The future shines brightly on 2000AD

Today I wanted to chat about my favourite comic for a bit, as not only has it been a while since I last did, but the landmark Prog 1900 will be arriving on my doorstep this Saturday, bringing with it the return of two series’ I’ve sorely missed – Kingdom by Dan Abnett and Richard Elson (I recently got my hands on the first novel adaptation of the series too, Fiefdom, written collaboratively between Dan and his wife, Nik-Vincent), and Stickleback by Ian Edginton, a man whose second name I’ve been spelling incorrectly until now on this blog, and D’Israeli. And if the return of these two stellar series’ wasn’t enough, a new Dredd epic by John Wagner and Carlos Ezquerra will be beginning too. Nice, eh?

This means you can expect a review of that Prog, and maybe when they’re done, some of the series’ (Greysuit is also returning after a fairly lengthy hiatus and should be interesting) too. Definitely the latest epic at least, seeing as I imagine that it’ll either be the last major Dredd arc for the year or the one story leading us straight into the next epic, Dark Justice of Prog 2015, or possibly even both.

Also coming up on the blog, I wanted to talk about comic books themselves and how well I think the various companies publish them. It’s something I’ve wanted to talk about since the moment one of DC’s trade paperbacks pissed me off with its awful binding (I believe it was Batman: Hush), but it was receiving a free copy of Rogue Trooper: Tales of Nu Earth Vol. 4 earlier today for getting my letter published in the most recent issue of the Megazine, #352, that made me want to write about the subject soonish, as it suddenly occurred to me while skimming through the book how comfortable and easy it is to read compared to a DC or Vertigo book. On the subject of those two companies, I may even bemoan advertisements in single issues and how much those two take the piss there too.

But back to the subject at hand – 2000AD’s future.

The comic’s in an interesting position at the moment. In fact, it’s been in an interesting position for quite some time. My first subscription started shortly after I started buying the comic regularly with Prog 2006. It had only one major low in that whole time in my opinion, which was the weeks in which Stalag 666 endlessly dragged on. A horribly generic story with some poor early art by Jon Davis-Hunt that did nothing to help, I really didn’t like it. Not enough to go insane and send its writer, Tony Lee, my shit smeared on an angry letter, but I consider it my major low point with the comic.

Then my subscription ended several weeks into the year 2009 and I didn’t bother to re-new it or buy the comic from a nearby WHSmith again. Those first however-many weeks of 2009’s Prog’s didn’t impress me. As I recall, the series’ running at this time besides Dredd were Strontium Dogs, the second story arc of Greysuit, Marauder and something else. Whatever that last one was, Strontium Dogs was the only thing keeping me happy week to week (even the Dredd tale by Wagner wasn’t doing it for me), and seeing as this was all following closely after Stalag 666, I thought that the comic was maybe losing its steam, which is why I decided that I could always start again years later, which I have done. But as it turns out, the comic wasn’t losing its momentum at all.

Okay, so a second long Tony Lee scripted tale, Necrophim, actually started shortly after I left and seems to have been as well received as the first (so not very well at all), but allow me to list some of what I missed that was utterly incredible.

– If I had remained subscribed for another two fucking weeks I would have saw the start of a new Low Life story arc, possibly still the best in that series to date: Creation, the story in which Rob Williams decided to draw focus away from Aimee Nixon and to Dirty Frank instead, his iconic hairy, smelly and weird undercover Judge who refers to himself in third person in conversation with other characters. Also, D’Israeli became the new leading artist of the series after Simon Coleby and Henry Flint before him and he knocked it out the fucking park. You can probably see where this is going.

– Nikolai Dante picked off from where I left – at what was probably another amazing cliffhanger or plot twist by Robbie Morrison in other words – and continued to be incredible for the next couple of years, before ending as spectacularly as promised in 2012, or so glowing reviews suggest. Fuck.

– Savage returned and you can’t go wrong with that action-packed series. Neither can you with Zombo, an over-the-top, completely mental comedy by Al Ewing and Henry Flint that’s rapidly become a fan favourite and for good reason: it’s genuinely funny and has been raised the crazy stakes with each new story.

– Cradlegrave by John Smith and Edmund Bagwell, one of my personal favourite comics of all time (it really needs a review, come to think of it) and certainly one of the best stories published in 2000AD, not to mention proof that horror can actually work within the medium, started the week after these two and I fucking missed it. Goddamnit.

– Skip forward a few weeks and the latest series of Defoe started where Slaine: The Wanderer ended. Skip to the last stretch of the year and the latest series’ of Kingdom and Shakara came and went as all the while Dredd was continuously excellent and Wagner secretly built towards the Day of Chaos storyline and I missed it all damn me to hell.

Not a weak year at all, is it? And hopefully this little list highlights just how consistent 2000AD can carry itself week to week, which I personally believe it has been doing since at least I started collecting it, though was probably doing so years before I started, especially whenever Matt Smith took over as editor.

Now, where is all this going?

Well, in just these last few years, especially after the success of Dredd 3D, 2000AD’s made a number of small but interesting decisions. When I initially collected the comic, they changed the logo to what we see today with what’s technically two different logos at once, and then while I was not collecting it (it looks like this went on between 2011 and 2012) they changed it again briefly, and I have to say that I actually preferred this version of the main logo they’d been using, where the Prog number was clearly visible underneath in a small rectangle at the top of the front cover instead of down at the bottom now (on either the left or right hand side – so it’s not even consistent, much like the spines of their trade paperbacks, ho ho ho!). Whatever the case, they’re changing it again with Prog 1900.

Well, I say “they”, but it’s the work of Pye Parr, their graphic designer, who’s been fooling around with some of the graphic novel releases and has designed the upcoming and gorgeous looking Zenith collection, which I’ll be talking about again shortly. This new design, he said in a fairly recent podcast, is intended to emphasise the logo they’ve returned to after 2011’s small change – and to be fair, whether I liked the brief replacement or not, they have been using this one for years now – and to really sell this as their brand the way Marvel and DC’s are instantly recognisable, and to really stick to it this time, and put it everywhere: their graphic novels, merchandise, anything media-related – even the Megazine will apparently have it.

This is all in an effort to make the comic appeal to wider audiences, especially overseas in America where they’ve been releasing their Dredd 3D-set stories, as well as Brass Sun, and now Jaegir, all three of which have emphasised the logo very clearly, and with the issue number underneath. Only on Saturday will we be able to tell if this is what will happen to our beloved Progs, but I’d be delighted if it were the case, as I think these look smashing. It would mean this small top left corner of the Prog would block the art, where previously the purpose of the two logos was to let the art run wild, covering one logo but not the other (not always, mind you, much to some people’s dismay), but I wouldn’t mind at all, especially if it ends up serving a greater good. It was pointed out in the podcast I mentioned that, flicking through a collection of these comics, it’s hard to find the Prog you’re looking for since the number’s always moving, so I’d welcome a consistent look for that too.

Anyway, let’s stop talking about the logo and move on to these US-sized comics themselves, shall we? These have been done in the past several times, but I neither know how successful the Eagle books and other stuff were nor care – that was the past and this is now, and right now it’s 2000AD themselves doing the publishing of these three. And my honest opinion of the job they’ve done so far? Well, they’re excellent, the quality of these things being through the roof, and rightly so. What better way to sell these overseas than to use eye-catching, high quality covers and excellent paper stock, and to only interrupt the tale in each with a measly two adverts, letting the story and artwork inside do the talking? Nothing’s better. In fact, the only way these could be any more fantastic is if they followed in Image’s footsteps and included back papers for letters, articles or whatever else they could think of, which may not be a bad idea if they decide to release more stories like Jaegir, where some background on the universe could help new readers settle in.

