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.

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.

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.

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.

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.

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.

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.

2000 AD 27 (27 August 1977)

66779 20061016100730 large

It’s an issue of endings and new beginnings. Well, more like one ending and a lot of multi-part stories.

Harlem Heroes whimpers out of the series, hopefully for good. Tully has this terrible moment where the Heroes mourn a lost teammate, then jump for joy at the thought of their next adventure.

Finley-Day reveals the Scots are the only ones in the UK able to keep out the Volgans but even they need Savage’s help. Okay art from Dorey and it moves well.

Something’s off with Solá’s art on Shako though. It should be fun–Wagner has Shako attacking people in the hospital, including the evil nurse.

The Future-Shock is fine. Nothing special.

MACH 1 actually has Probe fighting an evenly matched opponent; Redondo’s art is hurried though.

Gibson’s art is just great on Dredd, however. He does a great job and Wagner keeps it moving well.

CREDITS

Invasion, Dirty Jocks, Part One; writer, Gerry Finley-Day; artist, Mike Dorey; letterer, Tony Jacob. Harlem Heroes, Part Twenty-seven; writer, Tom Tully; artist, Massimo Belardinelli; letterer, Pete Knight. Shako, Part Eight; writer, John Wagner; artist, Ramon Sola; letterer, Knight. Tharg the Mighty, First Contact; writer, Alan Hebden; artist, Medraho; letterer, Aldrich. M.A.C.H. 1, Planet Killers!, Part One; writer, Pat Mills; artist, Jesus Redondo; letterer, Jack Potter. Judge Dredd, The Academy of Law, Part One; writer, Wagner; artist, Ian Gibson; letterer, Bill Nuttall. Editor, Kelvin Gosnell; publisher, IPC.

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.

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.

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.

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.

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.

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.

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.

2000 AD 18 (25 June 1977)

144908

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.

2000 AD 17 (18 June 1977)

144907

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.

2000 AD 16 (11 June 1977)

144906

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.

2000 AD 15 (4 June 1977)

144905

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.

2000 AD 13 (21 May 1977)

144903

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.

2000 AD 12 (14 May 1977)

144902

Carlos Pino does the art on Invasion. He does pretty well, though Finley-Day’s script has all these analogues to the Nazis. It seems inappropriate and somewhat insensitive.

Flesh has good Sola art and a lame script, as usual, from Gosnell. They should’ve just done it without dialogue. Gosnell even manages to butcher pop culture references.

Harlem Heroes covers the origin of the sport–it’s Scottish. The script’s probably the most imaginative in many progs; it’s still not good.

Steve Moore takes over writing Dan Dare. It’s much better. Dare goes to the future London (a floating theme park) and meets a wolf man. Easily the best Dare so far.

M.A.C.H. 1–from Charles Herring and Mike Dorey–is similarly not terrible. It’s anti-American bluster and very silly, but okay.

Dredd has some goofy dialogue from Wagner, but McMahon illustrates a robot rebellion well. The giant robots are awesome.

CREDITS

Invasion, Death Line; writer, Gerry Finley-Day; artist, Carlos Pino; letterer, Jack Potter. Flesh, Book One, Part Twelve; writer, Kelvin Gosnell; artist, Ramon Sola; letterer, Potter. Harlem Heroes, Part Twelve; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Hollow World, Part One; writer, Steve Moore; artist, Massimo Belardinelli; letterer, Peter Knight. M.A.C.H. 1, The Laser Hound; writer, Charles Herring; artist, Mike Dorey; letterer, J. Swain. Judge Dredd, Robot Wars, Part Three; writer, John Wagner; artist, Mike McMahon; letterer, Jack Potter. Editor, Pat Mills; publisher, IPC.

2000 AD 11 (7 May 1977)

144901

It’s another less than impressive outing.

Ramon Sola does the art for both Invasion and Flesh, so those strips look good. Invasion’s really boring; I suppose Flesh would be too, except writer Kelvin Gosnell tasks Sola with drawing hundreds of dinosaurs. They make up for it.

Wagner’s Judge Dredd story isn’t bad (it’s the issue’s best), but Ron Turner’s art is a little weak. It’s not a hard story to tell–the robots go nuts and attack humans–but Turner is weak on the details. It’s never interesting looking.

Dan Dare finishes up its first storyline and threatens a second. It’s probably the best strip so far, but only because it promises to be over (then takes that promise away, unfortunately).

