"...Do Not Adjust Your Brains!" COMICS! Sometimes "M-O-O-N" Spells “Moon”, Despite What Tom Cullen Thinks.

Judge Dredd on the moon. That's it. JUDGE DREDD: DARKSIDE by Marshall

Anyway, this…

THE JUDGE DREDD MEGA COLLECTION REVIEW INDEX

JUDGE DREDD: THE MEGA COLLECTION Vol. 80: DARK SIDE OF THE MOON Art by Paul Marshall, Peter Doherty, Laurence Campbell, Lee Townsend, Brian Bolland, Mick McMahon and Ian Gibson Written by John Smith, Rob Williams, John Wagner and Gordon Rennie Lettered by Tom Frame, Ellie De Ville, Tony Jacob and Simon Bowland Colours by Alan Craddock, Peter Doherty and John-Paul Bove Originally serialised in 2000AD Progs 47, 50-52, 57, 1017-1028 & 1468, JUDGE DREDD MEGAZINE 328-331 © 1978, 1996,2005, 2012 & 2016 Rebellion A/S Hatchette Partworks/Rebellion, £9.99 (2016) JUDGE DREDD created by Carlos Ezquerra & John Wagner

JUDGE DREDD: DARKSIDE Art by Paul Marshall Written by John Smith Coloured by Alan Craddock Lettered by Tom Frame Originally published in 2000AD Progs 1017-1028

JUDGE DREDD: DARKSIDE by Marshall, Smith, Craddock and Frame

The order of these stories are all to cock chronology wise. The earliest Luna-1 stories are later in the book. I'm not sure why that is but we start with another disappointing John Smith Dredd outing. All the more disappointing because there are some pretty nifty elements here, but it all fails to gel. Someone is murdering people on the Luna-1 colony, someone with Judge Dredd's DNA! Worse, old Stony Face is actually on the moon pursuing a perp while also accompanying Psi Judge Hassad who has had “premonitions of a premonition”, so it could actually be Dredd. In fact who else could it be? It's a really promising set-up, but Smith fails to capitalise on it and plays his hand far too soon. What you end up with instead of a murder-mystery is a lot of running about bumping into call-backs to older, better stories.

JUDGE DREDD: DARK SIDE by Marshall, Smith, Craddock and Frame

He's aided and abetted by Marshall's clean line and chunky directness, which in turn is lent pizzazz by Craddock's vivid colours, which include photographic elements. The colours give it an otherworldly touch and the art successfully casts everything in a serio-comic mode. But it's all for naught as the tale is torpedoed by Smith's failure to balance his disparate elements. Usually his blend of comedy and horror is jarring, but intentionally so. Here his hands are too heavy on the horror and the humour both; resulting in a tonal roller-coaster of brutal murders which keeps ploughing into the candyfloss stand of the overly broad comedy, because for some reason it's on the track instead of down below next to the boating pond. Some of this sense of humour failure stems from Smith's distaste for the Judicial System; having Dredd interrogated by a Teutonic sadist complete with monocle and duelling scars is slapstick rather than satire. Some of the sense of humour failure is...well, inexplicable really; Psi Judge Hassad's a step too close to the old “Dearie Dearie me!” stereotype for comfort, never mind comedy. (Later we'll see some more unfortunate stereotypes; being white, male and totes privileged I'm willing to give stuff from the '70s a grudging pass, but not from the '90s.) I get the impression John Smith doesn't enjoy writing Dredd much, which is fine, each to their own but unfortunately more often than not it ends up with the reader not enjoying reading Judge Dredd. That’s less than ideal. EH!

BREATHING SPACE Art by Peter Doherty,Laurence Campbell and Lee Townsend Written by Rob Williams Coloured by Peter Doherty Lettered by Ellie De Ville Originally published in 2000AD Progs 1451-1459

BREATHING SPACE by Doherty, Campbell, Townsend, Williams and De Ville

Regular Squaxx dex Kano will know that in the comments we've been having a bit of a think about who “gets” Judge Dredd; it being a bit of a notable failure on the part of some Dredd scribes. Turns out it's a matter of opinion! Anyway, here we have a good way of avoiding that problem; Judge Dredd isn't in Breathing Space. It's a space-noir which uses the enclosed environment of Luna 1 to excellent advantage. The newly appointed Chief Marshal of Luna 1, Judge King, steps onto the lunar surface and straight into a mess of corrupt Judges, corporate backstabbing and...MURDER! In a nice tip of the space-fedora to SUNSET BOULEVARD the story starts with a dead man, and then we go back and see how he ended up there. It's not so much whodunnit as a whydidhedowhathedunnit. Any greater detail risks an eruption of the Thrill Suckers' ambrosia – SPOILERS!

BREATHING SPACE by Doherty, Campbell, Townsend, Williams and De Ville

For such a sweet read it's odd to find in the text at the back that Breathing Space had a troubled gestation. Due to illness Doherty (he got better; don't send cards) draws only the initial episodes but Campbell & Townsend pick up from him so delicately that you barely sense a switch in style. Although episodes appeared regularly, apparently it was written over three years (by which I mean there was a ruddy great hiatus in there, not that Williams' was honing it over a three year period like some kind of Joycean perfectionist; as good as it is it's still space-noir not ULYSSES, people), but you'd not guess as the pared down style reads smooth as a successful getaway. The consistency is helped no end by Doherty's continued presence as colourist; his use of a strictly limited and thoroughly muted palette sets a suitably sombre tone for the dour proceedings. The whole thing zips glumly along and Williams' intelligent plot is peppered with characters just the right side of caricature, there's some nifty misdirection and the vital plot point is rooted firmly in the “Dredd” universe. Placed as it is after Smith & Marshall's misfire of dayglo clowning the success of Breathing Space's restrained doom-mongering seems all the greater. There's no Dredd in it but it's still VERY GOOD!