So what about sales figures? How are these things doing? Well, truthfully, not much has been said about the latter two series’ at all, but the former has been doing well enough with Underbelly alone that that story’s entering a third printing this October, and they’re confident enough with its sequel, Uprise, which is currently running in the Megazine, that they’re releasing limited variant covers for its two issues – the first also released next month by the way – in further efforts to “test the waters”, I suppose (because these things do sell).

The somewhat negative aspect to all this is that the stories being published right now – and potentially others in the near future – are not the monthly comics of the US, but reprints collecting what are actually weekly instalments into one part. This is all fine and well for the Underbelly and Jaegir one-shots, which are very self-contained tales and paced perfectly for that number of pages, but it was never really the intention for Brass Sun to be collected in 32 page instalments, was it? It’s very much a weekly comic – just look back at the third series finished in Prog 1899 with its cliffhangers nearly every week (and while you’re at it, do the same for some of the other series’ that have been running recently too) – and much of what could next be reprinted will only be the same.

Of course, they’re not going to change the Prog to a larger monthly comic for the sake of this, so the next logical step is obviously to attract readers to the weekly comic itself, to bring them over to a style they’re unfamiliar with, perhaps done best by getting them invested in some of the series’ the comic’s ran in the past. But you can’t exactly force on it on them either by continuously releasing stories like Brass Sun not perfectly suited to monthly instalments, can you? No doubt there’s good stuff to be found that could work but then you’re also running risk of dropping new readers in the middle of nowhere like Jaegir. What might actually be an interesting experiment, come to think of it, would be to release 32 page collections of Future Shocks featuring either the writing or art of those people who went on to become hugely successful with American audiences after their work on the comic. Or you could try a different approach, and this is where IDW enters the room.

For those of you not in the know, IDW is a US publisher probably best known for their incredible Artist Editions, books which reprint entire stories with scanned pages of their original artwork in their full, glorious size, and when it comes to series’, Locke and Key and Teenage Mutant Ninja Turtles seem to be their most popular titles. Although I’m not sure exactly when they started working in unison with 2000AD (I could in fact swear that I’ve read their main series before in digital format years and years ago, although I could just as easily be confusing the artist with a spin-off older than IDW’s that he or she maybe also worked on?), they have a stake in the comic of their own now.

Their main emphasis is on Dredd, releasing their own line of stories that put a new spin on the universe. Frankly speaking, this is what sounds like the worst of what they’re doing, by all accounts some pretty terrible stuff that isn’t doing a good job at selling the universe. However, they’ve also been releasing issues collecting the “classics”, with brand spanking new colouring. They have…pretty…terrible covers, but at least it’s pushing stories like The Apocalypse War out to new audiences, right?

But what really seem to be doing the best job at introducing new audiences to the world – and seemingly are the best that IDW are publishing, according to most fans – are Matt Smith’s scripted takes on the character, a Year One re-imagining of Dredd’s origins, but in keeping with the spirit of the character, and now a similar concept for Anderson in a new Psi-Division series. And then there’s Douglas Wolk’s Mega City Two, the only one I have read, but one that I can tell you is absolutely amazing and well worth checking it out.

What’s great is that it’s not just Dredd getting such nice treatment. Both Rogue Trooper and Sinister Dexter are getting good attention paid to them, the former similar classics reprinted in new colour, but both entirely new series’, which are apparently pretty good. But it’s the fact that both still even exist, aren’t cancelled, that gets my hopes up for other series’ to join them in the future because let’s face it: neither of those are the best we have to offer, are they? Whatever the case, it all helps get 2000AD out to the uninitiated at the end of the day, doesn’t it? Who can complain about that?

Christ, I’ve talked this long about IDW and haven’t even mentioned the bloody fantastic hardcover collections they’ve been releasing for Dredd. For one, the re-coloured Apocalypse War has a rather nice book, and Judge Death will seemingly follow (hopefully with a less horrific cover, mind you). But the real cool ones are the Complete collections focusing on three artists: Brian Bolland, Carlos Ezquerra and Cam Kennedy. Oh yes, these are nice, and the first two even have some lovely signed, limited editions in slipcases and everything. Cor!

