As you may have guessed from the headline, this week marks forty years of 2000 AD. That’s four decades of getting weekly comics out the door, to the printer, and on to stands. It’s no small feat, and we here at Multiversity tip our caps to Tharg and his droids for a job well done.
This issue follows what’s becoming a familiar form for 2000 AD specials: extra length with one-page interstitials falling between the strips. It’s a lot like how they did the Prog 2000 special. I like this format a lot, as it provides the opportunity to squeeze in as many creators and characters as possible. Without having to turn out a full strip, artists like Jock, Rufus Dayglo, Mark Sexton, Patrick Goddard, Bryan Talbot and Mike Collins all got to make appearances drawing the casts of “Judge Dredd,” “Strontium Dog” and many others as they celebrate the day.
I. THE 40TH ANNIVERSARY SPECIAL
Judge Dredd: Blood
Credits: John Wagner (script), Carl Critchlow (art), Annie Parkhouse (letters)
Mike Romeo: This is the kind of storytelling 2000 AD, and writer John Wagner, should be best known for. In a mere six pages Wagner was able to pack in more than most comics can in an entire issue. It’s concise, economic storytelling that is never done at the expense of the story. Despite being so few in pages, there’s never an instance where I was left feeling as if the story suffered from the brevity.
Of course, all the smart storytelling in the world won’t do anyone any good without a solid artist to lay it all out, and that’s what Wagner’s got in Carl Critchlow. As concise as the narrative is, the art matches it every step of the way. Not a panel is out of place, and none of it ever feels crowded or loses readability. My only knock against Critchlow’s art is the color. There are a few instances where things get a little darker and muddier than I think works, a prime example being the very first page of the strip. I understand that it’s a night scene, but it’s to the point where detail seems to be unintentionally lost.
All in all, a solid example of “Judge Dredd” as a police procedural. For anyone new to the character, I think this is would be a great introduction, as it not only shows Dredd’s prowess as an investigator, but it also touches on the fact that things can get weir and/or violent in this world. Wagner’s opening monologue sums up the amount of blood Dredd’s seen in the line of duty while Critchlow shows us some of the mutants and vampires of Dredd’s past.
Zombo: Z.O.M.B.O.
Credits: Al Ewing (script), Henry Flint (art), Simon Bowland (letters)
MR: STRIP FOR ACTION!
Holy smokes this one is bonkers in all of the best ways. Couched as Zombo’s first appearance from forty years ago, “Z.O.M.B.O.” has the look and feel of a 70s spy/action strip with all of the half human, half zombie absurdist action we’ve come to expect from our decomposing protagonist.
I love seeing Flint’s work in black and white. While still instantly recognizable as his art, it looks as if there’s a bending towards the vintage at play here. Aside from the strip’s bookends, this installment looks as if it could have been torn from an early issue of “2000 AD,” or as the narrative would ask us to believe, “AD 2000.”
Al Ewing really gets to cut loose here, as he and Flint deliver some real laugh out loud moments. The excerpt above is a good example of what I’m getting at, as is the Z.O.M.B.O. P.A.N.T.S. moment that follows directly. By my measure it’s been a while since these two teamed up to tell one of these stories, and hopefully this is an indication that there will be more on the way!
Ro-Busters: Seeing Red
Credits: Pat Mills (script), Clint Langley (art), Ellie De Ville (letters)
Bobby D.: The Ro-Busters installment of 2000 AD’s 40th Anniversary is a comedic look into the lives of a group of disgruntled, foul mouthed public service androids.
Continued belowThe issue starts out with a seemingly serious tone. The Ro-Buster known as Hammerstein runs down a hallway on his way to “kill” his boss, Howard Quartz.
From there, the story goes into a flashback with Hammerstein and his bestie Rojaws in the middle of a rescue job. Rojaws hurls insults at a human civilian who has managed to annoy him much to Hammerstein’s chagrin. Sometime after the job, Hammerstein and the other Ro-Busters find that Rojaws is oddly polite. Hammerstein refuses to accept this sudden shift in personality and goes to investigate.
Patt Mills writes a surprisingly touching tale about the friendship between two very different robots. Hammerstein comes off a very dutiful and seems to be fine with doing his job for the most part. While Rojaws could care less about helping humans and would much rather stay at HQ.