Thus starts a brief run of the original Luna 1 stories. It's not all of them; just those with art by Brian Bolland, because everyone likes to remember when you would get weekly doses of Bolland Thrill-Power. Fat chance of that now. I'll burn through these, because they are from that period when Dredd was finding its feet as a strip. Any elements that have survived into the Dredd canon (NOT cannon; that's a thing that fires projectiles. Make a note of that.) are sparse, since even for a strip which delights in exaggeration as Dredd does, Wagner is so far over the top here he risks clipping the moon itself.

JUDGE DREDD: LAND RACE Art by Brian Bolland Written by John Wagner Lettered by Tony Jacob Originally published in 2000AD Prog 47

JUDGE DREDD: LAND RACE by Bolland, Wagner and Jacob

The Land Race is a riff on the American West tradition of the first person to stake a claim on a piece of land getting to own it. (And by “people” I mean European immigrants; the native Americans were not consulted. I always like it when the Americans descended from European immigrants get all pinch-arsed about immigrants. Dunces.) Bolland has fun designing the vehicles driven by the prospectors, but the mayhem soon gives way to a protracted scene involving an old woman being mind controlled into signing her land away. Amusingly the bad guys are from Interstellar Psionics Corporation, i.e. IPC (the then publishers of 2000AD). There's also a panel of Judge Dredd's head in the corner of which is an X-Wing from the children's entertainment STAR WARS. I think this was to do with a Competition at the time; where you had to find these scattered through the comic to win...er...something to do with STAR WARS. George Lucas' bum fluff? I don't remember that bit; the prize. Unfortunately, we also see here the two Mexican Judges who are, uh, a bit stereotypical what with the sombrero, 'taches and the “Thees” and the “heem”s. Weird in that way only kids '70s could be Walter The Robot gets a girlfriend in the form of Rowena The Robot. Best of all though we discover that Judge Dredd's palate is so disciplined that he can tell the difference between man-made cookies and those made by a robot. Personally I think more should have been made of this and Judge Dredd hereafter is a lesser character without his cookie tasting skills. Trains not taken, eh? All these things are more interesting than the story which is just a lively entertainment, wonderfully drawn by Bolland. But there are worse things to be than entertaining and drawn by Brian Bolland so OKAY!

JUDGE DREDD: THE FIRST LUNA OLYMPICS Art by Brian Bolland Written by John Wagner Lettered by Tony Jacob Originally published in 2000AD Prog 50

JUDGE DREDD: THE FIRST LUNA OLYMPICS by Bolland, Wagner and Jacob

Not much to this one beyond Bolland's reliably exemplary art and a horrifically un-Dredd moment. Most of it is a lot of simple jokes about The Olympics. The Sov competitors are full of drugs, and the bits that aren’t full of drugs are mechanical; the high jump is very high because of the low gravity; etc etc. Wagner nails the commentators' voices, and the jokes are mildly amusing jokes, but to his credit it's all a feint because at strip's end Dredd starts a war with the Sovs by accidentally shooting a Sov Judge. It's clearly an accident and the Sovs are over reacting, but Judge Dredd? An accident? Get outta town. I think this is the first appearance of the Sov Judges and Bolland totally nails their appearance; so much so that they have barely changed over the ensuing decades. I particularly like the way their helmets echo those odd toppings on the Kremlin. I thought I might have to do a quick run down of The Cold War and how America and Russia's nuclear cockfencing endangered the whole world. Luckily I don't have to because Putin and Trump have brought it all back. Personally I'd have preferred the return of the Rubik's Cube but there you go, they didn't ask me. Some okay jokes and a super unexpected cliff-hanger, with Bolland's comical realism on top like a tasty Kremlin Onion, is OKAY!

JUDGE DREDD: LUNA-1 WAR Art by Brian Bolland Written by John Wagner Lettered by Tony Jacob Originally published in 2000AD Prog 51

JUDGE DREDD: LUNA-1 WAR by Bolland, Wagner and Jacob

WAR! HUH! Oh, you know that song! In the future Luna 1 War tells us, “Wars today are NO LONGER FOUGHT BETWEEN VAST ARMIES, But by Combat units consisting of FOUR SOLDIERS and one reserve!” This idea doesn't last any longer as the duration of this strip (The Apocalypse War certainly seemed more substantial than a ruck in a pub car park.) but it is a good idea nevertheless. Dredd watches from the side-lines saying awesome things like “We're no better than The Sovs. They use war as an excuse to grab land – we treat it as a GAME!” I'm a-okay with eight year olds reading that despite how it may sound to sophisticated twenty year olds and up. So you can stop rolling your eyes, pal. Anyway, the Sovs are a bad lot so they spike the M-C1 reserve with a “Hypo-Dart”. Big Mistake. Judge Dredd dons a suspiciously Dan Dare-esque helmet and gives those unsporting Sovs' hides a good tanning. For two issues now we've had to “listen” to Wagner's excellently aggravating sports caster (Bolland makes him look like a certain Daily Planet stringer. Heh.) so on our behalf Dredd chokes him with his own mike, turns to the audience and spits, “War is POINTLESS. War is EVIL. WAR IS HELL!”. Hey, sometimes the truth doesn't need nuance. GOOD!