M.A.C.H. 1 is dumb, involving a fast car trip. Barry Mitchell’s art isn’t bad, but there are continuity gaffs throughout.

Terrible Harlem Heroes. Tully’s scripts are getting worse.

CREDITS

Invasion, Dartmoor, Part Two; writer, Kelvin Gosnell; artist, Ramon Sola; letterer, Peter Knight. Flesh, Book One, Part Eleven; writer, Gosnell; artist, Sola; letterer, Knight. Judge Dredd, Robot Wars, Part Two; writer, John Wagner; artist, Ron Turner; letterer, Bill Nuttall. Dan Dare, Part Eleven; writer, Gosnell; artist, Massimo Belardinelli; letterer, Knight. M.A.C.H. 1, Operation Death-Drive!; writer, Roy Preston; artist, Barry Mitchell; letterer, Jack Potter. Harlem Heroes, Part Eleven; writer, Tom Tully; artist and letterer, Dave Gibbons. Editor, Pat Mills; publisher, IPC.

2000 AD 10 (30 April 1977)

144900

Overall, it’s not a terrible issue. Nothing really stands out as good or bad. The first half of the Dan Dare is okay even–Belardinelli really does do a lot better with space battles than anything else.

The Invasion entry has decent art from Eric Bradbury and a nice reveal at the end. Finley-Day’s dialogue’s moronic, but it’s always moronic.

Studio Giolitti does a little better on the Flesh writing. Boix continues to draw dinosaurs rampaging well. The Harlem Heroes has a great panel or two from Gibbons. Again, dumb but not terrible–the story’s plotted okay.

M.A.C.H. 1 rips off some Bond moments as the protagonist hunts a fugitive. Mills does better with the action than the quiet epilogue.

And then there’s Dredd. Good art from Ezquerra helps things a lot. Wagner writes weak dialogue and the end’s way too heavy handed. Otherwise, nearly okay.

CREDITS

Invasion, Dartmoor, Part One; writer, Gerry Finley-Day; artist, Eric Bradbury; letterer, John Aldrich. Flesh, Book One, Part Ten; writer, Studio Giolitti; artist, Boix; letterer, Aldrich. Harlem Heroes, Part Ten; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Part Ten; writer, Kelvin Gosnell; artist, Massimo Belardinelli; letterers, Jack Potter and Peter Knight. M.A.C.H. 1, On the Roof of the World; writer, Pat Mills; artist, Enio; letterer, Tony Jacob. Judge Dredd, Robot Wars, Part One; writer, John Wagner; artist, Carlos Ezquerra; letterer, Aldrich. Publisher, IPC.

2000 AD 9 (23 April 1977)

144899

What a stinker of an issue. I think the M.A.C.H. 1 might actually be the second best story, which is sort of unbelievable.

It opens with a tepid Invasion. Not terrible, but not very good. Carlos Pino’s art is decent. Then a poorly written Flesh about family vacations through time. Studio Giolitti’s writing (whoever it is) is atrocious. Boix’s art isn’t bad though.

Awful Harlem Heroes. Tully can’t pace it for four pages. I guess Gibbons does draw a cool evil cyborg but he wastes a page on the cyborg’s reveal.

The Dan Dare is bad and visually confusing. Belardinelli is stuck drawing epic space battles in tiny panels; writer Gosnell doesn’t seem to understand what psychic means.

The aforementioned M.A.C.H. 1 has decent Cooper art. It’s dumb, but not bad.

The Dredd is crud. John Wagner front loads it with robot-related morality and doesn’t deliver any good action.

CREDITS

Invasion, Ships; writer, Gerry Finley-Day; artist, Carlos Pino; letterer, Jack Potter. Flesh, Book One, Part Nine; writer, Studio Giolitti; artist, Boix; letterer, S. Richardson. Harlem Heroes, Part Nine; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Dare, Part Nine; writer, Kelvin Gosnell; artist, Massimo Belardinelli; letterers, Potter and Peter Knight. M.A.C.H. 1, Our Man in Turkostan; writer, John Wagner; artist, John Cooper; letterer, Tony Jacob. Judge Dredd, Robots; writer, Wagner; artist, Ron Turner; letterer, John Aldrich. Publisher, IPC.

Website Powered by WordPress.com.

Up ↑

%d bloggers like this: