Category: Judge Dredd

Judge Dredd 11 (September 1984)

Judge Dredd #11

Somehow, even though Bolland and McMahon alternate the chapters in this issue–so it’s always very clear when moving from one to the next–the story flows a lot smoother. Maybe because Wagner has gotten into the middle of the story, he’s established the lunatic rule of Chief Judge Cal. He’s moving through instead of building up.

He also focuses a lot less on Dredd and his plans. Instead, it’s mostly Cal and his lunacy, though without as many new absurd jokes. Or, if there are absurdities, Wagner backgrounds them instead of bringing them out front as his focus. It works much better.

And Cal’s lunacy gives McMahon a real chance to show off. In the craziest parts of the issue–usually involving Cal having an episode, sometimes on the air, sometimes just for his weary supporting judges–McMahon just goes wild. It looks great.

It’s a sturdy, steady issue.

B 

CREDITS

Writer, John Wagner; pencillers, Brian Bolland and Mike McMahon; inkers, Bolland, Garry Leach and McMahon; colorist, John Burns; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd 10 (August 1984)

Judge Dredd #10

This issue reads a lot smoother, with Dredd again a fugitive, leading the revolt against the crazy new chief judge. Unfortunately, Wagner goes for absurdity at every turn–the new chief judge is so crazy he appoints a fish as his deputy–and it’s never believable the other judges would follow the new leader with such blindness. It’s almost like Wagner saw he couldn’t make the story work straightforwardly, so he introduced the lunacy to at least make it funny.

And there are a couple decent comic moments but there’s also a lot of laziness.

Of the three pencillers, Brett Ewins does the best on his pages. He captures the mania of Wagner’s script and the enthusiasm helps a lot. The pacing gets the better of McMahon, who handles the beginning of the issue (and the setup); he can’t keep up.

If Wagner had fuller scenes, it’d probably work better.

B- 

CREDITS

Writer, John Wagner; pencillers, Mike McMahon, Brett Ewins and Brian Bolland; inkers, McMahon, Ewins and Garry Leach; colorist, John Burns; letterers, Tom Frame and Jack Potter; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd 9 (July 1984)

Judge Dredd #9

It’s something of a lackluster issue.

The opening resolves the Cursed Earth storyline, but it’s the final chapter and probably should’ve somehow been fit in with the rest of the Cursed Earth issues. Especially since it’s extremely anticlimactic, though Mills does attend the character relationships he’s developed.

Then Wagner takes over with Dredd on trial, followed by Dredd as a fugitive, followed by Dredd redeemed, followed by Dredd versus a conspiracy. The compiled nature of the series comes through way too much–every few pages it stops and starts, sometimes going in a wildly different direction.

And Wagner’s characterization of Dredd, who’s shouting off one-liners, seems too forced. Wagner’s characterizations of the rest of the cast is similar–he’s rushing. There are some occasional high points, like Dredd’s showdown with a robot duplicate, but otherwise it’s a problematic outing. The constant Dredd in danger cliffhangers get tiresome really fast.

B- 

CREDITS

Writers, Pat Mills and John Wagner; pencillers, Brian Bolland, Brendan McCarthy and Mike McMahon; inkers, Bolland, Dave Gibbons, Brett Ewins and McMahon; colorist, John Burns; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd 8 (June 1984)

Judge Dredd #8

The resolution to the Las Vegas cliffhanger is a little lame. Dredd just happens to get there in time to challenge the sitting judge and there just happens to be a good resistance movement in place to help out. The whole subplot–the mob being the corrupt judges of Vegas–is weak anyway.

But then Mills does a long flashback of Tweak (the alien) and his full story. It’s a nice diversion, leading to some nice character moments in the present action, as well as some affecting ones in the flashback. It’d be the highlight of the issue, if not for the finale.

There’s a contrived battle scene in Death Valley. Dredd and company versus war robots. The setup stinks and the actual sequence is fantastic. Great pacing and writing also make up for the art getting too confused.

Although the open is rough, the issue turns out quite well.

B 

CREDITS

Writers, John Wagner and Pat Mills; pencillers, Mike McMahon and Brian Bolland; inkers, McMahon, Dave Gibbons and Bolland; colorist, John Burns; letterers, John Aldrich, Gibbons and Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd 7 (May 1984)

Judge Dredd #7

It’s Dredd versus a dinosaur. Not just any dinosaur, but the offspring of the dinosaur from the early issues of 2000 AD. Mills spends more time writing from the dinosaur’s perspective than he does from Dredd’s, which makes for a vaguely annoying, while still engaging enough outing.