JUDGE DREDD: THE FACE-CHANGE CRIMES Art by Brian Bolland Written by John Wagner Lettered by Tom Frame Originally published in 2000AD Prog 52

JUDGE DREDD: THE FACE-CHANGE CRIMES by Bolland, Wagner and Frame

Unlike the concept of war as a 10 man sporting event, the idea introduced here would persist for the duration of the Dredd strip, causing no end of bedevilment for our future Lawman. It does what it says on the tin, this face-change technology. So here we start with a bank robbery by Laurel and Hardy with Charlie Chaplin, where the robbers evade capture after a bit of !presto-changeo! by being evacuated with the faces of the (3) Marx Brothers. Needless to say Bolland's art is every bit the perfect fit for the bizarre sight of dead 20th century comedians robbing a future bank on the moon. Luckily Judge Dredd has a somewhat unlikely knowledge of deceased 20th Century Comedians and quickly zeroes in on his suspects. Freed by their lawyer, who is a dead ringer for the famous actor and acromegaly sufferer Rondo Hatton, Dredd is left kicking his heels but..."TWO CAN PLAY A DIRTY GAME…!", and he doesn't mean nude Twister. This is a fast and fun one, with Bolland's realism coming to the fore to underscore the visual lunacy of what's going on. You know, VERY GOOD! Personally I feel more could have been made of Dredd's credulity stretching knowledge of 20th Century trivia; it could perhaps have been combined with his amazing ability to tell who cooked what he's eating in order to solve future crimes. On second thoughts we're just a touch of smug irony away from a Matt Fraction Image comic, so forget I said anything. The world doesn't need any more of those.

JUDGE DREDD: THE OXYGEN BOARD Art by Brian Bolland Written by John Wagner Lettered by Tom Frame Originally published in 2000AD Prog 57

JUDGE DREDD: THE OXYGEN BOARD by Bolland, Wagner and Frame

This strip is where the young John K(UK) was infused with a life-long detestation of the Free Market philosophy so beloved of soulless cankers who walk like humans. Regulation isn't the enemy, greedy psychopaths are. Sure, I know, I know, if we just leave the provision of services to find its own level no end of good will result. After all, human behaviour is improved no end by the possibility of earning ridiculous amounts of money without obstruction. And if you believe that fairy story/self justificatory pile of horse apples you probably think you can eat the moon on crackers. Anyone who has ever ridden a train in England or received a utility bill know that The Oxygen Board isn't just a possibility; it's inevitable. You also know that Free Market philosophy makes about as much sense as wearing hats made of shit. And if they could charge you for it they'd tell you that was a good idea too. And some of you would do it too. So, uh, yeah, on the moon, oxygen is piped in and billed and if you don't pay your bill...well, that's on you! It's a wicked and powerful punchline most writers would make much hay out of, but Wagner slaps it at the end of a tale of thieves who have robbed the very Oxygen Board itself. Their ironic comeuppance turns the whole thing into a darkly prescient parable. It's drawn by Brian Bolland too, and if that's the only thing that gets people looking at what is a tiny masterpiece then all the better. VERY GOOD!

JUDGE DREDD: FULL EARTH CRIMES Art by Mike McMahon and Brian Bolland Written by John Wagner Lettered by Tom Frame Originally published in 2000AD Prog 58

JUDGE DREDD: FULL EARTH CRIMES by McMahon, Wagner and Frame

This one is better than its simple premise might indicate. On the moon people go loco at Full Earth like people are purported to do on Earth when the moon is full. We then get a conveyor belt of crimes punchily slapped down by the living genius Mike McMahon. It's a succession of funny future crime set-ups each followed by a Dredd-is-a-hard-bastard punchline. E.g Dredd saves a leaper but then gives him 90 days Penal Servitude for public nuisance. Wagner doubles down by having a lady bystander tell Dredd off, because the guy is clearly not the full shilling, only for Dredd to fine her 2,000 Creds for obstructing Justice. Then, with a poker face like iron, Wagner TRIPLES down and when she complains Dredd ups the fine to 4,000 credits. Actually, it is quite funny now I think about it. There’s a bunch of that kind of thing before Dredd goes home exhausted. It's just a string of jokes really, with the double page opening by Bolland and the actual meat of the story by Mike McMahon. Call me unstable but I will always have room in my mind for the final panel where Walter faithfully tucks a blanket around “Dear Judge Dwedd...” OKAY!

JUDGE DREDD: GLOBAL PSYCHO Art by Ian Gibson Written by Gordon Rennie Lettered by Tom Frame Originally published in JUDGE DREDD MEGAZINE #328-331

JUDGE DREDD: GLOBAL PSYCHO by Gibson, Rennie and Frame

Oh, thank Grud. We’re nearly at the end! Oh, you're all feeling the fatigue, what about me? I went to C**********d and back halfway through writing this (round about the Luna-1 War bit) because people think I have to contribute to the social life of the family or something! It was cold and windy enough to require my big coat too! Straight back with “school shoes” and here I have to go on about Gordon Rennie, while fielding black looks from the person cooking the tea. Anyhoo, Judge Dredd is outfoxed by a serial killer in a oner which sets up the somewhat chunkier one which follows on below. Ian Gibson draws in his kind of diseased kid's illustrator style and once again his colours are a delight of polished inkwashes. The most interesting thing for me with Global Psycho is the fact it shows a bum and a bit of tit on a killer's strung up victim. We didn't need a bit of bum and tit in my day! Not in Judge Dredd anyway. What we did our own homes was another matter. It's just a setting up strip so it's OKAY!

