody wants to. Tharg promises that the story's conclusion, in issue 1386, will be the final episode ever, and, mercifully, he's meant it.

And on that sour note, it's vacation time! Thrillpowered Thursday will be taking off for two weeks for recharging and recuperation. We'll be back later in June with a look at Young Middenface and Black Siddha See you then!

...Or not. Honestly, guys, I'm really burned out on doing this every week, so this'll be the last Thrillpowered Thursday for the present. Thanks for reading.

Thursday, April 1, 2010

128. Meg in America

June 2003: One of the strangest little bits of 2000 AD lore came around this time, when some distributor made a halfhearted and half-baked effort to sell the Judge Dredd Megazine on newsstands. It was never broadcast or announced on any blog and if anybody ever found out about it, it was totally by accident, but I remember the incident clearly, and the lovely way my eyes popped out of their head.

So that summer of '03 was the first after my first wife and I split up, and the kids and I moved into our stately manor in Marietta. One day that summer, I got word that the Georgia Music Hall of Fame had a small display at Discover Mills, the Atlanta-area site of the Mills chain of mega-malls. It was on the other side of town, but a lot closer than the actual Georgia Music Hall of Fame in Macon, so the kids and I drove out there on a Sunday.

Talk about small! This display was just teeny - four little kiosks! And there was a sign for this on the interstate? I felt fairly ripped off, but it's not like it cost anything other than gas. So while we were out that way, we decided to walk the mall and see what there was to see. It turned out one of the anchors was a big Books-a-Million. If you've never been to one of these, it's sort of like a downmarket Borders with three or four extra shelves of Bibles. And there, knock my socks off, was the latest issue of the Judge Dredd Megazine, a comic which I had never seen on a newsstand in America. But the really impressive thing was the price: $4.99.

For years, the Megazine wasn't available in the US at all. Diamond finally started soliciting it to comic shops in early 1997, and they did their customary half-assed job, routinely skipping it and losing issues. I had actually dropped it for a while myself, because I didn't like paying six bucks for a comic that had a few pages of Dredd and many more pages of Frank Miller and of Preacher, but resumed reading in 2000. A glance over my collection suggests that I only (only!) had to replace about three of the next eighteen issues, but when the Meg went to its modern, 100-page format, the distributor finally got their act together.

They just charged $10.99 a copy.

Now, for a hundred pages, that's actually a pretty reasonable deal. American superhero books are about twenty pages long and cost $2.99 at the time, so the price-per-page was pretty good, especially considering the high quality of the strips in the Meg. Under Alan Barnes' aegis, the Meg's quality skyrocketed, with a super lineup of strips. In this issue, you've got Judge Dredd, featuring the return of the recurring serial killers Homer and Oola Bint, by John Wagner and Graham Manley, Middenface McNulty by Alan Grant and John Ridgway, Devlin Waugh by John Smith and Colin MacNeil, Family by Rob Williams and Simon Fraser, Black Siddha by Pat Mills and Simon Davis and the one-page comedy strip Apocalypse Soon by Alan Grant and Shaun Thomas. Plus you've got reprinted Slaine by Mills and David Pugh and the classic Darkie's Mob, from the pages of Battle Picture Weekly, by Wagner and the late Mike Western. It's certainly not a package I object to spending eleven bucks on. Especially, he said with a mercenary glee, since it really only cost me eight with my store discount. But suddenly here the damn thing was on the magazine rack, next to Shonen Jump and the American books, for five!

Sadly, it didn't last very long. I started hunting down the Megazine at every place that looked like it might have a newsstand, taking a copy to the register and thanking the manager for carrying it. I'd usually say "I picked this up earlier, and I just wanted to say I'm so glad that you carry it." I did that ten or eleven times.

But I never canceled my existing order for it, figuring, rightly, that the experiment would not last and, indeed, by the end of 2003, the Megazine was gone again, with no indication it was ever there. I sometimes wonder whether anybody found their way to thrillpower through it. I went to the real Georgia Music Hall of Fame the following summer. Everybody should.

In recent news, I reviewed the 14th in the series of Dredd Case Files over at my Bookshelf blog. Did you catch it? Link to it? Tell your friends and neighbors?

But it's funny that we should be talking about a previous attempt to break into North America right now, as the news about the Simon & Schuster-distributed 2000 AD collections continues to swirl. Here's the news from Publisher's Weekly as appeared there Monday, and on the website yesterday. The first two books are solicited in the current issue of Previews. Spread the word!!

Next time, 2000 AD in plastic! Get ready for this blog's first two-part entry, as 2000 AD invades the tabletop miniature game called Heroclix!

