2000 AD Prog 2197 Featured Columns 

Multiver-City One: 2000 AD Prog 2197 – Saints and Sinners

By , , , and | September 2nd, 2020
Posted in Columns | % Comments

Welcome, Earthlets, to Multiver-City One, our “2000 AD” weekly review column! Every Wednesday we examine the latest offerings from Tharg and the droids over at Rebellion/2000 AD, the galaxy’s leading producers of Thrill-Power entertainment. Let’s get right to it!

Cover by Dom Reardon

THIS WEEK IN 2000AD

Judge Dredd: End of Days, Part Thirteen
Credits: Rob Williams (script), Henry Flint (art), Chris Blythe (colours), Simon Bowland (letters)

Michael Mazzacane: ‘End of Days’ hits the unlucky thirteenth entry as the team goes to Luna-1 to hunt the final horseman: Death. As has been the general structure of this story, with the team coming off the defeat of War, this entry is more about table setting than storytelling. That isn’t an entirely bad thing as it answers a couple of questions like “why is Death on the Moon?”

With the team going up against Death, Williams is freed to make copious puns and turns of phrase on the nature of death. The best one being a reaction to what killed the Lunar Marshalls. Williams also makes a notable shift in narration by placing the reader in the mind of Judge Giant jr. and the sense of awe at the seeming immortality and mythic status of Judge Dredd. He has been through enough for several lifetime and yet he persists. This sort of personal awe is more effective at dealing with Dredd, the legend, compared to the omniscient narration that has been littered throughout the strip. It pushes the story closer to, but via different means, the view of Dredd back in the ‘Necropolis’ arc. ‘Necropolis’ was when Dredd as both legend and propaganda tool started to come into full effect, but it was driven from an institutional point of view. By placing the reader in the viewpoint of Giant jr. it continues that motif and deepens it with over twenty years of actual history tying it together.

All this time I was expecting Judge Death to make an appearance, it seemed a bit too obvious and they were sort of taken care of in a recent “Megazine” arc last year. By the end of this chapter we find out who is chosen to be the horsemen of Death and it is a fitting one. As we approach Prog 3000 I’m sure Rebellion is planning something special for “Dredd.” It’s that kind of cynical view that has me both respecting the technically well-done cliffhanger and not buying it. It will depend on how Williams and Flint get out of this one. We could have an interesting commentary on the nature of Judge Dredd or it gets yadayada real fast.

The Out, Part Ten
Credits: Dan Abnett (script), Mark Harrison (art), Annie Parkhouse (letters)

Brian Salvatore: It took ten installments of “The Out” to truly reveal the reason why Cyd left Earth in the first place. Sure, there were excuses and reasons given, but it took a trip to a therapist, post-resurrection, to find out the root of it. And, as has been a theme through this series, the entire tone of the book shifts with the revelation.

This chapter was nearly all exposition, but since it was set during a therapy session, that makes total sense. The up-until-now light-on-dialogue series has not pulled a move like this before, and so one chapter that is overflowing with words can be forgiven, especially when the voluminous words set up a simple and spare explanation for Cyd. The reveal comes after Cyd has emptied herself of all sorts of thoughts, but not the ones that ultimately matter to her therapist.

Harrison continues to craft really interesting looking aliens, as the therapist is part Ganesh, part DC Comics’ Dominators, and part Gungan. This chapter takes place almost exclusively in the therapist’s office, so the spectacular architecture and range of creatures is replaced by Cyd pouring out her story and the therapist soaking it in. It allows Harrison to do something very different, and allows Cyd her most human moment to date.

Future Shocks: Stream M For Murder
Credits: Liam Johnson (Script), Steve Yeowell (Art), Simon Bowland (Letters)

Continued below

Jacob Cordas: “Stream M For Murder” is, more than anything, too clever for its own good.