JUDGE DREDD: KILLER ELITE Art by Paul Marshall Written by Gordon Rennie Greytones by Jean-Paul Bove Lettered by Tom Frame Originally published in JUDGE DREDD MEGAZINE #328-331

JUDGE DREDD: KILLER ELITE by Marshall, Rennie, Bove and Frame

Gordon Rennie acquits himself quite well here; it helps he's given himself a strong premise. The psycho from Global Psycho is dying, but before she pops off she collects the galaxy's greatest murderers and has them all face off on the moon. The prize is the seat aboard an escape pod. It doesn't sound like much of a prize, but the complex will explode in sixty minutes and there is only one seat on the escape pod. Dredd's in there because he is after all “the greatest mass murderer in human history”; which by this point in his history is probably understating the matter. It's nice to be reminded how much blood is on Joe's hands every now and again. Particularly if you've recently watched him get tucked up snug by a fawning robot. A whole lot of mayhem ensues but to avoid it all getting a bit one-note Rennie builds the trap around Dredd so tightly that by the time he reaches the pod with another survivor you really don't know how he's going to get out of it. It's fast and fun, and if not quite as fast or fun as Rennie might think, it's fast and fun enough. The only let down is the art. While there's nothing wrong with Marshall's typically sturdy work, someone has made the (cost cutting?) decision to go for gray tones instead of colour. This makes it all a bit visually drab, so much so it starts to undermine the art. The swathes of gray don't allow anything to pop, even when you know what you are looking at should be popping like Space Dust on a pre-teen's tongue. But Dredd's convincingly Dredd, and Rennies' Most Dangerous Game is dangerous enough so GOOD!

DARK SIDE OF THE MOON shows that Luna-1 is whatever any particular writer requires of it; empty and forbidding in Breathing Space, noisy and garish in Darkside, bustling and crazed in the original strips and the moon is just, well, there as a deadly backdrop in Killer Elite. It doesn't really matter as the freedom allows all these different approaches; and while some work (Breathing Space) and some don't (Darkside) none of that's down to the setting. As a volume it's GOOD!

NEXT TIME:  Manners maketh the Judge, so says Judge Mum and - COMICS!!!

"NOBODY Calls Me CHICKEN HEAD!" COMICS! Sometimes I Hope You Brought A Clean Pair Of Pants.

Are you ready to quiver in horripilation at the future terrors accosting Mega-City One’s premiere lawman? No, well come back when you are. JUDGE DREDD: THE HAUNTING OF SECTOR HOUSE 9 by Brett Ewins

Anyway, this…

THE JUDGE DREDD MEGA COLLECTION REVIEW INDEX

JUDGE DREDD: THE MEGA COLLECTION Vol. 77: HORROR STORIES Art by Brett Ewins, Ian Gibson, Dave Taylor, Mick McMahon, John Burns, Andrew Currie, Xuasus and Steve Dillon Written by John Wagner, Alan Grant, Gordon Rennie and John Smith Lettered by Tom Frame and Annie Parkhouse Colours by Chris Blythe Originally serialised in 2000AD Progs 359-363, 511-512, 1523-1528, 1582-1586 & 2005, JUDGE DREDD MEGAZINE 2.27-2.29, JUDGE DREDD ANNUAL 1981, JUDGE DREDD ANNUAL 1982 and 2000AD WINTER SPECIAL 1994 © 1980, 1981, 1984, 1987,1994, 2004, 2007, 2008 & 2016 Rebellion A/S Hatchette Partworks/Rebellion, £9.99 (2016) JUDGE DREDD created by Carlos Ezquerra & John Wagner

JUDGE DREDD: THE HAUNTING OF SECTOR HOUSE 9 Art by Brett Ewins Written by John Wagner & Alan Grant Lettered by Tom Frame Originally published in 2000AD Progs 359-363

JUDGE DREDD: THE HAUNTING OF SECTOR HOUSE 9 by Ewins, Wagner & Grant and Frame

I know we've all wondered more than once what Shirley Jackson's The Haunting of Hill House would be like if it was set in Mega-City One. Well, The Haunting of Sector House 9 answers that pressing question. Apparently there would be a lot less sublimated sapphism and repressive social mores and a lot more mouths exploding from walls, zombies, disembodied hands and big men in leather shouting. On reflection it might not have that much to do with Shirley Jackson's timeless terror tome after all. It definitely has to do with Judge Dredd stolidly yelling things like "DAMNED if I'll give in to a SPOOK!" and Brett Ewins wonderful ability to draw warped flesh and matter splattered walls. I really dug this one on its first appearance way back when, there was just something unsettling about the sci-fi world of Dredd suddenly morphing into a barnstorming full-on horror flick. Wagner and Grant pace this demon baby just right with each chapter containing something icky and an incremental revelation of the solution to the mystery.  And they don't even cheat on the solution, it's not just "Well, I guess we'll never know. There are more things on heaven and earth than are dreamed of in your comportment, Judge Dredd." No, there's a proper (and very "Dredd") reason for all the poltergeisting about.