The pacing is off in this one though, with the episodic origin of the story too obvious. Dredd’s story stops and starts with the dinosaur stuff. Mills likes it way too much considering it’s so goofy. Except his flashback to the origins of modern dinosaurs reads a lot like Jurassic Park, just twelve years early.

Then Wagner takes over for Dredd in Las Vegas, which ends up being the issue’s cliffhanger. Everyone in Vegas bets on everything; it doesn’t seem particularly insightful, but McMahon’s art has enough energy to get it through. Ditto the first part; without McMahon’s eccentricities, the issue’d stall out.

B- 

CREDITS

Writers, Pat Mills and John Wagner; artist, Mike McMahon; colorist, John Burns; letterers, Tom Frame and John Aldrich; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd 6 (April 1984)

Judge Dredd #6

It’s an excellent issue. Mills sends Dredd on something of a self-discovery; he encounters all different types in the Cursed Earth, with the villainous gangs being the only bad guys. It comes as a surprise to Dredd, but not the reader. Mills has a way of trying to surprise the reader with Dredd’s humanity. He’ll give Dredd a choice and one of them seems obvious if Dredd is just a caricature, then Dredd’ll choose the other option and Mills will gently explain.

Or not so gently. The issue goes out on a real obvious note, but it’s also a strong one.

One of the chapters–the stories take place on different days of Dredd and company’s trip across the Cursed Earth–has Dredd against robot vampires, with some odd developments, but is particularly well-written.

The finale, with an sympathetic alien, devastates. Good work from Mills, McMahon and Bolland.

A 

CREDITS

Writer, Pat Mills; artists, Mike McMahon and Brian Bolland; colorist, John Burns; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd 5 (March 1984)

Judge Dredd #5

Mike McMahon does the art for the first three quarters of the issue, with Dredd getting ready to go on a mission through the Cursed Earth. Writer Pat Mills does a decent job setting up the back story, though once it moves on to preparations for the mission, he and McMahon get wrapped up in showing off the goofy hardware Dredd’s going to have. It’s relatively short sequence–the initial double-page spread of a militarized RV–but it stops the story cold.

And Mills is extremely episodic so every few pages, the story feels a little different (this Dredd series being collections from 2000 AD), but most of those differences are good–if not smooth. Mills’s enthusiasm for setting construction helps one ignore his more derivative details.

For the last few pages, Bolland takes over. He gets a goofy Mount Rushmore battle sequence with mutants but it’s visually gorgeous.

B 

CREDITS

Writer, Pat Mills; artists, Mike McMahon and Brian Bolland; colorist, John Burns; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd 4 (February 1984)

Judge Dredd #4

The feature story, with Mega-City One under attack from mutants from the Cursed Earth, is fairly strong. Wagner foreshadows throughout the story, but gently enough it just looks like he’s doing a lot of texture. He’s enthusiastic about describing the various settings; even when connections seem obvious later, when he’s introducing them, Wagner never draws too much attention.

There’s a weird bigotry against the mutants. It’s very matter of fact and institutionalized. While Dredd is harsh, Wagner–and the comic–subtly work to make sure it isn’t glib. In the second story, a short one about a judge getting killed, Wagner has an unsurprising plot twist at the finish. But Dredd’s reaction to the twist and the story’s resolution are where Wagner most visibly gets to show the sincerity.

Some excellent Bolland art at the beginning–and for the disaster scene; Ron Smith does okay enough on the rest.

B+ 

CREDITS

Writer, John Wagner; artists, Brian Bolland and Ron Smith; colorist, John Burns; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

1

Judge Dredd 3 (January 1984)

Judge Dredd #3

It’s an awesome issue with Judge Death getting freed. The story has clear chapters, from the original 2000 AD progs, but the way Wagner brings it together–the changing focus on the first few–the both awesome and lackluster finish… it works out beautifully.

The issue also brings back Anderson, after her brush with Judge Death, and gives her and Dredd a rather amusing reunion. There’s no tenderness to it, which just makes it all the better. Wagner does get in some tenderness–not really towards one another, but Dredd letting his guard down for a moment–towards the end.

The cohesive story–the lackey breaking Death out, the revelation of the rest of the villains, the revelation of their plan. Wagner does really well with his plotting. He never rushes, never tries too hard.

And the Bolland art is gorgeous; both futuristic and horrific. It’s a great comic book.

A 

CREDITS

Writer, John Wagner; artist, Brian Bolland; colorist, John Burns; letterers, Tom Frame and Tony Jacob; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd 2 (December 1983)

Judge Dredd #2

This issue has stories where Dredd is stationed on the moon. There’s a bit too much of the Wild West mentality to it–which early 2000 A.D. progs often did with Americans in the future, so I guess it fits; the cowboy hats are still annoying.