Thursday, November 12, 2009

118. In the Flesh

November 2002: With no small amount of rejoicing, editor Alan Barnes finally brings all this business of multiple volumes for the Judge Dredd Megazine to a long overdue end. This is the eighteenth, and last, issue of Megazine volume four, and the 200th overall. The next issue, which we'll come to next time, will be formally labelled issue # 201. Mercifully, the simple numbering convention will continue from that point to the present. On the cover, it's Durham Red, as depicted by a model named Anna Edwards. This cover, it must be agreed, doesn't go over well with most fans, to which I say, yeah, whatever. This is a fantastic cover! I guess I understand fandom's reluctance to embrace it; even the editorial evokes the two Nemesis the Warlock photostories from 1987 with a self-aware shudder, never mind all those awful photo-comics that infested the early '80s Eagle. For my money, Anna is sexy and gorgeous and, for about the ten minutes it took to read the first twenty pages of this issue, she is, to me, the definitive Durham Red, completely eclipsing any previous depiction of the character.

Then Mark Harrison, who's been painting her exploits for the last few years, clears his throat politely and shows everybody who's the boss:



As you may recall from earlier installments, Dan Abnett has been scripting a series called "The Scarlet Apocrypha," in which seven different artists provide their take on the character in a variety of genres. Earlier, we've seen Steve Kyte placing her in an anime pastiche, Carlos Ezquerra revisiting the 1980 serial Fiends of the Eastern Front, and John Burns doing the character as the central figure in a Dario Argento horror film among others.

Mark Harrison brings us a world where Durham Red is a character from a long-running series of sci-fi feature films, and where the actresses who have played her are regulars on the SF memorabilia con circuit. Masterfully, he takes Abnett's cute little script and turns it into something amazingly neat by illustrating it as a Mad pastiche in the style of that legendary member of the Gang of Idiots, Mort Drucker.

This is one of my favorite 2000 AD one-offs ever. It's not just that the constant barrage of background gags really works, or that the myopic viewpoints of the hapless teens at the cons is so very true. Amusingly, they seem to love each and every one of the actresses who played Durham Red in the movies, but a replacement actor for Godolkin is dismissed as being as pathetic as the "fake" Travis in the second series of Blake's 7.



There's just a feeling of really audacious experimentation in doing this strip this way at all. Each of the previous artists had contributed some great work, and it was very enjoyable to read, but almost all of it was still somewhere within 2000 AD's admittedly broad style. Even an experimenting Ezquerra, like when he discovered filters and computer coloring in 1994 or thereabouts, is still very much Ezquerra. But this is just radically different stuff for 2000 AD, and the sort of risk-taking that I'd love to see more often. It's also very nice that Harrison had the chance to pay homage to Drucker, an early influence on the artist when he started out. As I've said previously, it's occasionally been evident in his work before: that incredibly sexy Durham Red on the cover of prog 1111 has unmistakable Mort Drucker cheekbones. The episode was reprinted with the other Scarlet Apocrypha installments in the third of Rebellion's Durham Red books, The Empty Suns.

There's actually some non-Red material in this issue as well. In it, all of the ongoing series reach their final episodes, clearing the decks for the new stories that begin in Meg 201, which I'll come back to next week. So it's goodbye to The Bendatti Vendetta, Scarlet Traces, Young Middenface and a very good Judge Dredd storyline that was illustrated by John Ridgway. 2000 AD's brief flirtation with photo covers quickly ended, although an outtake from this session will be pulled into service a year or so later when Durham Red returns to the weekly, which is a real shame, as we never had the fun of seeing an actor dress up as Devlin Waugh.

Back in the summer, Rebellion issued the thirteenth in their series of Judge Dredd Complete Case Files. This reprints all the Dredd episodes that originally appeared in 2000 AD from March 1989 to January 1990 in one very nice package. Most of them are in full color, although these originally saw print back when 2000 AD only had a single color episode each week out of five stories. For ten weeks in the period, the Slaine storyline "The Horned God" got the color slot, kicking Dredd to the front of the comic in black and white. So now you know, it's been twenty years since Dredd was a black and white comic. Lotta pages under the bridge in all that time!

The first of those episodes is the classic "In the Bath," in which Dredd reflects on his battered and bruised body while trying to enjoy one of his rare moments of scheduled downtime, only to find he still can't escape the crazy, ultraviolent city for even a few moments of peace and quiet. The episode, by John Wagner and Jim Baikie, was instantly praised as a classic, expertly mixing quiet pathos with absurdist comedy.

Most of the book is written by Wagner. By this point, he and Alan Grant were working individually, and Grant doesn't contribute quite as many episodes as before, but he does bring some real gems, best among them "A Family Affair." This is a really mean-spirited, hilarious look at things spiraling way out of control when Dredd goes to inform some citizens that a family member was killed in a police shooting. Steve Yeowell paints the episode, and there's a two-panel moment when someone realizes exactly which policeman did the shooting which is the funniest thing ever. Yeowell's third series of Zenith was running about the same time, and it's very interesting to see him apply the same style, but with color.