JUDGE DREDD: THE HAUNTING OF SECTOR HOUSE 9 by Ewins, Wagner & Grant and Frame

Much of the fun comes from Dredd's refusal to treat the supernatural any differently to a perp with a knife and an Umpty habit. Here he shares the stage with a couple of other Judges, most notably Judge Omar who has a turban so is, I guess, a Sikh. Although Dredd's world appears overwhelmingly secular there are still familiar religions (something Alan Grant would explore in his Judge Anderson strips; we'll get to those volumes. Patience.) Omar is also a PSI Judge. I used to think that a PSI Division was about as likely as a Healing Crystals Division (Judge Credulous, presiding) but over the years the strip has worn down my resistance, also it turns out fascists have a penchant for all that silly shit so, yeah, okay, PSI Division it is. Best used sparingly though, like nutmeg. The Haunting of Sector House 9 is good little thunder through spooky tropes with a satisfying pay off, but a lot of its success is down to the atmosphere and that's wholly down to Bret Ewins' art. Which is unfortunate, because these volumes reprint some very old strips, and I guess occasionally the original materials have gone AWOL. (Or Rebellion/Hatchette haven't bothered to source them.) In this  particular case the poor reproduction annihilates the delicacy of Ewins' line. Despite his art being all about blunt impact, a kind of brusque shove to get your eye's attention, there's always a surprising amount of detail in there.  Detail  that isn't served well by the heavy handed reproduction. You can still see all Ewins's trademarks through the murk; particularly those shiny, shiny Judge helmets. It's just a shame his crisp, clear linework is swamped by blacks for the most part. Despite this The Haunting of Sector House 9 is pulpy sprint of a thing adorned by the art of one of Dredd's more under-rated artists. GOOD!

JUDGE DREDD: JUDGEMENT Art by Ian Gibson Written by Gordon Rennie Lettered by Annie Parkhouse Originally published in 2000AD Progs 1523-1528

JUDGE DREDD: JUDGEMENT by Gibson, Rennie and Parkhouse

Here Gordon Rennie manfully struggles to give Dredd and Anderson a supernatural mystery to solve, and for the most part he is successful enough. A ghostly Judge is dispensing justice on the streets, which just isn't on, and so Dred investigates along with Anderson and SJS judge Ishmael. Judge Ishmael, er, has a beard, and contributes little to the narrative before just fading into the background. He's the kind of story flab a Wagner or a Grant would have excised completely, but not Rennie, alas. This unnecesary heaviness weighs the strip down, it all seems overly convoluted in order to get to where it's going. The pacing plods, in short. And Rennie is inconsistent in his spookiness. A ghost judge whose shell casings are material enough to be traced? Um, no. I have trouble believing in gravity so if you want me to be all-in on vengeful revenants you can't trip me up with stuff like that.

JUDGE DREDD: JUDGEMENT by Gibson, Rennie and Parkhouse

But it's not without entertainment and Rennie gets a couple of very good moments in there, such as when the gang boss realises he's just made a biiiiiiiiiiiiig mistake. And the mystery itself is pretty good, there's just the odd leadfooted moment which makes you pause just long enough to irritate. A bit of red pencil would have helped. It's close to good, but what hurls it across the line is Ian Gibson's phenomenal art. Or to be more precise Gibson's phenomenal colouring. Seriously, there's some crackerjack colouring going on here. Done in something resembling ink wash, the colours are a work of art in themselves. The indigo Ghost Judge really pops out from the world it is haunting. For that world Gibson chooses a really chirpy and upbeat palette with warm pinks, deep blues and jolly greens which, draped over his lithely curvaceous lines, create images so ebulliently cartoony they are a joy. In Judgement Rennie does okay, but Gibson raises things up to GOOD!

JUDGE DREDD: ROAD STOP Art by Dave Taylor Written by Gordon Rennie Lettered by Annie Parkhouse Originally published in 2000AD Progs 1582-1586

JUDGE DREDD: ROAD STOP by Taylor, Rennie and Parkhouse

Gordon Rennie again! This time Rennie picks up a bunch of genre cliches, each of which would be insufficient for a story this length and mushes them all together to create a kind of creepy comicbook rumbledethumps. And, I have to say, it's not half bad. Hmmmmm! For a bunch of reasons which can all shelter under the umbrella of Plot Convenience (which is much better than hunching under the bus shelter of Plot Contrivance) Judge Dred is stranded until a storm passes at a decrepit Road Stop with a serial killer, an assassin, a coach trip and several other cits. That's pretty good. But the Road Stop comes under attack from a mutant gang and, yes, and, the owners of the Road Stop have something hungry in the basement. It should be overstuffed but, credit to Rennie, it moves along with quite a bit of zip and not without a few surprises. There's never a dull moment, but then with that lot going on there shouldn't be. (Again, though, Mr. Editor should have pointed out that you don't tell someone who has just revealed themselves as an assassin that you would love to help them but you have to pack all this stolen money..oops, you're dead!) Fun for the most part, writing-wise.

JUDGE DREDD: ROAD STOP by Taylor, Rennie and Parkhouse

But the art? Grud on a Greenie! Who is this Dave Taylor! He's the Tip-Top Top Cat and no mistake! His art has a wonderfully European inflection and a super robust sense of physical dimension. He doesn't stint one jot on the characters or the locations either. The road house is wonderfully designed, with a real sense of novelty to every room, rather than a jaded sense of yes-I've-seen-Blade-Runner-too-it-was-forty-years-ago-can-we-move-on-now-please. And there's no stinginess with the character designs either. Most folk would have saved the robot with a monkey’s head or the electric-circuit person for their own projects. But here they are just part of a bunch of wild designs which get less page time than Judge Dredd's bike. Dave Taylor goes all-in is what I'm saying. I looked him up on Wikipedia and it turns out he's English so that explains everything. Apparently he also had a double hernia. I doubt that's the secret of his ridiculously good art though. Road Stop is solid stuff so GOOD!