Actually, I lied – I didn’t forget these at all. It’s just the perfect segue I needed to talk next about 2000AD’s own selection of hardcovers that they’ve been pushing out the door.

It’s kinda funny, but somewhere in this blog, very early on I think, I complained how 2000AD were strictly all about the trade paperbacks. Those are pretty nice with their sewn binding of course – I wouldn’t have bothered mentioning a potential future blog entry if they weren’t as comfortable to read as I say – but I felt that they were really missing some attractive shelf pieces, especially books with not-shit spines, and yet was completely unaware that they actually did already have a few, with more on the way.

I won’t list them all, but from the Volgan War’s 96 page hardcovers with their overblown Clint Langley artwork with additional pages and no gutter loss whatsoever, to art books like Slaine: The Book of Scars and The Art of Judge Dredd (and it looks like we’ll be getting a Judge Dredd Sketch Book soon too, compiling unseen artwork); from the Mek Files reigning superior over the Complete Case Files and similar books with proper reproduction of the Prog’s whilst actually managing to live up to the promise of being, you know, complete, to consistent spines (I had to mention them!); and from a few signed and limited edition books to the upcoming Zenith, Brass Sun and Daily Dredd collections to decorate your shelves with in similar oversized formats of the above, 2000AD have simply never published books this bloody good before.

And if you can’t tell, I really, really want more like them, especially as many of these put the inconsistently designed paperbacks to great shame.

And, well, I may have gotten my wish. We’ve very recently found out that Hachette Partworks, a company who has been releasing two large Marvel collections for the past couple of years in fairly high quality hardcovers (considering their price), are starting a new series for the world of Judge Dredd, and oh my god, it looks amazing. It’s all well and good to recommend new fans try reading the Complete Case Files Vol. 5 first and see how they like The Apocalypse War, or to instead try America, or Origins, or even the recent Day of Chaos – because the strip is surprisingly easy to jump into at any point – but you know what’s an even better than those options? To be introduced in style, in the form of sexy hardcovers, with back papers discussing the history of the comic and its creators, with recommended further reading to help ease you in elsewhere. That is better.

Not exactly sure when these are coming out, but after some brief debating, I subscribed for the free gifts myself. They’re being given a trial run of the first four books listed on their site and here’s really hoping they take off, because I imagine if they’re successful enough, they stand an even higher chance of reaching an American audience than all of the above I’ve mentioned, simply because of that Marvel series they run.

Does all of the above cover everything?

I think so. No, wait. While I was gone the comics also went digital – the good DRM-free kind no less – and e-novellas are being released with hopefully many more to come.

Okay, I think I’ve discussed everything I set out to now.

The purpose of all I’ve talked about so far – not mine, but 2000AD’s I mean – is to really sell all the amazing and wonderful series’ outside of Judge Dredd that they have, to really attract newcomers to the weird and brilliant stories we’re so fortunate to be used to but that they’re not, and I think this opens up all sorts of exciting possibilities for the future if they can truly draw in this bigger audience. Don’t get me wrong, I’m very happy about the state the comic’s in now, but I can’t imagine how many more talented creators would jump on board if they suddenly found out about the comic and what excellent stories and artwork these people could bring us. Nor can I imagine how much the production values of both the regular comic and the Megazine could increase by, not to mention the collected books themselves. Wishfully thinking now, if you’re jealous of Marvel and all their great films, just imagine what some of our favourite series’ could look like on the big screen.

At the end of the day, make no mistake: whatever happens – whether their attempts to reel in this different crowd are successful or not – it’s an exciting time to be a 2000AD fan and there’s simply no better time to jump on board if you’re not one already.

The Return

Clearly I left this blog much longer than I meant to. My last post was on the 31st of May and here I am two months later, despite having made clear plans of what I’d be doing once back from holiday. So apologies for that if you’re one of the less-than-ten people who seem to visit this blog irregularly, and apologies in advance for the entries I won’t be writing up as intended, such as a catch-up of the 2000AD issues I missed over my holiday in June.