There are no major storylines or epics in this collection, but Wagner does touch on some earlier threads that carry on from earlier volumes. At this stage, there are still comparatively few recurring characters in the series, but Anderson and Hershey show up again briefly, and we have a return for the disturbed Judge Kurten, now in his new base of operations south of the border, along with Rookie Judge Kraken, who will become a major player in the fourteenth book.

There is a small, unfortunate printing error in this edition. The Colin MacNeil-painted "Dead Juve's Curve" repeats an error from its original printing and has a couple of pages out of order. It's an unfortunate hiccup, but one easily overlooked among so much really good material. Don't let the number 13 on the book deter you if you're new to Dredd: this is a perfectly fine starting point for new readers, and it might do you well to begin here before the apocalyptic events of the volume which comes next...

When we return, it's the biggest Megazine yet, with the debut of Family by Rob Williams and Simon Fraser!

Thursday, June 18, 2009

103. End of a Short Era

Prog 1261, published in September '01, sees the end of two of the current major storylines. Both the Dredd epic "Helter Skelter" and the second Durham Red serial, "The Vermin Stars," reach their final episodes. They're both completely overshadowed by the eye-popping events in Nikolai Dante, discussed last time, but the Durham Red story, with a spotlight cover by Ben Willsher, is memorable for the interesting way it seems to turn its back completely on the character. When Durham was resurrected by Dan Abnett and Mark Harrison a couple of years previously, it looked like she was set to be a regularly-featured character. Yet after that initial serial, there was a one-off episode, and then this lengthy layoff before this storyline, which ends with her supposed death and a poetic narrative epilogue which seals her fate, that even if she had survived the explosive events thousands of years in Earth's future, she was never heard from again. That was certainly a surprise to readers.

For many readers, Andy Diggle's resignation as editor came as a very big surprise, too. Particularly the way he announced it.

In earlier installments of this blog, I had mentioned that Diggle was a regular poster on the newsgroup alt.comics.2000ad. There, he and several of the other freelancers held court and the vibe was pretty relaxed and laid-back. But there was an ongoing frustration: regular complaints from a well-read, albeit unhappy, reader in Eastern Europe. Now it's pretty clear that Diggle's displeasure in the editor's seat had a lot more to do with going rounds with contributors, and the new owners desiring to relocate from London to Oxford, than a disgruntled fan. But it was to her that Diggle made the following announcement:

"If the editor can't re-write without causing a diplomatic incident, is shackled with a restrictive budget, and the editorial department is spread so thin that there is no time for re-writing anyway, what is he to do?

Employ the best people available. Or quit and become a writer.

So that's what I'm going to do. I have resigned as editor of 2000 AD, and from Christmas will be devoting my time to writing comics full-time - starting with "Judge Dredd Versus Aliens", which John Wagner has asked me to co-write with him. I guess he has a higher regard for my editorial skills than you do.
"



Since 2000 AD requires that its editors commission far in advance, there were several Diggle-ordered scripts in the pipeline which would appear throughout the year 2002, including two major new stories which would debut in December's year-end prog, and the next Strontium Dog story, which will begin in prog 1300 and, unusually, would run alongside a series called Bison which Diggle had rejected.

But that's down the line. The reaction that September was one of considerable shock and surprise that the much-liked editor was leaving after such a short tenure. Professionals and fans alike offered lots of praise for his time in the job. True, there were some misfires and disappointments, and he never found time to launch a major ongoing series, but he discovered several major new talents, and modern 2000 AD would certainly be poorer without the contributions of Boo Cook, D'Israeli, Frazer Irving, Si Spurious and others who got early work in 2000 AD's pages during his two-year run. His assistant editor, Matt Smith, would take over starting with Prog 2002, but that's getting ahead of things.

Speaking of getting ahead of things, the eighth Nikolai Dante collection was released a few months ago. This compiles all of the episodes that originally appeared in 2000 AD # 1518-1580 - 31 in total, all written by Robbie Morrison, with art by Simon Fraser and John Burns.

Maybe the old reviewing circuits are needing a little juice, because I can't come up with much better of a reason for anyone to own this other than "it's freaking Nikolai Dante, people, come on!" By this stage of the series, Dante is working as Tsar Vladimir's principal envoy and blunt instrument. We catch up with several cast members from previous installments, seeing what terrorism Dante's half-sister Lulu has been committing in the name of the Romanovs, crossing paths with his old criminal sparring partner the Countessa de Winter, and making a swath of new enemies while quietly working out some scheme of his own to get back at the tsar.

This set of episodes from what I term the fourth phase of the Dante epic (it is entering its fifth and probably final stage in current installments) is completely terrific. I think there are a few episodes where John Burns' painting is not as detailed as would be preferred, but his work on "The Tsar's Daughter," which looks into the strange death of Jena Makarov's mother many years previously, is truly remarkable. Simon Fraser is as fantastic as ever. He's teamed with colorist Gary Caldwell and the "Thieves' World" story, in particular, is vibrant and exciting. With the expected excellent reproduction from Rebellion, nice binding, gorgeous paper and matte cover, it's a far better-looking collection than practically anybody else in the industry. One of the best comics of the last decade in a package this gorgeous? Surely everybody is reading this, right?