While I feel that I might be missing some of the jokes since I come from the other side of the pond, I still feel that Mill’s use of humor throughout the strip hits the mark more often than not. The end of the comic is genuinely something I didn’t expect and got a good laugh out of me when I realized what was going on.
I really like Clint Langley’s designs for the Robusters, Each is seemingly crude at first glance, but turn out to be surprisingly complex once you really take a look. Langley’s great use of shading, lighting and scarce use of red in certain panels make the panels pop and make full use of the Ro-Busters unique designs.
It’s a fun installment that I’m sure fans of the strip will be satisfied with and people new to Ro-busters will find interesting to say the least.
Durham Red: The Judas Strain
Credits: Lauren Beukes and Dale Halvorsen (script), Carlos Ezquerra (art), Simon Bowland (letters)
Liam Sunner: This strip, as part of the 40th Anniversary of 2000 A.D, is a simple one. Durham Red and Johnny Alpha are on a simple escort mission. A perfect choice for an anniversary issue, as it offers a perfect summary of what the characters do for new readers and serves as a sort of victory lap for older readers. Beukes and Halvorsen, balance these two different readers well. Character information, mission details, and location background are given for new readers. While it’s phrased and styled as a natural conversation between Durham Red and Johnny Alpha, that their working relationship has this back and forth. As the strip drives on, we see more of the character traits emerge, going beyond the tropes such a story could easily coast one. Again, this is reflective of the writing skills of Beukes and Halvorsen, that minor phrases become something else when added to the imagery.
And it’s this artwork by Ezquerra, which helps and enhances the script. Both Durham Red and Johnny Alpha characters are reflected perfectly in their body language. This is further seen when the location shifts, we can see a similar shift in the character posture. At the formal/ civilised event Johnny is at unease in his suit, while Durham Red just walks through as if she owns the place. Ezquerra, with simple use of browns and rock imagery shows the first location as more barbaric or wild. This contrasts with the elegancy and luxury of the world. Again, this is an organic shift, that each location is simply each location rather than a forced and haphazard shift. A particularly nice touch to show the elegance of the world, was the use of the straw to drink blood. It contrasted the barbaric act of the blood drinking with the elegance and civility of the world.
Slaine: Red Branch
Credits: Pat Mills (script), Simon Davis (art), Ellie De Ville (letters)
LS: As with other strips in this 40th Anniversary issue, this strip is relatively simple and self-contained plot. Sláine must compete and win three trials to gain membership to the Red Branch. As the trials continue, Mills, shows glimpses of the characters and their backstory at various points. Mills does so in a very organic manner, information is given as characters dwell on thoughts rather than mere exposition for the sake of advancing the plot. As such, it give the moment more depth and more of an impact when it reaches the climax. Mills also makes great use of humour in the challenge, referring to Irish history and the Red Hand of Ulster. However, its taken to a hilarious extreme in this strip. Something, it would seem befitting of Calad.
Continued belowDavis’ art greatly complements and collaborates with Mills’ script. From the opening panel, the body language of the four men tells more than mere narrator could. This identification continues throughout the challenges with Sláine’s sternness contrasting with Calad’s humour and more abstract thinking. Davis’ use of colour is bold and decisive throughout the strip. From the cold water at the start, to the blood a Calad wins challenges and the fight towards the end sequence, colours are exactly what they should be to show the content but never force the readers’ eyes against the flow and pacing of the panels.
Nikolai Dante: Devil May Care
Credits: Robbie Morrison (script), Simon Fraser (art), Gary Caldwell (color), Annie Parkhouse (letters)
Ryan Perry: Robbie Morrison crafts a fiercely enjoyable story here around the character of Nikolai Dante. The dialogue and plot are enjoyable, and the readers have fun because the characters are having fun (at least Nikolai Dante is). Each new character you meet feels fully formed from the start through Morrison’s willingness to embrace stereotypes as a skeleton on which to build his characters. The plot of the story is quite basic, but it breathes in the pages it’s given. It doesn’t feel the need, like many other stories do, to explain a whole world to you before it tells you the story and that’s a wise decision.