Liam Johnson’s script smartly separates the limited page count so each character is given a moment to focus on. However this creates a whiplash effect at the end, when the mandatory twist finally happens. As a small character piece it nearly works well. I’d love to see what Johnson can do when provided a format that doesn’t require a twist. Here he falls back on cheap cleverness when his bread and butter is clearly characterization.

Steve Yeowell’s art is sharp and simple. It reminds me of Steve Pugh’s work but without the background gags that make Pugh’s art sing. Yeowell does a great job though of mixing suburban signifiers with around-the-corner technological upgrades. It is delightfully retro-futurist. I would love to see what he can do when given a more comedic story to work with.

Finally Simon Bowland gives great work as well. Since each page focuses on a singular character, the lettering needs to pivot probably for each as well. He does an excellent job with each. Each character’s voice comes through clearly and attentively.

It really is a shame how middling this is considering how clearly talented every member is. Maybe they need a bit more time to iron out their kinks but for now this just isn’t up to snuff. There is no revolution just yet – only a team angling for it. Hopefully they’ll do a story next that brings out the best in each other.

Tharg’s 3rillers Present: Saphir, Un Roman Fantastique, Part 1
Credits: Kek-W (script), David Roach (art), Peter Doherty (colours), Simon Bowland (letters)

Noel Thorne: Set in 1899 Paris, an Armstrong-lookalike inspector is investigating the mysterious death of a wealthy libertine, the uncannily-named Lady Sofia Conundrum. And then he meets her buff giantess chauffeur, opens up a bottle of something called “Saphir” and a routine homicide turns into something quite different!

Kek-W skilfully sets up a decent whodunit with a fast-paced story that grabs you right off the bat. No one character really stands out – the leads are a generic detective and your typical literal strong female character – but the unpredictable and exciting direction of the storytelling easily holds the attention. Tharg’s 3rillers are in the vein of Future Shocks so expect more than a few fun twists.

By far the best part of the strip is David Roach’s superbly detailed art full of nice period touches like a Beardsley painting and what looks like convincing 19th century bohemian decor. The art in the last few pages is especially eye-catching and shows Roach’s range as he goes from 19th century European settings to somewhere far more imaginative and creative. All in all, it’s a very pretty comic to look at.

“Saphir” Part 1 is a fine start to a compelling new storyline that lives up to its ‘3riller’ label – looking forward to seeing what happens next!

The Diaboliks: A Crooked Beat Part 1
Credits: Gordon Rennie (script), Dom Reardon (art), Jim Campbell (letters)

Ryan Pond: Gordon Rennie opens “A Crooked Beat” with an ominous prophecy about a scarred minstrel. He then introduces us to an old rocker from Solomon’s past that is on the run from mysterious men in suites. The globe spanning escape shows several locales, and each setting does a great job of telling us why the character is there and why he is being pursued. Most of this story is told through narration, which makes for a great final reveal.

Dom Reardon’s artwork does a great job of defining the characters, and their personalities, through animated facial expressions. This does a lot for the way this story is told, as there is little dialogue in the book and could almost fall into the “silent” category. The clean and intentional nature of the artwork really “pops” and makes the action clear. Campbell’s letter work is perfectly out of the way, and makes great use of bold lettering to match Reardon’s heavy line work.

“A Crooked Beat” introduces a new character, an old rocker type from Solomon’s past. He is on the run but this time he is in over his head and Solomon owes him a few favors.


//TAGS | Multiver-City One

Brian Salvatore

Brian Salvatore is an editor, podcaster, reviewer, writer at large, and general task master at Multiversity. When not writing, he can be found playing music, hanging out with his kids, or playing music with his kids. He also has a dog named Lola, a rowboat, and once met Jimmy Carter. Feel free to email him about good beer, the New York Mets, or the best way to make Chicken Parmagiana (add a thin slice of prosciutto under the cheese).

EMAIL | ARTICLES

Michael Mazzacane

Your Friendly Neighborhood Media & Cultural Studies-Man Twitter

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Ryan Pond

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Noel Thorne

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Jacob Cordas

I am not qualified to write this.

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