I got the that impression it won’t be good judging by her interview (before he was put into the hospital). Like she is totally swallowed what her father did for 2000ad, and so no matter what story she writes, it’d have to be good because she is Alan Moore’s daughter.
Not that this affects the criticism of her work, but I heard this sad news about Leah Moore recently.
I hope she recovers quickly, it sounds like an awful situation to be in.
prog 2087 & 2088
Neither cover from Brendan McCarthey or Neil Roberts does it for me.
Although McCarthey’s does have his trademark imagination and anarchic sensibilities, it’s a bit too loose for a cover.
As for Roberts cover I’m not a fan of these floating images on standard white background or the (or at least what appears to be) digitally painted covers that have plagued the comic for the last couple of years. They lack personality and there’s no stylistic aesthetic to them at all, resulting in them being fairly identikit. I always have to check the inside cover to see who did it.
Constrast Tulsa Lotay’s absolutely beautiful cover for the sci fi special to the non descript online variant that I ended up with, which I wasn’t too happy about.
dredd: interrogation features a really mediocre script from mcconville but incredible art from the wonderfully talented dave taylor. I’m completely baffled we don’t see more of him in comics. He’s like a cross between Geoff Darrow, D’Israeli and Mobieus - with a real European style. He’s criminally under used and a better artist than about 90% of the artists in US comics today. I hope it’s a personal choice rather than a lack of offers. If it’s the latter then there’s something severely lacking with with talent spotters in the industry. Guys been turning this stuff out for about 15-20 years.
Speaking of incredible artists, Chris Weston is back with Rob Williams in Dredd: Elevator Pitch part 1.
Weston has applied a slightly looser style here, perhaps to speed up his process - when I say ‘slightly’ I mean just that - it’s still more detailed and refined than most art you will see in a comic anywhere. It oozes that classic irreverent 2000ad style that has been a big part of the success of the comic and what makes it stand apart from all other publications. It’s just fantastic.
Williams and Weston are a match made in Dredd heaven. I hope this is going to be a more regular pairing of these two, because it’s a hit every time.
Williams hilarious script is rendered perfectly by Weston.
Some of the dialogue here is amazing. Williams has Dredd down to a tee, with a correctly restrained approach boiled down to classic one liners -
“Rich, poor, they all fit in a cube”
What a line. Straight out the John Wagner school of Dredd dialogue.
This is almost too good to appear midway thru a run of strips. It’s the sort of quality they should be saving for the jumping on points.
Skip Tracer continues to twist and turn. It’s not essential reading but it’s an enjoyable enough series.
The Order is back. Along with a handy recap
Obviously they know how difficult to follow it is. The 3rd series was enjoyable to me, so I was ok for more of the same this time.
The recap does highlight how impressively epic this series is, so it has made me determined to take my time reading it so that I can digest and follow it better. All of Kek-W’s stuff requires a bit of effort from the reader and it’s sometimes a hard knack to get myself into the right frame of mind for it. Thankfully John Burns makes that easier as there’s already a desire to linger on his panels and absorb his lovely paints and inks.
This is a good start and makes for a promising time jumping, dimension hopping romp.
Lee Carter is good, but Durham Red has lost its luster since the change of artist. This has happened too often for me recently; creator switches during or just before a series; Durham Red, Devlin Waugh, Indigo Prime - it seems as though Matt Smith has lost his patience with some creators and it’s to the detriment of the strips.
This series of fall of deadworld continues to get better, after a slow start. It’s such a unique strip, a fucked up world unlike anything else I’ve read in comics. Loads of atmosphere. It does take a bit of time for me to figure out what is going on though , especially this series where there’s a number of different narratives going on.
A great couple of issues here and Just look at the quality of the art across these two progs. It’s just astoundingly good. Taylor, Weston, Marshall, Burns, Carter, Kendall - we are spoiled. This is why I’m slightly bewildered why they would publish something so below this standard in the Sci Fi special. By all means try folk out, but blend it with a mix of potential and experience so that we are not paying 5 quid for sub par stuff that you’d expect to see in fanzines.
Ah Chris, that’s awful.
I’m going to edit out my comments criticising the writing, regardless of when it was written.
id be grateful if a mod could remove the post from millstar as well
Comics are small fry when it comes to something like this.
I hope she makes a full recovery.
The art and colours on dredd vs razorjack are wonderful, but the story isn’t really grabbing me.
I’m a big fan of Carroll, and whilst I can enjoy this on a Sci Fi/horror action level, it has not been given enough room to breath and the character components are pretty superficial. It’s hard to care what’s going on here. It pains me to say this as I know how close to Higgins heart his Razorjack project is and I love both him and Carroll. Perhaps I’ll read it all in one sitting when it’s finished.
I like the art on The Returners but Si Spencer’s script is arse. His stories are now in danger of becoming an auto skip.
Mike Dowling was originally heavily influenced by Arthur Ranson as his earlier work clearly demonstrated. He has dropped that painstakingly accurate linework and white space blend for a far looser style.
I think he’s probably had to find a style that allows him to produce art quicker and I hope that is because he is in demand. He’s come off Unfollowed, on which he did a phenomenal job, onto Devlin Waugh, more Devlin Waugh plus the new Vertigo series he has coming up.