JUDGE DREDD: THE FEAR THAT MADE MILWAUKEE FAMOUS! Art by Mick McMahon Written by John Wagner Lettered by Tom Frame Originally published in JUDGE DREDD ANNUAL 1981

JUDGE DREDD: THE FEAR THAT MADE MILWAUKEE FAMOUS! by McMahon, Wagner and Frame

In 1981 Judge Dredd got his own Annual! (Well, I guess in 1980 strictly speaking). This was pretty momentous if you were 11 years old, because that meant that Christmas would bring not only the 2000AD Annual but also a Judge Dredd one! (Family finances permitting; the ‘80s was a hard time for us, we had to let one of the planes go). North American genre comics have annuals too, but these are published too randomly to suggest anyone producing them actually knows what the word means, and are basically just fat comics. A fat comic chucked out intermittently is not an “annual”, North American genre comics! In Britain where we understand the value of routine and the meaning of words, Annuals come out just before Christmas, are magazine sized with hard covers and cater to a range of interests; sports, puzzles, etc and, yes, comics. The 2000AD Annual would bulk itself out with old reprints (one year I’m sure Rick Random Space Detective was in there. Rick Random! I’m sure Rick Random has his charms, but it was a bit like interrupting a kid’s party with a lecture on the Joys of Accounting. Rick Random isn’t exactly FLESH!) but IIRC Judge Dredd’s Annual was all new stuff. Even if it wasn’t, even if I’m wrong, it had an awesome Mike McMahon drawn strip (yes, this strip!) which took advantage of the big pages and extra length to really go Total McMahon.

JUDGE DREDD: THE FEAR THAT MADE MILWAUKEE FAMOUS! by McMahon, Wagner and Frame

The story isn’t much; Dredd is chasing down a bad mutant hombre but comes unstuck when the Milwaukee dead rise up to exact revenge for their nuclear annihilation. It’s a bit of zippy fluff which gets by on the visual joke of the bad guy and Dredd’s refusal to give an inch in the face of a city of restless spirits. Mostly it's McMahon's show. McMahon’s art here is a summation of his “scabby” style, which he would immediately start moving away from, like the restless genius that he is. You can really see here his technique for making the most of his page count by creating pages within pages; that is, a group of three or four panels which are read together within the larger page on which they nestle. He really covers some ground like that, and it leaves him free to have a big image dominating the layout to boot. He also colours it like a gifted child armed with felt tip pens; if Lynne Varley had done it we'd all be shaking a tail feather over it. His pages here were so scrumdiddlyumptious that even an 11 year old could tell. I spent a lot of 1981 copying Mike McMahon’s art from the Judge Dredd Annual 1981 in biro on some wallpaper offcuts we had lying about (remember wallpaper?). Yes, I should have got out more. The Fear That Made Milwaukee Famous! is not only a pun on an ancient Schlitz beer advertising slogan but, drawn by Mike McMahon, it is thus VERY GOOD!

JUDGE DREDD: THE VAMPIRE EFFECT Art by Mick McMahon Written by John Wagner Lettered by Tom Frame Originally published in JUDGE DREDD ANNUAL 1982

JUDGE DREDD: THE VAMPIRE EFFECT by McMahon, Wagner and Frame A space ship carrying alien life form samples crashes into Mega City one and an energy vampire is on the loose! The more it eats the bigger it gets and by the time it has eaten a few under-city dwellers it is pretty hefty and ready to chow down on Mega City One. Can Judge Dredd and his fascist pals stop it before it's too late? Yes, obviously. But how? Yeah, smart guy, how? There's not much to this solidly scripted effort other than a steady ratcheting up of the stakes and a pervasive sense of hopelessness, which is quite a lot really; and most of that is probably down to the art by Mike McMahon.

JUDGE DREDD: THE VAMPIRE EFFECT by McMahon, Wagner and Frame

One year later and we can see just how much hunger McMahon's talent has for fresh artistic conquests. The man gobbles up challenges like the in-story vampire chows down on energy. Ravenously. His art still retains a grubby patina but is far more visually controlled now. There's a discipline in the straightness of lines strong enough for him to perch his more expressionistic tendencies atop them. The flare of Dredd's helmet is starting to reach the point where he'll be forced to enter rooms sideways, but the exaggeration is consistent with the larger landscape of visual hyperbole it inhabits; which makes it Art rather than a goof. Fret not, though, McMahon's art has lost none of its playfulness despite his apparent turn towards the stern. His colours are more subdued here with the odd pop of a green knee pad leavening the dourness, but there's still wit; see the negative colouring on people “bitten” by the vampire, and his refusal to make the vampire anything other than a blob speckled by colour. The reproduction here is a crying shame, tending as it does to the blurry. But The Vampire Effect is still drawn by Mike McMahon and so it is VERY GOOD!