Next week, ah, well, it looks to be something of a hiccup. Just to show we don't always spend every blog gushing about how brilliant 2000 AD is, Judge Anderson misfires, Steve Moore offers some Filler and, despite what I said above, the first Rebellion collected edition which I really think should be left on the shelf. You won't want to miss this... or maybe you do. See you in seven!

Thursday, May 21, 2009

101. Coming Down Fast

July 2001: Prog 1253 features this nice cover by Colin Wilson. Inside, Judge Dredd is a third of the way through a twelve-part epic written by Garth Ennis, with art mostly provided by Carlos Ezquerra. He'll have to bow out briefly - the story goes that his house was being renovated and the builders were doing a fine impression of O'Reilly's men from Fawlty Towers on his roof - and episodes nine and ten will be drawn by Henry Flint, but honestly, the art doesn't seem to be as enthusiastic as the script. Ennis's return to Judge Dredd, part of a deal to reclaim the copyright on two earlier series for Fleetway, Troubled Souls and For a Few Troubles More, is a head-scratching failure. You can tell that Ennis enjoyed putting it together, but the epic is a humorless suggestion that all of 2000 AD's series share a single "multiverse" like DC Comics, and has the evil Chief Judge Cal (remember him?) of some parallel universe decide to invade our Mega-City One because he hates Dredd so much. Even weirder, he teams up with a selection of long-dead Dredd villains who managed to kill Dredd in their home dimensions (including War Marshal Kazan, Fink Angel, Murd the Oppressor and... Don Uggie Appelino of all people), and are so aggravated to learn that he's still alive in our world that they put their differences aside to come here and get the chance to kill him again.

As the boundaries between universes get messed with, we get cameo invasions by the Geeks from The VCs and Old One Eye from Flesh, while D.R. and Quinch joyride through the city and Dredd's radio picks up CB transmissions from Ace Garp. If only it were played as a wild, non-canon romp, it could have been huge fun, but Ennis scripts it with the touch of lead, and it doesn't feel quite so much like a love letter to the comic's past as a contractual obligation.



Faring a little better is the return of Durham Red by Dan Abnett and Mark Harrison. This is the second big storyline for the character in the far-future continuity that the creators established in 1999. It's much the same as the first, a big, sweeping science fiction epic with armies of humans and mutants in bloody conflict. Like the Dredd story, it's a pretty joyless affair, but at least it's not po-faced. Durham remains a likeable character, even if there are no standouts among the supporting cast and villains.

Harrison's artwork suffers from being too darn dark to distinguish anything. What we can see looks fantastic, but since he composed everything in little snatches of black, midnight blue and purple, it's pretty flat until you really look at it to see the detail. Even when Durham gets half-naked, as she tends to, she does so in a barely-lit room. You read this and wish Godolkin or somebody was wearing canary yellow, just to break up the page, or maybe have the sun come up over the battlefield. The panel below is an example of how neat the strip looks on those occasions he chooses to change things up. It's an interesting mix of scratchy pen and ink and computer-generated color patterns.



The other strips which feature in this issue are the second and final storyline for Pussyfoot 5 by John Smith, Steve Yeowell and Chris Blythe, and the second in a series of short Tor Cyan adventures by John Tomlinson and Kev Walker. Also, there's the climactic adventure in Nikolai Dante's "Tsar Wars" arc by Robbie Morrison and John Burns, about which more next time. Of these stories, only Cyan's has not been reprinted. You can buy the Dredd, the Dante and the Durham Red stories in nice Rebellion paperback collections, and the Pussyfoot 5 story was reprinted in a bagged supplement to the Megazine a few months ago.

Thrillpowered Thursday will be taking a short vacation while I get myself married and my co-readin' children take a short holiday. We'll be taking another break in July as well. But be back in three weeks to read about both the new Dante collected edition and the apocalyptic events of the epic that we are rereading. Plus the Banzai Battalion break out into their own bug-bustin' series! See you in twenty-one, fellow Earthlets!

Thursday, January 1, 2009

81. The Dog is Back

Thrillpowered Thursday is a weekly look at the world of 2000 AD. I'm rereading my collection of 2000 AD and the Judge Dredd Megazine, one issue an evening, and once each week for the foreseeable future, I'll see what I'm inspired to write.

Jan. 2000: Prog 1177 sports a cover by Mark Harrison which promotes the series Glimmer Rats by himself and Gordon Rennie. Harrison signs the image "After Frazetta," but I'm not certain which particular Frazetta piece that Harrison's homage is evoking. For my money, the cover is certainly the best thing about Glimmer Rats, a gruesome, violent war story set in an ugly, physics-defying world with a million graphic deaths around each corner. The ten-part story began in "Prog 2000" and ranks among my least favorite strips to ever appear from the House of Tharg.