The first story has Dredd dealing with a disaster caused by some bank robberies. Their comeuppance is a little lackluster–Wagner really likes the dry humor in this issue’s four stories. He goes too far with it most of the time.

In a two-part story, Wagner compares televised athletics and war on the moon–it’s supposed to be more humane, of course. Dredd keeping his helmet on while in a soldier uniform is goofy, but it’s okay.

Even the best story–Dredd’s robot gets a romantic interest–has its problems.

The last story’s a predictable, if amusing, bank robbery one.

Great art throughout.

B 

CREDITS

Writer, John Wagner; artist, Brian Bolland; colorist, John Burns; letterers, Tom Frame and Tony Jacob; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd 1 (November 1983)

Judge Dredd #1

Of the three stories in this issue–this Judge Dredd series being a reprint series, the first one is the best, but the third one has the best writing from John Wagner.

The first story introduces Judge Death. With Brian Bolland on the art–for all the stories–Judge Death is extremely detailed, extremely realistic, extremely creepy. The story takes an interesting turn at the end, with Wagner deftly letting Judges Dredd and Anderson in on something the reader (and everyone else) finds out later. Wagner just doesn’t do the “Dredd coda” well.

The second story is a futuristic murder mystery/conspiracy thing. It’s perfectly fine, with some nice art from Bolland. It just isn’t memorable past some of the future details.

The final story–Dredd versus a street gang–has Wagner presenting the series’s mindset beautifully. And he scores with the “Dredd coda,” the stories’ capstone on the law.

B+ 

CREDITS

Writer, John Wagner; artist, Brian Bolland; colorist, John Burns; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

0

Judge Dredd Mega-City Two: City of Courts 5 (May 2014)

Judge Dredd Mega-City Two: City of Courts #5

Not the strongest last issue, not at all. Though it probably does have Farinas’s most consistently decent art of the entire series. Well, in terms of detail and correct body proportions. His action composition is just terrible–Wolk tries to do way too much for the last issue, especially since he closes with a lengthy action sequence.

The finale goes a little too far with Dredd and trying to make him more complex (albeit briefly). One of the slight twists as things go along require almost some suspicion of Dredd, which is ludicrous. Even for an unfamiliar reader, Wolk has written an excellent Dredd until this last issue of Mega-City Two. Wolk tries too hard with the humor too.

Wolk also seems to set up one possible twist and then ignores it, even though it fits the series’s tone more appropriately.

It’s entertaining often but should have been better.

B- 

CREDITS

Everybody’s in Show Biz; writer, Douglas Wolk; artist, Ulises Farinas; colorist, Ryan Hill; letterer, Tom B. Long; editor, Denton J. Tipton; publisher, IDW Publishing.

1

Judge Dredd Mega-City Two: City of Courts 4 (April 2014)

Judge Dredd Mega-City Two: City of Courts #4

Wolk brings in the ex-judge with the Mexican wrestling mask–it isn’t too exciting as it looks just like a regular judge’s mask, only not a helmet–and Dredd has a team-up. In the second half of the issue, anyway. The first half of the issue is an introduction to Melody Time, which mixes Disneyland and anarchy. It feels like Judge Dredd meets Roger Rabbit, actually. It’s amusing.

Nicely, Wolk gets in stuff about the corruption plotline without stopping the narrative. Sure, at the end he sets up the final issue and the presumed big reveal, but he otherwise handles it rather deftly.

Farinas’s art, for the standard stuff, is better. Not many people without masks or helmets so he can’t mess up features. There are a lot of cartoon references in the story presentation (matching the setting) and they’re a little too simple.

Still, it works out.

B 

CREDITS

The Deterrence Machine; writer, Douglas Wolk; artist, Ulises Farinas; colorist, Ryan Hill; letterer, Tom B. Long; editor, Denton J. Tipton; publisher, IDW Publishing.

0

Judge Dredd Mega-City Two: City of Courts 3 (March 2014)

Judge Dredd Mega-City Two: City of Courts #3

Dredd gets a sidekick–temporarily, it’s like Wolk doesn’t want him to bond with anyone in Mega-City Two or something–and fights a giant sea monster. He also gets to see how the city turns away people back to the ocean; there’s a conspiracy going on or something. Wolk also promises a former judge who dresses like a masked Mexican wrestler.

There’s a little bit, with the conspiracy and then the setup at the end, about the main story, with the immigration scene an odd lull in the middle. There’s no action, even with one of Dredd’s camera crew (he’s a TV star) getting eaten by said sea monster.

Farinas does a little better than usual; there aren’t a lot of closeups. He flubs closeups.

