It’s part of the strength of 2000ad though that really he can take his sweet time. They have always backlogged stuff. Fully painted Biz is worth waiting for.
Hol. Lee. Fuk.
IDW having yet another punt at a Dredd comic:
Now I’m interested!
Yeah he may be the ideal American writer for Dredd, everything I’ve read from him has a satirical edge which is what they usually miss.
Lots of good shit in the Vice Press sale. Pretty reasonably priced too. The posters were very tempting but wall space is limited so I made so with this set of five by five inch headshots instead.
This year’s first batch of stories have wrapped off and the year got onto a flyer.
The level of the talent across the last 12 issues could hardly have been stronger, with the likes of Pat Mills, Clint Langley, Patrick Goddard, Peter Milligan, Michael Carroll, Colin McNeill, Rufus Dayglo, INJ Culbard, Ian Edington and Dave Taylor all on their game.
ABC Warriors and Savage were as strong as ever, basically we know what we are getting with these series and they never fail to deliver.
Bad Company was a really enjoyable romp this time around, I much preferred this run to the last one, I feel it’s bad to its original level and I hope to see them again next day.
Carroll & McNeill’s Dredd was a treat. I really love Carroll has done here, breaking down this larger story line into a few arcs - it’s a device that has been used a few time now for Dredd and it works rather well. This is as close to John Wagner’s tone as I’ve seen in 40 years of the prog.
My only personal downside is that I have no idea what is happening in Brass Sun. I’ve totally lost the plot with the series and I’m pretty much skipping it, with the intention to go back and read it from the beginning again in one sitting. I like Edington’s work but I do find this quite common with his stories - I kind of lose track of what is happening and then find myself reading something that means nothing as a result - however I get the sense there is a good story here and obviously the art is spot on, I will pick it up again when I get time to dig the old progs out.
Overall the weekly gets a strong 8 or 9 out of 10 for the first run of the year. Quality.
I should probably add, that although the Dave Taylor and Ian Ediington Dredd looked stunning, I had no fucking idea whatsoever what was going on.
I read through the entire Lobster Random saga this weekend. The first story was collected in trade and the remaining ones were all supplements in the Meg. Interestingly there is a series called The Vort which I actually think is the best thing Si Spurrier has written. It also does something similar to the Dredd story, Trifecta. Spurrier even wrote it under the pen name G. Powell to help disguise the ending. Alongside D’Israeli subbing for Critchlow on art, which is great by the way, there was no way of knowing that the big reveal at the end would actually be Lobster himself! It’s a great series made aeven better if you’ve read the preceding LR books.
Back to Lobster Random and the art by Critchlow is brilliant. Check out these pages.
This brings me onto my second point which is that I’m embarking on an immense journey to rank every 2000 ad story ever on one massive list, best to worst. Last year I starting doing something similar with non-2000 ad comics but have decided to pull the trigger and add in the Galaxy’s Greatest.
I was about 1300 progs into my big reread and it wasn’t until then that I decided to do the list. I’ll go up to present day then go back and do 1-1299 again. Also, I haven’t included any Dredd yet which I’ll likely start with The Pit and go up to present before going back to beginning for him.
You can see the list here, as well as all the American crap on the master list tab which you should be able to sort by publisher or tag.
First the good news:
Charley’s War remastered editions are available for pre-order, including the signed book plate editions (ltd to 150 copies) and 3 volume bundle which gets you all 3 volumes for £50.
The not so good news:
The last couple issue of the megazine have been pretty variable in quality:
Arthur Wyatt and Jake Lynch’s Dredd story featuring a bunch of well kent simians is probably the best I’ve read from either of them but it’s still pretty average.
It’s far too long a story for what it has to offer. It is easily Wyatt’s best work in my opinion, but the bar is low. Lynch is starting to settle into his own style.
Lawless from Abnett and Winslade is just top class in both writing and art, as the scenario that has building expertly for a while now starts to boil over.
Devlin Waugh is an utter travesty, given how good all his strips have been under Smith and the likes of Philips and Colin McNeill. This is a facsimile of a Waugh story, a lacklustre approximation, which has rendered the whole return of one of the stable’s finest an utter waste of time.
Matt Smith has got a lot right in his amazing tenure as editor but he’s got this one terribly wrong. Mcconnville was a terrible choice of writer to inherit this from Smith. Even Dowling, an artist I rate so highly that I own some of his original art, seems a shade of himself.
Best ease this from the history books and pretend it never happened.
Curiously to the contrary, McConville’s Cursed Earth Koburn is excellent. This could have had TB Grover in the credit box and you’d never know it wasn’t them. Obviously it helps having Carlos in the artists chair, on a character that he really likes, but this is a fun strip very much in the fashion of the more humourous 2000ad strips of old and it’s even better that the Gordon Rennie written series beforehand.
The Dredd movieverse strip, featuring Death’s first appearance makes me glad this is the last series they do. Wyatt and Di Campi’s story is turgid, boring and a stuttering mess, I’ve given up reading it. Even Henry Flint looks like he’s lost his spark drawing this garbage.
I never read past the second episode of Si Spencer’s last strip in the Meg, can’t even remember what it was called.
The Returners, which features some really effective art from Nicolo Assirelli, could go either way. The problem with Spencer’s work is that it is always confusing, doesn’t flow at all well and generally isn’t worth the effort to try and work out what is going on. I don’t think his style works very well in this format.
The future for the Meg looks mixed. I worry what will prop it up when we don’t have the like of Lawless and the quality articles to compensate for the majority of poorer quality output.
Judging by the recent post on 2000ad page on Facebook, seems that world of Dredd movie continues in mini series by Arthur Wyatt and Alex DeCampi.
Hm, sounds exciting… If only the creators put the bits of trademark ironic humor…
Anyway, I just noticed that some pages in some pages of CCF 01 are in color, whether mine is in full b&w. And the cover looks very different. Is it some newer paperback?
It’s serialised in the judge Dredd megazine
The Nemesis the Warlock figurine from the 2000 AD: The Ultimate Collection partwork is now available to 2000 AD webshop customers to buy direct!
Hmmm. I wonder if this will upset those that paid a premium for the figure as part of the partworks.
I wonder if it’s simply that they overproduced and not enough UC subscribers bought them, so they’ve got to off-load them somehow?
I don’t even recall the figure being offered with the books
Wonder how much TDKR influenced Dredd democracy arcs (concluded with America; I call it Dredd’s own TDKR). Think they started around the same time. But, I’ll have to admit: I never liked or viewed those judges as fascist, compared to my favorite and to me, definitive decade of Dredd - late 70s, where judges are seen as heroic and savior figures.
I suppose I am one of those (not - so) kids who loved Dredd’s hard - right stance, in John Wagner’s words😀
I think the early stories for those first two and a half years were very much more aimed at kids and as such have a more simplistic morality.
For the rest of the time Wagner has really played a back and forth game rather than softened or hardened. A lot of the 80s shorts before ‘America’ came out in 1990 make Dredd out to be a complete arsehole. They shift from serious to silly, from his perspective to the perps being arrested (in a lot of them Dredd only appears at the end to dish out some tragic injustice), from his heroism and then away.
The ambiguity and variation for me is what has made the strip last so long, a tough cop with barely any personality wouldn’t last in the consciousness without it.
Hm, good points, garjones.
It’s interesting because in a recent issue he was fighting some slaver in East Meg, I’m 100% behind Dredd all the way through, at the end of Judgement Day he’s such a cool guy.
In most of the Chopper stories I want him to fail and Chopper get away with it. In America I’m with the Beenies and Dredd sucks. Now their daughter is a cadet under Dredd’s tutelage I’m rooting for both of them. They way it switches is so much of the fun of it all.