JUDGE DREDD: HORROR HOUSE Art by John Burns Written by John Wagner Lettered by Tom Frame Originally published in 2000AD WINTER SPECIAL 1994

JUDGE DREDD: HORROR HOUSE by Burns, Wagner and Frame

A one episode punchline strip in which Dredd has to rescue a kidnapped kid from an animatronic house of horrors. This is from a Winter Specuial which, unlike an Annual, is a fat comic released at seasonal intervals. Used to be we just had Summer Specials which were an awesome part of being a kid. Looks like we now have Winter Specials because profits in the third quarter are down, or whatever. I don't know, but I for one am not sitting on a Blackpool beach in my trunks reading Shiver'n'Shake in November, thanks. Must be getting old. So, yeah, the old lag John Burns (b.1938) has scads of fun with the different dioramas in the Mega-Tussauds’ of Terror, and my eyes enjoyed his lovely tides of colour breaking over the page. Burns’ style is very European, characterised by pin-sharp linework so awesome that he took over Modesty Blaise from Enrique Romano in the ‘70s. Burns was beloved by kids of the ‘70s for his art on the smutty newspaper strip George & Lynne, by the ‘80s he was blazing trails of awesome on the page for 2000AD, where his work embraced colour with a vigour that would make a vicar blush. I like John Burns’ art.  Unfortunately while the script’s punchline isn’t bad as such, it landed leadenly as I hadn’t realised there was anything amiss with Dredd’s behaviour. He’s not exactly chatty Cathy at the best of times is he now? Anyway, John Burns drawing Judge Dredd fighting things is always GOOD!

JUDGE DREDD: CHRISTMAS WITH THE BLINTS Art by Andrew Currie Written by John Wagner Coloured by Chris Blythe Lettered by Tom Frame Originally published in 2000AD Prog 2005

JUDGE DREDD: CHRISTMAS WITH THE BLINTS by Currie, Wagner, Blythe and Frame

This is the finale of a long running storyline about Dredd failing to catch Ooola Blint, who is addicted to euthanasia-ing unwilling people, and her useful idiot of a husband, Homer. The problem with this series of mega-books is here we just get the end of the chase. Maybe the other bits are in other books, I don't know. Anyway, although robbed of much of its cumulative impact, the script is the usual drly comic Wagner effort wherein romance and murder become so intertwined it gets hard to distinguish between the two. At heart this is pretty sick stuff but thanks to Wagner's deadpan delivery this very sickness becomes part of the humour.

JUDGE DREDD: CHRISTMAS WITH THE BLINTS by Currie, Wagner, Blythe and Frame

Christmas With The Blints is more of a characer piece than an action piece so Currie has his work cut out for him. Fortunatley Currie seems to have a yen for caricature, so fun with faces is right up his street, and his “acting” is well up to snuff(heh!) for the duration. He does a particularly sweet Morgan Freeman whose sloping contours suggest the influence of the Master Caricaturist Mort Drucker, which is nice to see in a Dredd strip. It's a wordy episode but Currie keeps it interesting and his crisp, clean style is attractive if never eye boggling. Christmas With The Blints is GOOD!

JUDGE DREDD: THE JIGSAW MURDERS Art by Xuasas Written by John Smith Lettered by Tom Frame Originally published in JUDGE DREDD MEGAZINE 2.27-2.29

I really like John Smith as a writer, and I really, really like Judge Dredd as a character but I don't think John Smith writes a good Judge Dredd. The Jigsaw Murders doesn't change that opinion. Smith has his very own range of obsessions he rarely deviates from: body horror, fractured stream-of-consciousness inner monologues, creepy malefic beings whose reality can be a bit dubious and a rigid dislike of authority. This latter quality overshadows his more intriguing aspects on Dredd, because he gives the impression he's holding his nose whenever he has to write Dredd himself. I don't know how he gives that impression but he does. So what I do is, I just read it as a John Smith story and that usually works out okay. Here then I ended up reading about a serial killer who dismembers his victims to disguise his less than sane search for a replacement arm. This being a John Smith joint he rides about in an ice cream truck and is haunted by The Giggler, a creepy kid's toy, and is pursued by Judge Dredd, who looks like our Judge Dredd but is an inflexible asshole prone to bad one-liners. He's not as bad as Millar and Morrison's tone-deaf interpretation of Judge Dredd, but then at least here he's in a decent story which is something that pair never managed to conjure up. As John Smith stories go it's pretty good, there's a hilarious bit where the Jigsaw Killer finally gets his arm and it's all kind of icky and nasty like a good John Smith tale should be.

JUDGE DREDD: THE JIGSAW MURDERS by Xuasas, Smith and Frame

It's illustrated by Juan Jesus Garcia, who likes to be called “Xuasus”, in a fully painted style which I like to call “mostly successful”. It's got some real heft to it thanks to Xuasus' penchant for lumpiness and there's a winning ugliness to everything, not least the characters. However, stiffness is an issue when he paints people in motion, and while it didn't entirely convince there was always the odd stand-out like the panel below. Interesting, I guess I'd go for. The Jigsaw Murders is pleasantly odd thanks to Smith's script and Xuasus', uh, heavy approach. So, GOOD!

JUDGE DREDD: THE JIGSAW MURDERS by Xuasas, Smith and Frame

JUDGE DREDD: THE BEATING HEART Art by Steve Dillon Written by John Wagner & Alan Grant Lettered by Tom Frame Originally published in 2000AD Progs 511-512

JUDGE DREDD: THE BEATING HEART by Dillon, Wagner & Grant and Frame

This is a little two parter, a playful update of Poe's “Tell-Tale Heart” which is amusing enough in its way, but is of note largely because of Steve Dillon's art. In 2015 comics lost Brett Ewins (see above) and in 2016 Steve Dillon died, which makes this volume a bittersweet read. It does provide a reminder that Dillon's sparky art could lift a trifle like this out of the filler category and up into GOOD! without breaking a sweat. Dillon may only ever have drawn one female face but he put atop it a cascade of Bizarre '80s hairstyles that would give a Studio Style executive a chubby, and while his décor could be minimal his pacing was precise. Best of all Dillon would always remember that it was Judge Dredd's strip and really nail his Dredd bits down hard. Ciao, Steve Dillon! Ciao, Brett Ewins! And thanks for all the Thrill-Power!

