2000 AD Prog 2284 – Intersections! – Multiversity comics

Welcome, Earthlings, to Multiver-City One, our weekly column “2000 AD”! Every Wednesday we take a look at the latest Tharg and droid offerings at Rebellion/2000 AD, the galaxy’s leading Thrill-Power entertainment producers. Let’s get straight to the point!

Cover art by INJ Culbard

THIS WEEK IN 2000AD

Judge Dredd: An Honest Man, Part 4
Credits: Ken Neimand (screenplay), Tom Foster (art), Chris Blythe (colors), Annie Parkhouse (letters)

Greg Lincoln: “An Honest Man Part 4” expands on its character study by showing us more of rookie judge Purcell. Purcell is almost instantly grating, demanding and unsympathetic. Even the robot he deals with at Resyk seems a bit offended by his bad attitude. His comment about graduating from “Law Academy Charm School” is quite clever and a very apt description. Purcell’s drive to get revenge on Asher, but he can trick him into overstepping his authority as he takes on “the Auxie with the face”. He goes so far as to claim to be working “with” Dredd to achieve his ends. This moment feels so much like a big mistake that will hold him back later. This shows his character and his quality as a person and a judge. Neimand also relies on Asher’s tale. Once the judge does something sketchy, he and we both know it and will likely pay a heavy price. His actions, while criminal, are primarily for someone else’s benefit and to atone for his criminal past. He seems more of an honest man for his intent on Purcells slimy attitude in the vendetta against him. Dredd getting dragged into pursuing Purcells will likely doom him and Asher in the end. Neimand spins a complex and thought-provoking crime story, the character study captivating enough to forget Dredd’s case. It’s possible there’s a bigger story going on that could come out of this, but only time will tell.

Foster and Blythe’s artistic game is very strong this week. The depth and detail of these pages bring to life even the robots that Purcell docks. Obviously they’re robots, but you’ll likely have to look twice to be sure due to the personality of the art. The rich quality of the inks adds to the reality of this week’s story, a lot of effort has gone into this art. The close-ups and subtle expression changes play a big part in how we feel about Asher and Purcell, and Dredd, well, he’s just as inscrutable as ever. The weapon closes in the final stakes panel for next week as Asher stands alone and likely unprepared for an ambush. The atmosphere created by the shadows in this final scene adds to the mystery and reinforces the feeling of crime noir. It’s Megacity One Asher, I hope you’re ready for the violence that may come.

Future Shocks: The Race to School
Credits: John Tomlinson (screenplay), Steven Austin (art), Simon Bowland (letters)

Matthew Blair: Welcome to the future, where advances in cloning technology can turn those violent, sociopathic dreams of making sure your former bully pays for his crimes into a reality. Luckily for a seemingly ordinary schlub like Manny Litvak, there are plenty of places that cater to his murderous whims, and he’s more than happy to pay to make sure his former bully, a man named Gaz Hockle, pays the price for it. have made his life. a living hell.

Unfortunately for Manny, this is Future Shock 2000AD, which means things aren’t necessarily what they seem.

“Future Shock: School Run” is written by John Tomlinson, who crafted a solid story about the morality of revenge and the consequences of grudges. Tomlinson does a very good job of setting the rules for his story, guiding the reader through this world where revenge can be had for the price of a clone, and giving Manny a solid emotional journey that culminates in a well-written epiphany. which can be a bit cliche, but it still works. If the story has a problem, it’s with the twist’s ending, which feels a bit disconnected from the rest of the story with no setup and no hint of the future consequences of Manny’s actions.

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Artwork for “Future Shocks: School Run” is provided by Steven Austin, who has created a well-drawn, detailed black-and-white story that evokes the feel of a classic Y2K story and European comic books from the old school of the late 70s and early 80s. Austin draws his characters with very realistic features and proportions and does a great job of combining them with a great retro futuristic aesthetic that feels like part of a story from Buck Rodgers or from a slot dough novel. It’s really cool art that’s a joy to watch and does its job really well.