The funny thing about that is that I actually did start and had very nearly finished it, at over 5000 words, a week after I’d got back before getting distracted by life matters, and it’s a bit of a shame because, now that I’ll probably not bother completing it (that would mean going beyond Prog 1887 that the post was meant to have finished with for another five issues), you’ll miss all the words I had to say about how fucking amazing Indigo Prime was. Did anyone not enjoy that? I hadn’t had the chance to read the two trade paperback collections of the series so far during my time in Greece yet I enjoyed it anyway, no idea what was going on in the background or not.

It also has what is possibly the best meta moment that I’ve ever seen. Weirdly, in the reviews I read for the particular episode that this happens, not one mentioned this, it apparently having gone over people’s heads. Let me state that I don’t really like when anything – books, films or games – tries to be meta because, nine times out of ten, it’s done for laughter’s sake, and not very well, often at the most inappropriate moment. Two examples of doing it right that immediately pop into my head are the TV show, Castle, and video game, Bioshock Infinite.

The former revels in being meta, the titular novelist played by Nathan Fillion – who dons his Firefly costume during a Halloween-set episode and makes several other references to that show – working with the NYPD to solve murders, his help usually coming in the form of ridiculous explanations that he borrows from other’s fiction or his own. It starts off innocently enough, I suppose, but gets progressively stranger to the point that they use their hundredth episode as a homage to Alfred Hitchcock’s Rear Window, and have one episode in the same season use clips from previous seasons for half its duration in which the characters talk about all the fun they’ve had. Fun is the very simple point here, and in a show about a crime novelist working with cops, why not embrace the silliness to such an extent that Star Trek references simply work by the time you get to them in an episode set in a science fiction convention? Why the hell not, it asks?

On the other hand, you could make a more critical point, which is what Bioshock Infinite sets out to do. Well, its time travelling and parallel worlds is also Irrational’s way of tying their two Bioshock games together, but mostly it’s making a point of video games, namely how your individual choice in matters, where possible, don’t actually matter at all, you and many other players ultimately arriving at the same destination, which is the same end of game. What’s infinite, it argues, is your journey there, which will be somewhat unique to you. So there’s that, which works too.

In the case of Indigo Prime, however, neither of these things happen. Its meta moment is not played for laughs nor does it make a point. In fact, one could argue that it’s not a meta moment at all, so hard is it to tell what it could mean for the future of the strip. It arrives suddenly and doesn’t draw attention to itself, perhaps the reason why some people missed it. But it’s genius, so I simply must talk about it briefly. This is it:

In my review of Perfect Day’s first episode I briefly mentioned how I loved that the mysterious villain, here seen literally pulling Mariah’s strings, is called The Nihilist in a strip about an organisation that watches over the multiverse, a world filled with infinite possibilities and life. You simply can’t get a more perfectly named bad guy than that. But here’s the genius of this scene: not only is The Nihilist shown to be the real agent of control as he warns Danny through Mariah for his own purposes (and I might add that this itself is sudden – there were glimpses of him behind the scenes in previous episodes but no outright appearance showing what he’s up to) but we also see that the puppet master of The Nihilist himself is none other than John Smith, the writer of the series, seen here -and note how he’s not transparent like Mariah or The Nihilist but completely whole, the only real being of the scene – looking over his shoulder at the reader, his scripts and the computer he works from in front of him.

It’s so perfect that I’m astonished to have seen no one talk about it, so there you go. Once I get round to reading all the previous stories in the series I’ll probably talk about it once again, but I had to get that off my chest for now. As it’s never mentioned once in either this same episode or the remaining few after, I’m praying that John is hard at work on the next story because there are so many things going on by the finale that you’re left demanding answers, and quickly at that.

Alas, this is all I’ll be repeating here from that never-to-be-published blog entry. The only other strip I really talked about at great length in that partway complete post was Slaine but you can essentially read what I wrote in fewer and better words courtesy of this member of the official forums, who explains what the story was really about and why that ending, though abrupt, was perfection on Mills’ part. Where I’ll pick up on my 2000AD reviews without this entry, if at all, I do not know. That can be worked out another day, although I’m thinking of abandoning the format of reviewing each Prog as a whole and only talking about what interested me about the weekly episodes, even if that’s only one thing. Prog 1893 released today, for example, sees the return of both Walter The Wobot and Mrs Gunderson, neither of whom I’ve seen in Dredd for a long time; and, to respect her passing, sees the old Dredd logo of Jan Shephard used for the first episode of this story, which is nice; but nothing else really grabbed my attention.

So, with the possibility of me abandoning my weekly reviews of 2000AD altogether, that leaves the question of what will become of the blog since that’s been its sole purpose for quite some time now. And well, to be perfectly honest, it’s probably going to become far less review-focused in the strict sense that I talk about the writing and art of this or that as two separate things that must be mentioned, and instead become more of an all-purpose blog which I hope to keep more up to date, even if an entry only details some thoughts I had on this book I was reading or something that happened to me that day. Like more of a diary then, you might say.

That doesn’t mean comics will cease to be a big focus of the blog though. In fact, if anything, they’re going to become a bigger focus now that I’ve began to expand my interests further beyond 2000AD, having built a small collection of American comics that I’m really getting into. Those that I’ll especially have words to say about are several Image series’ that I’ve started collecting. That right there is an incredible publisher. Rarely an ad to be seen (unlike DC / Vertigo who frequently interrupt the story with their fucking adverts); no censorship at all that I can see; and complete creative freedom. Brilliant.

My book interests have also expanded and I’ll maybe have a few things to say about the rarer books I get my grubby mitts on. Indeed, I’ve now a small but good collection of hard-to-get graphic novels – mostly limited printings, but several are signed too, and I’ve a keen eye on for those sort of things on eBay.

In a moment of insanity I also bought my first Artist’s Edition, a signed copy of Hellboy In Hell’s version of that book. It’s not the SDCC Variant Edition that was limited to 100 copies but, for the same price, I’m having the standard book delivered to me signed by Mignola like that one, a shot glass that is limited (to 150, and I presume that’s also how many copies of the book were signed seeing as only this one seller has been selling them and with these glasses each time) and a mixed assortment of goodies, which will include some of the comics themselves. Oddly, the book itself is being published by IDW, who created the Artist’s Edition line, yet Dark Horse have just released the first of their versions of these books, Gallery Editions that are about half the price. This is something I’ll also probably be picking up – it’s Robocop V.S. Terminator by Frank Miller and Walter Simonson – and there a few more coming out this year and next that I simply must get my hands on. Who the fuck wants to miss out on The Dark Knight Returns in its original format before having being put together for release?

So by no means will I have a shortage of things to say about comics – just less frequently as I use the blog for other things (and yes, I mean it this time). Maybe you’ll see one such of these entries tomorrow depending on how my interview with the Job Centre goes. If it goes as I expect – being talked to in a patronising manner and practically ordered to search for jobs that I’d rather die than do – then believe me, I’ll have much moaning to do.

And that is the status of this here blog. Until next time.

Prog 1880 Review

Damn, that cover’s a difficult one to assess. It’s certainly not what I expected our eventual Slaine cover to be – in my head I’d imagined some action-packed monstrosity of art too good to be true, whereas this is arguably a little dull looking, particularly with the unusual choice of colours. Most oddly of all for me is that Sinead’s profile combined with these colours actually makes the cover look startlingly similar to a Native American themed series of paintings I did back in high school, indeed based on how they would be portrayed on shields and cloths, etc.; though a few people on 2000AD’s forums also pointed out the resemblance of Sinead to the Queen as she appears on stamps and coins, not the last we’ll be seeing of her in this Prog if you can believe it. Either way, a strange cover. Not as exciting as what’s inside, but I do quite like it and think that’s it quite a memorable little thing.

Over on 2000AD Covers Uncovered there’s a brilliant entry for this really worth checking out. There’s only one other idea that Davis had in mind for the cover, but the highlight of the post for me is seeing a couple of his roughs, particularly that of the two page spread in Prog 1877 that I loved so much. What I found really great about that was seeing his idea for the placement of lettering which, if you compare to the finished spread in part four of the story, you’ll see Elle De Ville has ignored, placing it all along the bottom, which I mentioned in my review at the time as letting us enjoy the art in its full glory. Was quite surprised to see that he paints the roughs themselves too. It’s not something I paid any thought to admittedly, but most artists just work it out by pencil first, don’t they? Must cost the guy a fortune in paints if you take into consideration that he probably makes several variations of those.

 

Ach, it’s a shame that this Judge Dredd tale is only going to be four episodes in length. Such quality writing from Wagner, though I suppose that’s always to be expected when it’s Dredd he’s penning. This week isn’t much cheerier than the last, though still incredibly tense in tone. Loved seeing Dredd making his way through Zane’s apartment – thought the baby itself had been killed too when we came to that panel, but thankfully there’s a small amount of mercy given there. Not sure what could happen in the next two parts of the story but I suspect it will be ending with as many flowers and daisies as Mega City Confidential did.

Loving John McCrea’s artwork on this for reasons that I briefly discussed last week. The interesting thing that came to my attention about his line work is that most of it – hell, most of everything – is done in the inking stage, as is best illustrated in this photograph he posted on his Twitter feed of his pencils for a page in the third episode of the story. Quite interesting to see just how much he leaves out, yet how brilliant the final pages are. Big thumbs up to colourist Chris Blythe who I somehow neglected to mention last week. As usual, he does bloody tremendous work.

 

First of two new series’ filling in the space left by Sinister Dexter and Jaegir is John Smith’s Indigo Prime, which has everything from crucifixion and a ghost hovering over a bed, to a stuffed version of our queen in a Britain ruled by Nazi lizards. In other words: what the fuck did I just read?

Yeah. In my review of Prog 1473, my jumping back on point for the comic, I actually mentioned having read the return of Indigo Prime in a story called Dead Eyes (which Tharg mentions here as being the last time Smith and artist Lee Carter collaborated), and how my dear ol’ father all but squealed in delight to see it, whereas it meant nothing to me. It still doesn’t, as I haven’t bought either in-print collection of that series, though if Wikipedia’s Prog numbers of the original run are correct (also re-learned from here that the revival in Dead Eyes in 2008 was the first Indigo Prime story since 1993, a year after I was born – that’s a long time! (plus: the follow up to Dead Eyes came three years later)), then the recent lots I bought collect them all. Still, probably best that I get myself acquainted with the series quite soon, because I have not a single scooby how these folk operate in their multidimensional policing or what the hell terms like “glancers” and “imagineers” could possibly mean.

That said, if all the weird shit that happens in this Prog is of any indication, then it doesn’t look like Smith cares much for making sense, preferring to throw out wild ideas at every opportunity, which I’m certain will make for one hell of a fun story (Osama Bin Obama pretty much confirmed it), not to mention give Carter the opportunity to go completely nuts with his art. Indeed, his work on Dead Eyes was gorgeous stuff – absolutely packed with detail – and this is too. There’s a few details that seem unimportant, though are very cool (there’s the graffiti of an eye behind Mickey Challis, and a tiny face behind Trixie, as he talks about feeling watched); but the ghost and a face on the large monitor behind Arcana seem to be when you consider the talk of the agency’s HQ being haunted. And I may have accidentally spoiled the reveal of who the “haunter” could be over on the forums, a few people mentioning a “Nihilist”, who I presume is the bad guy? If so, what a fucking great name.

But – gah! I’m going to have to buy the collections of the old and new series, aren’t I? What’s that? I already have?!? Well…shit.