I’ll be interesting to see if this experiment continues into the US 20 page a month title and if he can churn out enough pages to keep it on a monthly schedule.
He’s still quite minimalist but less can be more when you are this good and he doesn’t forgo backgrounds altogether like some artists with a similar style do.
McConville continues to butcher the character of Devlin Waugh, this time having him agree to a date with a celeb who is trying to boost their profile. I can’t believe how wrong they have got this. Devlin Waugh without John Smith is not Devlin Waugh and the tone of this is so off. This is one of the biggest mis-steps 2000ad has made in the history of the publication.
This is a facsimile of one of the greatest creations in the history of the Meg and it feels like it has been done out of spite for whatever disagreement John and Matt Smith have with each other. Just create another character for fuck sake. There’s no need to use Waugh to tell this story.
The terror tale by David bailie and Steven Austin was pretty good.
The Michael Fleisher article is fascinating, the article on the Sci Fi special just confirms the suspicions that Matt Smith is determined for 2000ad to be thought of a diverse book. He’s quite vocally bemoaning the lack of submissions from women and it sound like he’s had to scramble enough together to put out that issue, which explains why the quality was poor.
Chopper has lost me. Which is a remarkable achievement given I had a borderline obsession with the character my whole youth. I don’t know how you take a character like this with such a rich history of stories and character moments to refer back to and produce something this boring.
Plus David Baillie needs to work on his word count. It certainly doesn’t help matters.
I am an enormous fan of McCarthy’s work and love his designs but that cover was quite a let down, I had to check again it was actually him.
On Weston, even if his style has loosened a little I was dumbstruck by the opening page and the 700 or so completely individual city blocks he’s drawn.
Some years ago I decided to do a complete reread of 2000ad. I had got up to prog 1300 but stopped for some reason. At the start of this year I decided to continue but this time rank every story against each other thus creating one mammoth list of best to worst. Once I get up to present day I’ll go back and do 1-1300 again to add to the list.
Anyway, I just passed prog 1600 today (2008). This is around the start of stories by Ewing, Wyatt and Worley all who did work on Future Shocks as most ‘new’ creators do. So far they are all okay with nothing standing out and doing being the complete pits. Interestingly Ewing just had his first long form story, Dead Signal, which ended as if another series was coming…which never did. It wasn’t that good anyway so no heartache there.
In other news, John Smith and Lee Carter produced the excellent Dead Eyes which has a killer ending if you’re a long time 2000ad reader. It’s an Indigo Prime story!
Finally, it would be great if someone could direct me towards some explanations of Bob Byrne’s Twisted Tales, specifically #7 which confused the drok out of me.
edit - this is a non-Dredd reread. That, I’ll start soon.
Im so jealous
I keep trying to do this but I get caught up in my current pull list
I half wish DC would stop making comics I want to read
I know what you mean. I just decided to cut back massively on new releases and focus on stuff I already have. I figured that new stuff will still be there in 3-5 years time!
It’s so true. I find it really hard to be ruthless since I fell back in with mainstream stuff about 12 years ago. Before then I could take it or leave it.
I think the worst thing is getting previews every month. I’m so aware and tuned into everything that comes out that I find it hard to tune out. I’m surprised I have not gone through another downturn.
Yeah, it’s difficult when you see a creator you like on a new book or a character you love get reinvigorated and then not dip in. Also with Image, Aftershock and all the other non-big two putting out some interesting concepts I can understand how weekly pulls have got larger rather than smaller.
With the price of issues being what they, how come you’re not all poor? Oh wait, you’re being paid to read them digitally.
The way digital is going, that’s surely the next step?
My monthly pull list is about 10 comics. 2000ad (which I guess could count as 4), JD Megazine, GI Joe, 2x Transformers, Saga, Low, Descender plus another couple I can’t remember (maybe it’s time to drop those!)
I have a nutter friend who tends to buy most Marvel/DC books so I just borrow those from him if I want to sample big two stuff.
If push came to shove I reckon I could drop buying anything new at all (maybe outside 2000ad) and just fall back on the back issues and trades I already have.
I read this one last night and forgot to mention, the script from Rob Williams is pure gold, it’s very funny, makes satirical points without sticking an agenda down your throat, having a dig at everyone and Dredd just dispassionately predicting it’ll all go wrong (which of course it does).
The pompous arts show presenter was brilliant “Hello. I’m Stefan Lawsone and I know a lot more than you” (and he’s a clear pisstake of Mark Lawson on the Newsnight Review and other arts shows).
Absolutely perfect Dredd, I’m very glad Williams keeps his hand in despite some steady gigs with DC.
I’m lucky, they did that for me some months ago
I started listening to the Space Spinner 2000 podcast from episode one a few months ago and I’m up to the mid 90’s now. They just reviewed the 1983 sci-fi special which unbeknownst to me featured a John Byrne drawn Dredd story!
Yeah that Byrne story is actually quite famous as he was the hottest name in comics in 1983. I had no idea when I read that Special on a coach trip when I was 10.
I really like the Spacespinner 2000 podcast. The utter joy and enthusiasm the hosts have for the subject material is infectious.