The big action sequence with the sea monster doesn’t come off well–Dredd vs. kaiju–but Wolk has enough momentum to carry it through.

B 

CREDITS

Beach Blanket Justice; writer, Douglas Wolk; artist, Ulises Farinas; colorist, Ryan Hill; letterer, Tom B. Long; editor, Denton J. Tipton; publisher, IDW Publishing.

0

Judge Dredd Mega-City Two: City of Courts 2 (February 2014)

Judge Dredd Mega-City Two: City of Courts #2

Even though Farinas art gets a little worse, Wolk isn’t spending time setting up the comic, he’s just telling a Judge Dredd goes undercover with a West Coast biker gang of the future. They’re really into found art.

Dredd gets a sidekick in one of the biker gang and a lot of the issue is spent with their adventure to go get future beer. Work gets to concentrate on Dredd exploring the strange world–introducing it to the reader too–while still maintaining Dredd is in control of everything going on. It works rather well.

The end has a good fight sequence, with Wolk utilizing Dredd’s procedural abilities as well as his physical ones. It’s a rather nice finish. And even though Farinas is real light on the facial detail (and of people in general), there are some good visual moments in the comic.

Art problems aside, an excellent issue.

B+ 

CREDITS

Some Dreamers of the Golden Dream; writer, Douglas Wolk; artist, Ulises Farinas; colorist, Ryan Hill; letterer, Tom B. Long; editor, Denton J. Tipton; publisher, IDW Publishing.

0

Judge Dredd Mega-City Two: City of Courts 1 (January 2014)

Judge Dredd Mega-City Two: City of Courts #1

The back matter for this issue discusses the history of Mega-City Two, which I only briefly read. Writer Douglas Wolk has a nice structure for the issue–he drops the reader into Mega-City Two, with Judge Dredd as the anchor, and goes crazy. It’s a strange, Hollywood-influenced, happy place. Think the future in Wall-E, only a little more active.

Of course, no reader wants to see such a lame future and having Dredd around to kick things up is awesome. After almost half the issue of Dredd dealing with the dumb, extremely lax laws, Wolk gives the reader the backstory. He’s there on a secret mission, he’s supposed to like the chief judge; a quick recap then back to the story.

Ulises Farinas art is so-so. He does well on the Mega-City Two scenery, not so good on the figures.

Still, pretty good stuff.

B 

CREDITS

West Coast Swing; writer, Douglas Wolk; artist, Ulises Farinas; colorist, Ryan Hill; letterer, Tom B. Long; editor, Denton J. Tipton; publisher, IDW Publishing.

0

Dredd: Underbelly (January 2014)

Dredd: Underbelly

Dredd: Underbelly is the comic book sequel to Dredd, the movie, which is based on Judge Dredd, the comic book. So why make a big deal out of a comic book, in this case Underbelly? Well, Judge Dredd wears his new movie outfit and the designs are based on the movie, not the comic. Writer Arthur Wyatt tries to tie the issue's story to the movie, but it's thin at best.

Wyatt has a big problem with the narration. Dredd doesn't narrate, some kind of omniscient third narrates and it's often too expository and stilted. Another obvious problem is Dredd. He's not a character so much as an occasional jaw; writing Dredd to match the movie means somehow imbuing the comic with a sense of Karl Urban's performance. Without it… no go.

So Wyatt doesn't deliver much. Artist Henry Flint does better, though he has some shaky sequences as well.

C- 

CREDITS

Writer, Arthur Wyatt; artist, Henry Flint; colorist, Chris Blythe; letterer, Ellie De Ville; editor, Matt Smith; publisher, Rebellion.

0

2000 AD 26 (20 August 1977)

66778 20061016100519 large

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.

CREDITS

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.

0

2000 AD 25 (13 August 1977)

144915

It’s another all right issue. There’s some really interesting art, which helps things along.

Invasion is fine. Dorey doesn’t get many amazing visuals, but it’s amusing enough. It takes place in an abandoned city; could be better, but when couldn’t Invasion be better.

Harlem Heroes–without Gibbons, which I didn’t even notice–is really lame. Again it seems like Tully might be wrapping things up, but probably not. It’s probably unending.

Sola does a fantastic job on the Shako art. Wagner’s got him loose in a village, eating the jerky people. It’s weird how the mean polar bear gets all the sympathy.

There’s a funny little Future-Shocks from Steve Moore and Blasquez. The ending is pleasantly surprising.

Pierre Frisano draws an awesome looking M.A.C.H. 1. Allen’s script is weak, but the art is very interesting for an action piece.

Then a funny Dredd from Wagner and Gibson.

