2000 AD 26 (20 August 1977)

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I guess I haven’t been paying attention but the lead of Invasion, Bill Savage, barely even registers a presence anymore. Finley-Day is more concerned with the setting of his stories than the content.

Harlem Heroes, with Belardinelli art and Tully apparently wrapping up, is far more pleasant. Home stretch hopefully. It’s still incomprehensible nonsense.

The Shako story is great. Wagner does a Cuckoo’s Nest homage while Lopez-Vera does a great job on the art. A little Inuit kid befriends Shako, which is adorable.

Steve Moore writes a weak Future-Shock. Horacio Lalia’s on the art. It’s not memorable either.

The M.A.C.H. 1 story introduces space aliens. Not sure if anything else matters. It’s goofy beyond belief; Jaime Marzal-Canós really doesn’t pace it well either.

Wagner writes a decent enough Dredd, with three acts in maybe five pages. McMahon does well until he overfills the final two pages.


Invasion, Bluebird; writer, Gerry Finley-Day; artist, Carlos Pino; letterer, John Aldrich. Harlem Heroes, Part Twenty-six; writer, Tom Tully; artist , Massimo Belardinelli; letterer, Pete Knight. Shako, Part Seven; writer, John Wagner; artist, Lopez-Vera; letterer, Tony Jacob. Tharg’s Future-Shocks, Food for Thought; writer, Steve Moore; artist, Horacio Lalia; letterer, Jack Potter. M.A.C.H. 1, The Death Trumpet; writer, Steve MacManus; artist, Jaime Marzal-Canós; letterer, Knight. Judge Dredd, Dream Palace; writer, Wagner; artist, Mike McMahon; letterer, Jacob. Editor, Kelvin Gosnell; publisher, IPC.

Harbinger 13 (June 2013)

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Why is Dysart even doing this issue? It reads like a summary of an action scene, which suggests he or Swierczynski will cover the actual action in either Harbinger Wars or Bloodshot. Probably both, actually, given what doesn’t occur in this comic.

What does occur, besides the flashback stuff, is the gang acting incompetent. I think Faith gave them a superhero team name, but I can’t remember. The Renegades, maybe?

Anyway, Torque’s still a jerk and they’re no good at stopping a single moving vehicle. It’s sort of sad.

The “interesting” stuff in the comic is the flashback to when Toyo goes up against P.R.S. back in the late sixties. Dysart is vaguely interested in these scenes and they don’t read like rote. Sadly, he seems most interested into the idea of a harbinger during the Civil Rights movement–one page.

This crossover event is strangling Dysart at this point.


Writer, Joshua Dysart; artists, Khari Evans and Trevor Hairsine; colorist, Ian Hannin; letterer, Rob Steen; editors, Josh Johns and Warren Simons; publisher, Valiant Entertainment.

Butcher, Baker, Candlestickmaker 3 (September 2011)

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Why am I reading this comic? It’s a family drama this issue–oh, wait, Butcher meets the greatest woman in the world and she totally changes his life with her patience and inner beauty. Of course her death would send him over the cliff–she doesn’t die here, it’s way too soon, but I do think Ennis has established she does die.

It’s like a happy scene in a soap opera, page after page, over and over again. Ennis is completely incapable of writing these scenes honestly. I wonder if he had someone give him a list of trite romantic blather for them to recite.

Even Robertson has checked out a little. Drawing talking heads for terrible dialogue must have been annoying.

There’s not a good or honest moment in the entire issue. I kind of don’t want to read any more of it. I’ve entirely lost interest in Butcher.


It Must Be Love, Love, Love; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Aviña; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Star Trek 26 (October 2013)

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If it weren’t for the terrible art from Fajar, this issue might actually be pretty good. Johnson splits the crew–spending Spock off to consult the Federation while everyone on the Enterprise questions him leaving Kirk and Kirk off with the Klingons as a prisoner.

Johnson’s juxtaposition is interesting because Kirk’s the one who has the most faith in Spock; now, will Johnson answer the question of whether Kirk has faith in Spock’s own decision making or does Kirk really have faith the human crew will convince Spock to act. Or will Johnson ignore that plot thread because he’s really more about wowing the reader.

Except Johnson has no ammunition. As a sequel to Into Darkness, this story arc will always have to be muted–it’s a poorly drawn licensed comic after all. Paramount won’t allow anything major.

It’s a fine enough issue, though the hard cliffhanger is spectacularly lame.


The Khitomer Conflict, Part Two; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Tom B. Long; editor, Sarah Gaydos; publisher, IDW Publishing.

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