Everything else in prog 1177 is considerably more memorable. There's a fun Judge Dredd one-off by Alan Grant and Jason Brashill, one of a long series of single-part stories that Grant had contributed during this period, along with the ongoing epic Missionary Man, about which more next week, by Rennie and Trevor Hairsine. The prog also features what I believe is the first 2000 AD work by the writing team of Colin Clayton and Chris Dows on a Pulp Sci-Fi one-off illustrated beautifully by Cliff Robinson. The duo's later efforts, Bison and Synnamon, would receive mixed reviews from the fan base, but this is a perfectly good old-school thrill with a pretty cute twist ending.

The most entertaining, and most important, strip in the lineup is the very welcome return of Strontium Dog, back in action after almost a decade's layoff, and handled by the strip's original creators, John Wagner and Carlos Ezqeurra.

Strontium Dog first appeared in the premiere issue of Starlord back in 1978, and appeared in most of that comic's 22 issues before it was cancelled and merged with 2000 AD. From there, the series and its lead character, the mutant bounty hunter Johnny Alpha, became semi-regulars throughout the 1980s. Wagner initially wrote the series solo before teaming with Alan Grant for most of its celebrated run. Grant wrote the last few storylines on his own in the late 1980s. Almost all of the series was illustrated by Ezquerra, though he elected to stop working on Johnny's adventures once it was decided that the character would meet his demise in a major epic, "The Final Solution," and instead moved over to Crisis to illustrate Pat Mills' Third World War. The full run of the original Strontium Dog run is available in a series of big, chunky reprints called "Search/Destroy Agency Files," and your bookshelf looks naked without them.



Anyway, earlier in 1999, the Showtime cable network was developing TV series based on the 2000 AD properties Strontium Dog and Paul Neal's Outlaw. They came to nothing, but Wagner had assembled a pilot treatment and series bible for the proposed series, and, not wanting to waste a good thing, agreed that the time was right to bring Alpha back to action. "The Kreeler Conspiracy" is a thirteen-part expansion of Wagner's proposed pilot, and it appeared in the comic in two chunks across six months.

The story features the affectation of being the genuine history of Johnny Alpha, including "footnotes" from the historian who has compiled this dramatisation, and suggesting that the earlier series had presented legends of the bounty hunter's life. This notion would be used again in the second new story, which appeared in December 2000, before being quietly shelved in favor of a continuity-friendly approach that simply suggests the new run consists of previously untold tales of the character.

Strontium Dog has since joined the ranks of Tharg's periodic returning series. While it's not appearing anywhere as frequently as it did in its heyday, a new story appears once a year or so. At the time I'm writing this, it's on the ninth story since this comeback. It's called "Blood Moon" and it started in "Prog 2009." Honestly, I think the last one, "The Glum Affair," felt a little long, but otherwise the series is reliably inventive and imaginative, blessed with some great characters and some of comics' best artwork.



As far as reprints of this material go, Glimmer Rats was reprinted by Rebellion in a 2005 hardback that is not currently available at Amazon; Strontium Dog: The Kreeler Conspiracy just arrived in stores a few months ago. This collection will be reviewed here in a few weeks' time.

Next time, Dredd's nemesis Edgar finds a new job in Justice Department, Preacher Cain goes to Vegas, and Dredd goes to Oz in the newly-released eleventh Case Files. See you all in seven!

(Originally posted Jan. 1 2009 at hipsterdad's LiveJournal.)

Thursday, August 28, 2008

64. Durham a la Drucker

Thrillpowered Thursday is a weekly look at the world of 2000 AD. I'm rereading my collection of 2000 AD and the Judge Dredd Megazine, one issue an evening, and once each week for the foreseeable future, I'll see what I'm inspired to write.

Prog 1111: The real world's kind of uncooperative and awful this week, so I don't have time for much of an entry. This issue is a very neat little double-sized one-off, with four ten-page episodes of the recurring strips Judge Dredd, Slaine, Sinister Dexter, all of which will be back with their regular-length stories in the next issue, and Durham Red, which is between series. Durham gets the cover, in this fantastically sexy portrait by Mark Harrison. There's a lot to like about this cover, even beyond the admittedly not inconsiderable "hot babe with cleavage" factor. Even the most casual readers have certainly noticed that 2000 AD covers are typically full of text. During this period, it was typed in a genuinely awful font, and hemmed in the artwork far too much, an unfortunate legacy, perhaps, from the higher-ups at Fleetway who were letting focus groups tell them that you needed lots of words on the cover to sell a magazine. Here is a far-too rare example of just letting the art do all the work. The result is magnificently sexy and inviting, a simply flawless cover.



The other real standout point about this cover: Durham's cheekbones, which immediately betray a huge influence from MAD's Mort Drucker. Harrison has never made a secret of his inspiration, and a few years later, he'd get to do an entire out-of-continuity Durham episode in Drucker's style, a simply perfect little story which I look forward to reading again.