Okay issue.

CREDITS

Invasion, Bathtub; writer, Gerry Finley-Day; artist, Mike Dorey; letterer, John Aldrich. Harlem Heroes, Part Twenty-five; writer, Tom Tully; artist, Massimo Belardinelli; letterer, Aldrich. Shako, Part Six; writers, John Wagner; artist, Ramon Sola; letterer, Jack Potter. Tharg the Mighty, King of the World!; writer, Steve Moore; artist, Blasquez; letterer, Tom Frame. M.A.C.H. 1, Terror Train; writer, Nick Allen; artist, Pierre Frisano; letterer, Aldrich. Judge Dredd, You Bet Your Life; writer, Wagner; artist, Ian Gibson; letterer, Bill Nutall. Editor, Kelvin Gosnell; publisher, IPC.

0

2000 AD 24 (6 August 1977)

144914

A not bad issue.

Invasion doesn’t have the best script, but Carlos Pino’s art is really good. Finley-Day’s definitely not writing for the deep thinker–the evil Volgs have these expensive missiles for hitting one target (one human target) a piece. Dumb but fine.

Heroes is mean-spirited but at least about the Aeroball game.

Belardinelli does an awful job on M.A.C.H. 1. Real bad. Roy Preston’s script is more adventure oriented than espionage, which does work better.

Then there’s Kevin O’Neill doing a story about a kid meeting Tharg, the editor of 2000 A.D., and being a little brainwashed into buying more comics. Cool art. The story’s not the point, but the writing’s fine too.

Cruddy art from Arancio on Shako ruins it. The strange Ratched-like nurse flops, but the writers are at least trying.

And then Dredd has a decent case; Malcolm Shaw’s writing is good.

CREDITS

Invasion, Hadrian’s Wall; writer, Gerry Finley-Day; artist, Carlos Pino; letterer, Jack Potter. Harlem Heroes, Part Twenty-four; writer, Tom Tully; artist and letterer, Dave Gibbons. M.A.C.H. 1, King Karat; writer, Roy Preston; artist, Massimo Belardinelli; letterer, Tony Jacob. Tharg the Mighty, Tharg and the Intruder; writer and artist, Kevin O’Neill; letterer, Peter Knight. Shako, Part Five; writers, Pat Mills and John Wagner; artist, Arancio; letterer, Jack Potter. Judge Dredd, The Wreath Murders; writer, Malcolm Shaw; artist, Mike McMahon; letterer, John Aldrich. Editor, Kelvin Gosnell; publisher, IPC.

0

2000 AD 23 (30 July 1977)

144913

It’s an inoffensively weak issue. Finley-Day handles both Invasion and Dredd and doesn’t do well with either of them. Invasion has some really complex layouts from Dorey, which are cool, but the story’s pretty lame. Dredd is oddly not particularly busy–McMahon spends more time on little details than city designs–and Finley-Day doesn’t have a good punchline.

Harlem Heroes actually talks about the game again and has a very strange ending with the Brain player being viciously cruel. Rather racist installment too. Guess no one worried about offending Japanese readers.

Shako’s idiotic. It should be a lot more fun too, but Arancio doesn’t go for realism so instead it comes off silly.

The Dan Dare wraps up; Moore sets Dare against the Mekon for a very boring finish. Belardinelli does both Dare and M.A.C.H. 1. His art on the latter’s better.

Though inoffensive, it does plod.

CREDITS

Invasion, Tyne Tunnel; writer, Gerry Finley-Day; artist, Mike Dorey; letterer, John Aldrich. Harlem Heroes, Part Twenty-three; writer, Tom Tully; artist and letterer, Dave Gibbons. Shako, Part Four; writers, Pat Mills and John Wagner; artist, Arancio; letterer, Jack Potter. Dan Dare, Hollow World, Part Twelve; writer, Steve Moore; artist, Massimo Belardinelli; letterer, Aldrich. M.A.C.H. 1, Spy Plane; writer, Robert Flynn; artist, Belardinelli; letterer, Aldrich. Judge Dredd, Smoker’s Crime; writer, Finley-Day; artist, Mike McMahon; letterers, Tom Frame and Peter Knight. Editor, Kelvin Gosnell; publisher, IPC.

2

2000 AD 22 (23 July 1977)

144912

Odd, odd issue. Lots of too long stories and too short ones.

Invasion and Shako are both way too short. Invasion is dumb and–inexplicably–for laughs. Shako is dumb and serious; at least it has good art from Arancio, who’d have been better served just doing wildlife studies.