“Future Shocks: School Run” is a fun little story with cute illustrations and a solid moral lesson on the futility of revenge. The only weak point is the disconnect between the ending and the rest of the story.

Hope: In The Shadows – Reel One, Part Eight
Credits: Guy Davis (Screenplay), Jimmy Broxton (Art), Jim Campbell (Letters)

Christopher Egan: Probably the most dialogue- and text-heavy entry yet, Part 8 gives us Hope’s return to this mortal realm. Being mostly talked about in updates and forcibly asking for his gratitude for his resurrection, Hope has had time to reflect during his death and reluctantly plans his next move.

Taking visual cues from a wide range of genres and eras, this chapter appears to be drawn from The twilight zone or the old Paramount and RKO horror films, the schlocky pre-codes that got away so much before America’s puritanical censorship was unleashed. It feels dirty and dangerous while still having that streak of jet black humor to make things slyly mock and wink at the reader. Broxton had fun with this whole race and it always shows.

The script does a good job of keeping up the pace even with a fairly heavy dump of information and thickening of the plot. A beautiful violent revelation at the end may shock some. This chapter is a nice, steady-paced thriller that uses its quiet conversations and settings to lull you into a false sense of security.

Brink: Mercury Retrograde, Part 14
Credits: Dan Abnett (screenplay), INJ Culbard (art), Simon Bowland (letters)

Brian Salvatore: Most of this episode is Maz monologue, putting together the story elements in the most succinct and clear way yet. This is undermined when we realize he doesn’t talk to anyone and has seemingly lost his grip on reality. That’s exactly what Lauren was afraid would happen and, to Maz’s credit, he seemed to be holding up reasonably well until she left and the floodgates opened.

The interesting piece is Dan Abnett letting us know that Maz has, in fact, got it. He basically cracked the case, but in the process also cracked it. Abnett dropped some hints about this earlier in the tape, like Maz’s sudden obsession with health foods. The interesting part here is that, contrary to what you might expect, Maz didn’t go far enough with his theories. The end of this chapter shows how far unions will go, and Maz hasn’t seen it that far yet.

INJ Culbard does a really good job of slowly revealing Maz’s madness, like waiting for the second page to reveal he’s in his underwear, or revealing how the apartment is covered in his papers. He also gets to do the scary thing with the final scene, which he hasn’t been able to do for a few weeks now.

Fiends of the Eastern Front: 1963, Part 11
Credits: Ian Edginton (screenplay), Tiernen Trevallion (art), Annie Parkhouse (letters)

Michel Mazzzacane: While I didn’t expect the fight between Constant and Cain to last, say the length of a “Jujutsu Kaisen” fight, 5 pages seems a bit short to me. It felt more like a Brock Lesnar vs. Roman Reigns match, a mad sprint of two meaty big men slappin’ some meat. Tiernen Trevallion’s art shines in this strip in terms of panel content, but more importantly, how that content is presented.

This colossal battle of strange titans atop London’s stormy skies threatens to break the page as the ultimate panel. Tiernen stretches and tilts the panels by laying them on top of each other with no straight lines in sight. These designs are what give the choreography, which is fairly standard and well done, that extra something. It also allows Tiernen to constantly change perspective, from super close-ups of Constant grabbing one of Cain’s eyes to falling into the London fog in the next and making it all feel like continuity and meaning. geography for the reader.

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These choices also allow for intelligent narration through what Tiernen does not show us. Especially the last two panels on the third page, he shows viewers the aftermath of Constanta’s beatings. The Annie Parkhouses lettering also provides a helpful guide to following the phantom slashes.

And then almost as quickly as it started, the fight is over and the page goes back online. The last page is tidy with lots of right angles and solid panels that contain the images unlike the previous pages.

Curious to see where things go from here, it’s Cain, so I guess he’ll be back eventually.

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