Sinister Dexter Bullet Count: Finnegan increases his lead over his partner in this week's episode, "Death is a Lonely Donegan." Here, he suffers hallucinations of the afterlife while in the hospital recovering from bullets four, five, six and seven to the chest. Ramone still only has one confirmed hit, from back in part two of "The Eleventh Commandment."

Next week, assuming things get back to normal, it's deadline hell for Dredd and the Darknight Detective in "Die Laughing."

(Originally posted August 28 2008 at hipsterdad's LiveJournal.)

Thursday, August 7, 2008

61. Pulp Science Fiction

Thrillpowered Thursday is a weekly look at the world of 2000 AD. I'm rereading my collection of 2000 AD and the Judge Dredd Megazine, one issue an evening, and once each week for the foreseeable future, I'll see what I'm inspired to write. Although, I think I have decided to write a little less with these and let what images I've selected speak a little more for themselves.

Did you miss me? The Hipster Kids have stampeded and rampaged across the Southeast this summer and come back to find a stepmother-to-be all moved in and the legendary Hipster Dad British Comic Archive nicely arranged and accessible on two wonderful shelving units in the guest room. Having it all displayed in nice, browsable milk crates actually makes me want to start tracking down the remaining 1978-82 issues of Battle Picture Weekly that I'm missing. That reminds me, I could use the help of my readers in obtaining ten issues of the Dredd Megazine...

We resume the Big Reread in the spring of 1998. David Bishop is the editor, Andy Diggle is his assistant, and the Galaxy's Greatest Comic is launching a new series of one-off thrills to complement the ongoing series Judge Dredd, Sinister Dexter, Missionary Man and Slaine. This is called, properly, Pulp Sci-Fi. The superior-sounding, unabbreviated title is only used internally and in advertising, and Henry Flint contributed this cute cover which evokes Uma Thurman's role in the Quentin Tarantino film which gave the series its name. Prog 1096 features the first of four Pulp Sci-Fi tales which make up its first series. The feature will appear off and on for the next couple of years, whenever there's a hole in the scheduling. It replaces the Men in Black-led Vector 13, although there's still one more of those to see print down the line, before in turn being replaced by the return of Tharg's Future Shocks and Tharg's Terror Tales.



At the time of writing, the kids have read the first three stories and they agree that the first of these, "Grunts," is their favorite. It's by the Durham Red team of Dan Abnett and Mark Harrison and, to be honest, it's a little reminiscent of the famous Star Wars fan film Troops. But, well, the kids haven't seen Troops, and nor, mercifully, have they seen Fox's Cops to my knowledge, so this struck my son as being incredibly original and funny.



Pulp Sci-Fi is perhaps best remembered for launching a wonderful character named Rose O'Rion, a spacefaring cat burglar and con artist created by Nigel "Kek-W" Long and Dylan Teague, in a pair of really clever one-off episodes. Rose got a highly anticipated series a couple of years down the road which disappointed practically everybody, but the one-offs are very good. Quite a few good one-offs appeared under the Pulp Sci-Fi banner, but none of them have ever been reprinted. Speaking of which, I don't believe any of the stories from this prog have made their way to a collected edition. The Sinister Dexter episode by Abnett and Ben Willsher was skipped over for their third book Slay Per View, in 2005.

Next time, Jena Makarov meets the wife that Nikolai Dante never told her about, and Nikolai meets the half-brother nobody ever told him about...




Help This Blog! I am missing ten issues of the Judge Dredd Megazine, one that I never got and nine that were ruined by a flood in 2005 and had to be pitched. These are all from vol. 3, cover dates 1999-2001, and are # 52 and # 69-77. I'd like to have new copies for myself and the kids to read during this little project. If you're able to provide good copies, or perhaps scan the non-reprint episodes for us, please drop me a line! I'd be happy to buy them from you, or trade from my big stack of duplicate progs or trade paperback collections.

(Originally posted August 7 '08 at Hipsterdad's LiveJournal.)

Thursday, June 12, 2008

57. Ooh, Pretty, Shiny!

Thrillpowered Thursday is a weekly look at the world of 2000 AD. I'm rereading my collection of 2000 AD and the Judge Dredd Megazine, one issue an evening, and once each week for the foreseeable future, I'll see what I'm inspired to write.

January 1998: When we last saw the sexy bloodsucking mutant bountyhunter named Durham Red, it was amid a cloud of rewrites, pseudonyms and a truncated storyline from progs 1000-1007. In the last part of that run, Dan Abnett took the writing duties, but it would be more than a year before Red returned to action. So prog 1078 spotlights her return in a lengthy storyline called "The Scarlet Cantos." The first two episodes are run together this week as a double-length "episode one," and she'll have a twelve-week residency. The plot involves Red being awakened from cryosleep more than a thousand years in her future, when mankind and mutantkind's war has escalated and devolved into a conflict of religious psychopaths. An ugly scenario has gotten even uglier, but there are big, wonderful, behind-the-scenes changes for both 2000 AD and the Meg at this time and while the story has some ugly elements, the finished product has never looked so gorgeous. Well, the changes to the Meg might or might not be wonderful, more on that next week. But the previous week's 2000 AD introduced new paper stock, and the artwork never looked so good.

Of course, looking at the result via a scan of the pages on your computer monitor sort of defeats the purpose, but I assure you, these pages look simply divine, with artwork that just leaps right off the page.



This initial story of the new, improved, future-set Durham Red is really good and screams of the promise the character has in this incarnation, but subsequent adventures sadly won't fare quite as well. The character is often looking in vain for a rationale to keep appearing but never really finds it, and she'll be retired in 2004 or so. But "The Scarlet Cantos" is genuinely excellent, and available as a Rebellion graphic novel.

Also in this prog, you've got Judge Dredd in the first of a six-part story called "Missing" by John Wagner, Lee Sullivan and Alan Craddock, along with Sinister Dexter by Dan Abnett and Siku, and a Vector 13 by Abnett, Robert McCallum and Dondie Cox. Since, as I mentioned, Red got a double-episode opener, this does indeed mean that 80% of the prog was written by Dan Abnett!

At any rate, the paper upgrade and debut of Durham Red here isn't a patch on what's going on at the Megazine. Next week, we'll have a look at the debut of Preacher...



(Originally published 6/12/08 at LiveJournal.)

Thursday, October 11, 2007

25. Chin to Chin

It's October 1995, and, if you can figure out what that big orangey-brown thing on the cover is, it's time for a truly odd little four-part story in which Pat Mills, Tony Skinner and Jason Brashill look into what the heck Hammerstein was doing in the Judge Dredd movie. The real answer is that artist Kevin Walker, around the time he was painting the "Khronicles of Khaos" storyline for The ABC Warriors, was contracted to do some design work for the Dredd film. Since the script called for a old war robot to do the baddie's bidding, he just reused the Hammerstein design. Brashill paints Hammerstein with an enormous helmet; I think this cover would work a lot better if he wasn't wearing it; then you'd have Dredd chin-to-chin with Hammerstein's angular, robotic jaw, and not that big ugly expanse of curved muddy orange.

The fictional answer is that Mills figured it would be a good idea to have the crazy robot tank from the later parts of "The Cursed Earth" be one of the ABC Warriors' commanders, and that at some point that does not really make a lot of sense, General Blood n' Guts led a battalion of Hammersteins against the judges during the big civil war in the late 21st century that led to the creation of the Mega-Cities. Well, of course.



One thing I like about 2000 AD is that it usually does not go out of its way to reconcile odd backstories or tie together threads into one continuity. It remains a favorite hobby of some fans, but, mercifully, understanding how one series may be set in the same universe as another is never required to figure out what the heck is going on in the comic. Also, this is the first time that the character of Hammerstein is described as being one of many; previously, in Ro-Busters and the original ABC Warriors storyline, it was implied that most war droids were these sort of anonymous C-3PO-looking guys. The concept of a battalion full of Hammerstein droids has resurfaced in the current "Volgan War" story by Mills and Clint Langley.

Mills would later start playing with different versions of the same storyline. The ABC Warriors and Ro-Busters are set in an outlandish, sci-fi world where the Volgan invasion of Britain led to the immediate development of armies of robots. Savage, which picks up the themes from the original Invasion! storyline, is set in the modern world, in a present we'd find ourselves in had England really been invaded in 1999. So it doesn't stretch things too much to have another version where ABC War vets were fighting the judges after the Volgans surrendered. (If you don't know what a Volgan is, recall that the longest river in Europe is the Volga, and that the comic's publishers didn't wish to offend anybody at the Russian Embassy, even if the comic's writers, in 1977, didn't mind who they offended.)

Also running in this prog is a really great, terrific Dredd story by Wagner and John Burns called "The Cal Files." This introduces another recurring nemesis for Dredd in the form of Judge Edgar, the power-hungry head of Justice Department's Public Surveillance Unit. Edgar's quiet manipulation of politics makes her a fascinating moral and ethical opponent for Dredd. Also appearing in the issue are the continuing stories of Luke Kirby (Alan McKenzie & Simon Parkhouse), Maniac 5 (Mark Millar & Steve Yeowell) and Slaine (Mills & Langley), along with the first episode of "Deals," a new Durham Red four-parter by Peter Hogan and Mark Harrison. Unfortunately, the story starts off with one of the most bizarre printing errors ever seen in the comic:



Well, they got the lettering right, anyway...

(Originally published 10/11/07 on LiveJournal.)

Thursday, May 24, 2007

8. The Conspiracy Reaches 2000 AD

Thrillpowered Thursday is a weekly look at the world of 2000 AD. I'm rereading my collection of 2000 AD and the Judge Dredd Megazine, one issue an evening, and once each week for the foreseeable future, I'll see what I'm inspired to write.

I've only read a couple of issues since the last update, as I was out of the country. I'm still in June 1994 and the prog is 893, featuring a really awful cover by Mark Harrison, who is capable of much, much better work. (Some of it's in this very issue!) We're five weeks out from the last promotional, jump-on prog, which had been advertised by an animated TV commercial that appeared at 5 in the morning for a few weeks on a satellite channel called Sky Sports. Unsurprisingly, the ad was seen by very few viewers, few of whom were honestly in 2000 AD's target demographic, and failed to bring in the tens of thousands of new readers that the ad agency had told Fleetway to expect. Naturally, the editorial staff got the blame.

Stories in this prog include a double-dose of David Hine, who is probably best known for all the cartoon "how-to" illustrations he did for Dennis Publishing's magazines Maxim and Stuff in the late 1990s. Here, he provides story and art for both a Future Shock and for the first series of Mambo, a police series set in the future, and whose complicated backstory plays out in flashback across the first story. These days, Hine is principally working as a writer in mainstream books like Spawn, and he has an Inhumans miniseries starting at Marvel soon, with art by Frazer Irving. Also, there's Slaine by Pat Mills and Dermot Power and Armoured Gideon by John Tomlinson and Simon Jacob, and a very interesting Dredd by Wagner and cover artist Mark Harrison called "Conspiracy of Silence."

The mid-90s were an incredibly frustrating time to be an American 2000 AD reader, since the comics weren't available here through Diamond. This lasted for about 18 months, when DC licensed Judge Dredd for a pair of short-lived monthly comics, and 2000 AD just vanished without word from the Diamond catalog. The Judge Dredd Megazine had never been available; the US licensor (SQP, d/b/a "Fleetway/Quality") had, after finding nobody was interested in their overpriced, squarebound, shrunk-to-US-size $5.00 version of the Meg in 1991, been cherry-picking individual series for their own reprint volumes.

So I was aware, from house ads in 1992-93, that the Megazine had been featuring an recurring series called "Mechanismo" featuring Dredd dealing with robot judges, but as these weren't then available in America, I had no idea what it was about. Suddenly, and out of the blue, there was this 4-part story in 2000 AD which I'd got in via Forbidden Planet mail order which brought the Mechanismo story to the weekly.

Chief Judge McGruder, dealing with age, senility, creeping dementia and a few years getting irradiated in the atomic wasteland of the Cursed Earth, had decided that eight foot-tall robot judges were what Mega-City One needed after the disasters of Necropolis and Judgement Day.



Judge Dredd had, naturally, opposed this idea as madness, but, well, the chief judge kind of has the upper hand in these sorts of situations. The Mechanismo storyline weaved its way through three separate, brilliant stories written by Wagner: a five-parter painted by Colin MacNeil, a six-parter illustrated by Peter Doherty and a seven-parter drawn by Manuel Benet. In the last of these, Dredd finally put an end to this insane robot plan, but...

There were two lines of robots. Number Five was a Mark One, and it had escaped into the sewers, deranged and badly damaged. Over time, the unhinged Judge Stich, who had overseen the first stage of the project, had been searching for Five. Mark Two robot judges were already in production, outside of Stich's hands, and their field test had been to track down Five. Dredd had arrived too late to stop a Mark Two robot from finally destroying Number Five. Dredd then destroyed the Mark Two, and convinced the insane Stich that the damaged Five was the one who blew up the Mark Two, proving that this line was just as flawed as the rest, and therefore the project must be scrapped. For Dredd to commit perjury was completely unheard of, but that's how desperate the issue had become: stopping McGruder from continuing to develop the robots was more important than the law.

In "Conspiracy of Silence," one of Dredd's fellow judges, among a number who believe McGruder should step down but have no legal recourse to force her to do so, passes Dredd some information that leads him to a testing facility. There, he learns that the robots are secretly into a third phase of development, and that Mark 2A droids are undergoing combat tests...

To call this story a breath of fresh air is an understatement. Since Americans were missing all the really good John Wagner Dredd scripts in the Megazine, we had been making do with his substitutes in the weekly for far too long. Garth Ennis was periodically excellent but mainly just okay. The other writers in the weekly just didn't get Dredd at all.

After this installment, the Mechanismo storyline switched back to the Megazine, while Dredd continued with some first-time scripters in the weekly, among them Dan Abnett and Chris Standley. The Mechanismo storyline is not available in a collected edition, but it certainly should be. There's some debate about how to continue the big, chunky Dredd reprint phonebooks once they reach the painted art era (these can't realistically be reproduced in black and white), and while I do believe they should switch to thinner, color volumes, the majority of fans seem to favor just collecting all the major and popular stories. The 22 episodes that bring the Mechanismo story through "Conspiracy of Silence" would make one great collection (Mechanismo: Volume One?), while the next big chunk of the story would make a good second edition...

Next week, it's Dredd... in person!

(Originally published 5/24/07 at LiveJournal.)