Bad Harlem Heroes. Bad Dan Dare. Dare reads really, really long. For that matter, so does M.A.C.H. 1. Dare is just more nonsense with Dare versus the Mekon, who isn’t actually very smart, but M.A.C.H. is this really complicated story about the machine man proving himself in the Middle East. Writer Nick Allen relies a whole lot on the computer talking to the protagonist, which flops.

But not even Dredd works out until the end. Writer John Wagner takes a while to get going. Ian Gibson’s art is good throughout and the story ends well, but the beginning’s weak.

Weird issue.

CREDITS

Invasion, Cheddar Gorge; writer, Nick Allen; artist, John Cooper; letterer, Jack Potter. Shako, Part Three; writers, Pat Mills and John Wagner; artist, Arancio; letterer, Potter. Harlem Heroes, Part Twenty-two; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part Eleven; writer, Steve Moore; artist, Massimo Belardinelli; letterer, John Aldrich. M.A.C.H. 1, Arab Story; writer, Allen; artist, Cooper; letterer, Potter. Judge Dredd, Mr Buzzz; writer, Wagner; artist, Ian Gibson; letterer, Peter Knight. Editor, Kelvin Gosnell; publisher, IPC.

0

2000 AD 21 (16 July 1977)

144911

It’s not the worst issue but there’s sure nothing to recommend it. Not even Dredd. Gerry Finley-Day writes both it and Invasion. Neither stand out except by not being as bad as the rest of the entries. Good twist at the end of Dredd though.

Oh, wait, Shako. It has some really nice art from Arancio. It’s beyond dumb–it’s the adventures of a mean-spirited, fugitive from the CIA polar bear–but it’s well drawn dumb.

Harlem Heroes and Dan Dare both stink in uninteresting ways. It almost seemed like Heroes was going to end, but then Tully finds a way to keep it going. Presumably forever. The main characters barely appear this story. I can’t even remember Dare.

M.A.C.H. 1 is a strange one; it’s not good, but the idea of the Probe character doing private investigation work isn’t a bad one. Carlos’s art isn’t terrible either.

CREDITS

Invasion, Sandringham; writer, Gerry Finley-Day; artist, Mike Dorey; letterer, Peter Knight. Shako, Part Two; writers, Pat Mills and John Wagner; artist, Arancio; letterer, Jack Potter. Harlem Heroes, Part Twenty-one; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part Ten; writer, Steve Moore; artist, Massimo Belardinelli; letterers, Knight and Bill Nuttall. M.A.C.H. 1, Recluse; writer, Nick Allen; artist, Carlos; letterer, John Aldrich. Judge Dredd, The Solar Sniper; writer, Finley-Day; artist, Ron Turner; letterer, Potter. Editor, Kelvin Gosnell; publisher, IPC.

0

2000 AD 20 (9 July 1977)

20020

There’s some exceptional stupidity this issue, starting with the new thrill, Shako. While Ramon Sola does draw a fantastic giant killer polar bear who can dodge bullets and do acrobatics, John Wagner and Pat Mills’ script is about the dumbest thing ever. Apparently the strip is going to be about the C.I.A. hunting this polar bear. And I thought Harlem Heroes was dumb.

Speaking of Heroes, two amazing panels from Gibbons don’t make it worthwhile.

Invasion isn’t terrible. Decent Pino art until the end when he runs out of time.

Moore does a particularly lousy job on Dan Dare this issue. I thought it had to be a different writer, as it doesn’t even have his general competence.

The M.A.C.H. 1 is the other stupid thing–writer Steve MacManus doesn’t know the difference between Japanese and Chinese. Lopez’s art is nonspecifically incompetent.

Dredd’s funny. Some great composition from McMahon.

CREDITS

Shako, Part One; writers, Pat Mills and John Wagner; artist, Ramon Sola; letterer, Jack Potter. Invasion, Hell’s Angels; writer, Gerry Finley-Day; artist, Carlos Pino; letterer, Tom Frame. Harlem Heroes, Part Twenty; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part Nine; writer, Steve Moore; artist, Massimo Belardinelli; letterer, Potter. M.A.C.H. 1, Tokyo; writer, Steve MacManus; artist, Lopez; letterer, John Aldrich. Judge Dredd, The Comic Pusher; writer, John Wagner; artist, Mike McMahon; letterer, Bill Nuttall. Editor, Kelvin Gosnell; publisher, IPC.

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2000 AD 19 (2 July 1977)

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This issue has about fifty percent good stuff. Maybe even a little more. It feels like more.

Invasion is fine. Finley-Day comes up with a gruesome way for the lead to kill the bad guys. Dorey draws it well. There’s a little humor at the expense of the military “resistance” too.