 

Though Indigo Prime may have fried my mind (in a good way!), we at least have Slaine here to be as simple as its subtitle suggests. All that happens this week is this: Slaine crosses the causeway to Monadh, killing the most part of an army of Slough Thruc’s weird creatures along the way. The writing’s as top notch as ever, one particular highlight being that one of the Drune lords is actually quite clearly Sean Connery in dishguise, what with that schmashing voicesh. So, now that I’ve made that joke , let’s talk about that art, huh?

You know, I was pretty certain that Davis couldn’t possibly trump the beauty found in part four of this story in Prog 1877, which you may recall I named the best of his art I’ve ever seen. I was positive. Well, somehow, this chapter in our tale now ties with it. It was a nice surprise to see another map of the world, this time a closer look at Monadh, but an even bigger surprise to turn the page and find myself looking at an absolute belter of a spread, packed with all sorts of creatures making their way across the causeway. Oh, but then I turned the page again and found a lovely shot of a really pissed off looking Slaine; and a splash page opposite that that’s simply incredible, of our unhappy hero now making his way across the causeway alone, leaving total slaughter in his wake, the sky ahead cleverly imbued with an image of his fury. To finish things off Davis then has four panels up his sleeve – all positioned from the same overhead angle – of the waves clashing against the sides of the causeway as crows high above swarm the two pages as Slaine makes his way safely across for the next chapter.

I’ve quite liked a lot of Davis’ artwork that I’ve seen in the past. It’s not always been perfect, but the first Stone Island series (I can’t remember how good or bad the art may have been on the second), first Ampney Crucis series and some of his stuff on Sinister Dexter was astonishing looking. But has he secretly been waiting for this one job his entire life or something? I’m serious – the guy has poured has heart and soul into this, and I think it’s actually what I’ve been looking forward to the most each week.  I try not to spoil other stories but I cannot help but have a look at what madness he’s done this week. It would be a crime to let him amaze us like this and then have another artist take his place for the next series. For god’s sake, Mills, don’t do it! If not for us, then for him. It’d be like giving a child presents then stamping on them in front of him or her, so don’t you do it to the man!

 

Like my mind was read, the other story filling in for those finished last week is my first Tharg’s 3riller, a story called Colony by “Kek-W” (actually someone by the name of Nigel Long who seems to have been credited for stories long ago and then again fairly recently), with art provided by Vince Locke and colouring by Guy Adams. I’m very intrigued to see what the deal with the space capsule is, and why apparently coming in contact with it has driven at least one character insane. Looks like it’s going to be a Terror Tale-like twist of pure horror, which I wouldn’t mind at all.

The art is pretty good. The only time I can remember seeing Locke’s artwork was for a Dredd story about a serial killer who preyed on sex-meks, but it hadn’t been very amazing there, whereas here it looks pretty nice, especially with Adams’ suitably murky colouring. If I have one complaint, however, it would be the digital addition used to create realistic looking snow, which I found to be a bit of an eyesore against the dominantly normal colouring. Otherwise, it looked great, and I’m looking forward to seeing what happens next, particularly since these 3rillers are only three episodes long, meaning Kek-W / Nigel has only two more episodes to impress us.

 

Last and, um, least of all I care for is Outlier, which begins to limp to its end. Gotten bored of this by now and have sod all to say for this week’s episode – just hoping that Eglington has some little twist or other planned, anything redeeming in quality, that will at least make its ending good. In my catching up of the Megazine I’ve came across a few stories by Eglington (including a two-part prose tale that I loved) and the thing is, I actually quite liked them. There’s a story in the backlog of Progs that I bought recently called Gunheadz (a 3riller) that’s right up my alley too by the look of it, so reading this saddens me even more, knowing that he’s not a crap writer. Really hope that whatever he comes out with after this series ends will be much higher in quality.

 

Pick of the week is Slaine for that ridiculously amazing art, though I feel like Indigo Prime will become a quick week-to-week favourite, even if I don’t understand it. It’s just mental, and the little I’ve read of John Smith in the past (including one of my favourite Dredd tales, Jumped) has been brilliant, which I feel like this will be too. ‘Til next time.