Simon Fraser’s art in this book feels like the love child of Frank Quitely and Aaron Kuder. It’s simple but beautiful and wonderfully detailed. The curved lines lets the story feel soft and enjoyable even through action sequences. Nothing ever seems to heavy which is a good feel for a story about a puckish rogue. The little details in the art are what make everything feel authentic though, from futuristic and otherworldly design of the chandelier to the presence of automated cleaning robot. You believe everything that’s going on because not a line is out of place. It’s also great to see the obvious research that went into this book. You wouldn’t see many artists go to the extent of creating ethnically correct features on a character, but Fraser does and the book is all the better for it. The emotion that he imbues these characters with is what really carries Morrison’s reliance on stereotypes to build these characters. Dante is just another Han Solo-type if Morrison doesn’t draw is aristocratic look and mannerisms. Princess Jenna is just another strong willed princess if Morrison doesn’t draw her chilly persona.
Gary Caldwell brings a lot to this book in colors. It’s another part of the art that convinces the reader everything is real. It adds to the lightness of the book and helps sell the humor.
II. THIS WEEK IN 2000 AD
NOW DEPARTING
Judge Dredd: Deep in the Heart, Part 8
Credits: Michael Carroll (script), Henry Flint (art), Annie Parkhouse (letters)
MR: Michael Carroll wraps up another arc of “Judge Dredd” with this week’s installment, tying up some loose ends in the process. Mentions of the Lawlords and Gideon Dallas happen pretty early, but the real meat of what goes down comes as a result of last week’s cliffhanger. I don’t want to get into spoilers here, but it was a very satisfying conclusion to a through line Carroll’s been playing with for a long time. I was taken by how emotional this installment was, which felt like a new high-water mark for the writer. I can’t remember him penning this sort of personal story in quite this way, and I think he nailed it.
Of course, Henry Flint was there every step of the way to help Carroll tell this story. For every action beat or emotional moment Flint was right there to drive it home for the reader. His line style is so intense that, before reading this, I would have wondered if he were the best choice to do the type of touching storytelling that the wrap up to this strip required. After seeing it in action, though, I think that the immediacy in Flint’s art added to the feeling of fleeting moments between characters. Plus, he’s not afraid to get a little cartoony and gestural with his facial expressions, which works really well in situations like this.
Continued belowAll in all, this was a great end to a solid run of strips, and I can’t wait to see where Carroll takes us next!
NOW ARRIVING
Sinister Dexter: Electric Landlady, Part 1
Credits: Dan Abnett (script), Steve Yeowell (art), John Charles (color), Simon Bowland (letters)
RP: This installment is an improvement over the last. Dan Abnett dials back the made up words and makes way for the presence of more characterization for our main characters. The plot of this story cements the 80’s buddy cop vibe of the series as it makes comparisons to Lethal Weapon too easy. The presence of the stereotypical young, brash archetype and stereotypical older, wiser archetype makes elements of the story feel familiar, which also means it can be a little boring and predictable. We’re also introduced to a new character, a robot named Kalinka. She’s the stereotypical movie robot that seems attractive at first but quickly becomes overbearing. The humor in this issue, like the first, simply does not work. All the jokes have been heard before, and while the characters are depicted having a great time; the reader really is not.
Steve Yeowell’s simple style is just as present in this installment as the last, however, while it provided for a great backdrop to last week’s action, it creates a boring setting for a character-building issue here. We’re told through the story that the main characters are moving into a super high-tech apartment, which should feel exciting. Instead it’s depicted as a standard apartment and you’re left bored. On the other hand, Yeowell’s strong character design work continues into this issue with the introduction of the Ex Machina styled Kalinka. He gives the automated security system a face so that the reader can believe that it might have humanity. It would work brilliantly as a red-herring if it hadn’t been done many times before. The simplicity of the line-work and panel structure fit well with the simple story being told. Their flow provides reader engagement throughout when other aspects of the story might lose you.
That’s gonna do it for us this week! “2000 AD” is sale today and available digitally worldwide via:
- The 2000AD app for Apple iOS,
- The 2000AD app for Android devices,
- The 2000AD app for Windows Mobile
- 2000ADonline.com in DRM-free PDF and CBZ formats.
They are available in print today from:
- 2000ADonline.com and
- Finer UK comic shops throughout the UK.
“2000AD” and “Judge Dredd Megazine” are available in print in North America one month after UK release from your local comic shop.
So as Tharg the Mighty himself would say, “Splundig vur thrigg!”