Flesh is, for the first time, entirely awesome. Mills comes up with a great finish for the series and he’s got Ramon Sola back doing the art. So it’s gorgeous and hilariously fun. Wish Sola’d just done a dinosaur series.

Harlem Heroes and Dan Dare are both in the crap pile; at least Heroes is shorter than usual this time.

Robert Flynn writes a strange M.A.C.H. 1 with a Japanese soldier left over from World War II. Even though there’s not much action, it’s all right stuff.

John Cooper starts ambitious with Dredd, ends not, but it’s fine.

CREDITS

Invasion, The Road to Hell; writer, Gerry Finley-Day; artist, Mike Dorey; letterer, Tom Frame. Flesh, Book One, Part Nineteen; writer, Pat Mills; artist, Ramon Sola; letterer, Jack Potter. Harlem Heroes, Part Nineteen; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part Eight; writer, Steve Moore; artist, Massimo Belardinelli; letterer, Potter. M.A.C.H. 1, Corporal Tanaka; writer, Robert Flynn; artist, Luis Collado; letterer, John Aldrich. Judge Dredd, Mugger’s Moon; writer, Finley-Day; artist, John Cooper; letterer, Potter. Editor, Kelvin Gosnell; publisher, IPC.

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2000 AD 18 (25 June 1977)

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2000 A.D. is averaging about a thirty-three percent success rate, but the lame stuff is proving extra lame this time around.

Invasion is barely comprehensible. Finley-Day fills it with these little scenes, but about the only major event is the resistance’s base being discovered. He can’t even properly introduce a new villain.

And Flesh is off too. The first story fully in the future and it’s mostly just one of the protagonists getting in trouble for letting things go wrong. Very boring stuff.

As for Harlem Heroes, Tully’s the Energizer Bunny. The series keeps going and going and Tully doesn’t even try coming up with details anymore. It’s just the evil cyborg ranting and raving. The Heroes don’t even get a scene to themselves.

Crappy all-action Dan Dare.

M.A.C.H. 1 is far from perfect, but Allen comes up with some good scenarios.

Dredd is hilarious and awesome.

CREDITS

Invasion, Breakout; writer, Gerry Finley-Day; artist, Carlos Pino; letterer, Tom Frame. Flesh, Book One, Part Eighteen; writer, Pat Mills; artist, Felix Carrion; letterer, Tony Jacob. Harlem Heroes, Part Eighteen; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part Seven; writer, Steve Moore; artist, Massimo Belardinelli; letterer, Peter Knight. M.A.C.H. 1, Skyscraper Terrorists; writer, Nick Allen; artist, Marzal Canos; letterer, Knight. Judge Dredd, Brainblooms; writer, John Wagner; artist, Mike McMahon; letterer, Jack Potter. Editor, Kelvin Gosnell; publisher, IPC.

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2000 AD 17 (18 June 1977)

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This issue has some strange turns. Mostly when Flesh all of a sudden become about dinosaurs teleporting to the future and having Fly-like effects with the guys’ heads ending on a dinosaur. It’s the cliffhanger and it’s dumb, but Gosnell writes a decent enough story before it.

Invasion is a little weird too. Finley-Day plots the opening somewhat backwards, leading to a confusing story.

Gibbons has some good panels and some really bad ones on Harlem Heroes. The bad ones outweigh the good, unfortunately.

And Moore doesn’t have much going on with Dan Dare. It’s basically a bridging story–but all action. It’s not good. And Belardinelli can’t decide on Dare’s hair.

Allen and Redondo do an almost incomprehensible skiing M.A.C.H. 1. The art’s good, but confusing.

Wager and Gibson play Dredd mostly for laughs. There’s a big fight, where Gibson fails; luckily, he does the comedy well.

CREDITS

Invasion, Slaves; writer, Gerry Finley-Day; artist, Mike Dorey; letterer, John Aldrich. Flesh, Book One, Part Seventeen; writer, Kelvin Gosnell; artist, Felix Carrion; letterer, Tony Jacob. Harlem Heroes, Part Seventeen; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part Six; writer, Steve Moore; artist, Massimo Belardinelli; letterer, Peter Knight. M.A.C.H. 1, Spotbox; writer, Nick Allen; artist, Jesus Redondo; letterer, Knight. Judge Dredd, Robot Wars, Part Eight; writer, John Wagner; artist, Ian Gibson; letterer, Knight. Editor, Gosnell; publisher, IPC.

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2000 AD 16 (11 June 1977)

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All in all, not a bad issue.

There’s actually danger in Dan Dare, for example, and a couple good pages in M.A.C.H. 1. A little makes a big difference with 2000 AD, apparently.

Invasion isn’t terrible. It’s mostly action, with Pino doing decent work on a shootout between the protagonist and a bounty hunter. Very busy pages, but competently done.

Flesh comes to what seems to be a shocking conclusion. Absolutely phenomenal art from Sola on a rampaging dinosaur, more than making up for the lame, big-headed human villain.

Even Harlem Heroes is okay (for it). There’s a team of ugly cyborgs the Heroes have to play. Not terrible.

Like I said, Dare has something new–Moore gives it an actually suspenseful cliffhanger. Plus recaps Dare’s origin.

Wagner writes both Dredd and M.A.C.H. 1, which probably explains why the latter’s so much better than usual. Dredd’s okay enough too.

CREDITS

Invasion, Bounty; writer, Gerry Finley-Day; artist, Carlos Pino; letterers, Peter Knight and J. Swain. Flesh, Book One, Part Sixteen; writer, Kelvin Gosnell; artist, Ramon Sola; letterer, Bill Nuttall. Harlem Heroes, Part Sixteen; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part Five; writer, Steve Moore; artist, Massimo Belardinelli; letterers, Knight and John Aldrich. M.A.C.H. 1, Capitol; writer, John Wagner; artist, P. Martinez Henares; letterer, Aldrich. Judge Dredd, Robot Wars, Part Seven; writer, Wagner; artist, Ron Turner; letterer, Tony Jacob. Editor, Pat Mills; publisher, IPC.

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2000 AD 15 (4 June 1977)

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It’s another weak issue.

Mike Dorey’s art is real lame on Invasion, but the writing’s worse. Finley-Day actually relies on a huge truck of acid to solve the problem.

Flesh is weak too; Sola’s art is distressingly underwhelming. It might just be too rushed–all the art this issue is rushed in some way or another–dinosaurs driving cars should be funny.

More Harlem Heroes. Tully explores the way ties are resolved in the game. It’s getter even harder to care about the fake sport.

Moore’s Dan Dare is really contrived. He does indicate, however, there might be an origin recap, which would be nice.

M.A.C.H. 1 has awful art from Marzal Canos. Peter Harris’s goofy story involves bloodthirsty yeti and a dope-dealing Dalai Lama.

Dredd, as usual, is the winner. Wagner’s got some funny stuff amid the robot rebellion. Sadly, McMahon is light on the robots’ details.

CREDITS

Invasion, The Doomsdale Scenario, Part Three; writer, Gerry Finley-Day; artist, Mike Dorey; letterer, Jack Aldrich. Flesh, Book One, Part Fifteen; writer, Kelvin Gosnell; artist, Ramon Sola; letterer, Bennsberg. Harlem Heroes, Part Fifteen; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part Four; writer, Steve Moore; artist, Massimo Belardinelli; letterer, Peter Knight. M.A.C.H. 1, Yeti; writer, Peter Harris; artist, Marzal Canos; letterer, Tony Jacob. Judge Dredd, Robot Wars, Part Six; writer, John Wagner; artist, Mike McMahon; letterer, Jack Potter. Editor, Pat Mills; publisher, IPC.

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2000 AD 13 (21 May 1977)

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With a couple exceptions, it’s one of the better 2000 AD progs so far.

Invasion is decent; very nice art from Dorey and Finley-Day has learned how to plot out a rewarding cliffhanger.

A real surprise is Flesh. Without dinosaurs–this issue’s just future men against giant spiders–the comic is a lot better. Great art from Felix Carrion too.

Okay, Harlem Heroes is still lame. The Heroes are finally losing a game (against the Scots), but it doesn’t make the comic any more interesting.

And Steve Moore’s disappointing on his second Dan Dare outing. He spends way too much time with the villains and almost none with Dan Dare. If the villain pages were good, it’d be different, but they’re lame.

Jesus Redondo illustrates a fantastic M.A.C.H. 1. It’s all action and gorgeously done.

And Dredd is good. Wagner gets in some funny moments; Turner’s art’s passable too.

CREDITS

Invasion, The Doomsdale Scenario, Part One; writer, Gerry Finley-Day; artist, Mike Dorey; letterer, Jack Potter. Flesh, Book One, Part Thirteen; writer, Studio Giolitti; artist, Felix Carrion; letterer, J. Swain. Harlem Heroes, Part Thirteen; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part Two; writer, Steve Moore; artist, Massimo Belardinelli; letterer, Bill Nuttall. M.A.C.H. 1, Airship; writer, Nick Allen; artist, Jesus Redondo; letterer, Potter. Judge Dredd, Robot Wars, Part Four; writer, John Wagner; artist, Ron Turner; letterer, Potter. Editor, Pat Mills; publisher, IPC.

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