And as all the best horror stories end with a hand coming out of the ground…

JUDGE DREDD: THE FEAR THAT MADE MILWAUKEE FAMOUS! by McMahon, Wagner and Frame

NEXT TIME:  I'm not sure but probably Judge Dredd in some - COMICS!!!

“I'm Looking For A Creep With Big Feet!” COMICS! Sometimes Travel Can Limit Your Horizons To The Size of an Iso-Cube!

In which John beggars belief by actually following up on his threat to look at the Judge Dredd Mega Collection. This time out various, and largely unpleasant, xenomorphs get a quick course in The Law from Professor Joseph Dredd. JUDGE DREDD by McMahon, Wagner & Frame

Anyway, this... ALIEN NATIONS JUDGE DREDD: THE MEGA COLLECTION #75 Artwork by Dean Ormston, Ashley Wood, Ian Gibson, Mick McMahon, Karl Richardson, Cam Kennedy, Tony Luke & Jim Murray Written by Alan Grant, John Wagner & T. C. Eglington Lettered by Tom Frame, Fiona Stephenson & Annie Parkhouse Coloured by D'Israeli & Chris Blythe Originally serialised in 2000Ad Progs, 204,1033, 1133-1134, 1241 & 1855-1857, Judge Dredd Megazine 1.11-1.17, 2.53 – 2.56,& 2.73 -2.76 and Judge Dredd Mega Special 1995 © 1981, 1991, 1994, 1995, 1997,1999, 2001, 2013 & 2015 Rebellion A/C Judge Dredd created by Carlos Ezquerra, Pat Mills & John Wagner £9.99 UK (2015)

This volume of the Hatchette/Rebellion partwork is yet more big chinned future cop thrills, but this time in the form of a (mostly) scrotnig smorgasbord of encounters between our autocratic anti-hero and various alien races. This is handy because it gives an idea of certain types of Dredd tales which occur in-between the mega death events. There are many kinds of Dredd tales and this collection is hardly exhaustive but it catches a fair few of them between its hard covers; covers adorned as ever with the pleasantly minimalist design of B&W line art with a red flash to catch the eye. It also allows me to look at a wide variety of Dredd artists including Mick (nee Mike) McMahon. Which is nice. (MICK MCMAHON!)

JUDGE DREDD by Ormston, Grant & Frame

A smidge over half the book is taken up by the opening double bill of Raptaur and Skar, both of which are fine examples of the longstanding tradition British comics have of providing off-brand (and slightly tweaked to avoid litigation) versions of pop culture faves. (For corroboration see my previous babbling about Action Weekly, if you really feel you must. I don't recommend it as even my family refuse to read my writing.) Here, in Skar particularly, it's Alien, as in the fantastic 20th Century Fox movie presentation. (Of which I have also written tediously on previous occasions). There would come a point when Judge Dredd would actually face the licensed acid blooded xenomorph itself; it would be drawn by Henry Flint and it would be pretty great, actually. I  guess no such permission had been given back when these strips appeared so it's Skar and Raptaur. Raptaur has a slight edge as a concept since the tweak there is it's Alien crossed with Predator. Dredd would also eventually face Predator and it would be drawn by Enrique Alcatena and it would be forgettable.

JUDGE DREDD by Wood, Wagner & Frame

As it happens Skar is quite forgettable too. It's not bad , it's just a bit distended for what it is. Generally John Wagner seems to be keen to let his artists have a pretty free hand, and on occasion he seems to write stories intended to showcase the art, and so story depth and density become less of an issue. This isn't a bad approach (comics being a primarily visual medium, or so I hear) but it does depend on how the reader reacts to the particular artist. Alas, I'm not an Ashley Wood man. I stubbornly maintain he is great at illustration but poor on storytelling. Here Wood's art is, I think, intended to carry the piece in arms made sturdy by atmospheric layouts and oppressive blacks. Unfortunately what happens in my eyes is there’s a bunch of confusing layouts with the use of black seemingly an excuse not to draw things, and this approach is implemented so excessively it nudges the whole thing into visual tedium. Also, I wanted to slap that airbrush(?) out of his hands. Raptaur, on the other hand is written by Alan Grant and is a much denser affair. As well as the whole finding out what this thing is and how to kill it business, Grant also provides little snap shots of city life along the way for colour, atmosphere and humour. There's even a real sense of danger for Dredd ; he gets several right batterings, and some stand out Dredd Hard! Moments (the bit where he stabs himself in the hand because he is losing his grip above a vast drop is pure Dredd Hard!). But Grant's clearly writing with story rather than atmosphere in mind, so obviously he wins. Mind you he also wins because he's got Dean Ormston on art. Here Ormston's art is still developing but it's developing quickly. His quirky line is made robust by a queasy colouring job with a palette informed by some imaginary but very toxic children's cereal; it's all slightly off primary hues laid over gnarly figures, which tip over into the truly grotesque when occasion demands. Raptaur and Skar are two very different beasts in teh end; two very different approaches to the same genre staple; how you react to either will depend on you, but I think Raptaur takes it. There's also a short Raptaur Returns thing which combines Ormston's art with Tony Luke's modeling (CGI?) to produce a fresh take on Raptaur as a toothy poo.

JUDGE DREDD by Gibson, Grant, Wagner & Frame

Acting as a kind of breather before the next chunk of fascistic fun we get a short one episode humour piece in which Dredd is tasked with showing an alien ball of feathers and eyes around the city. Alas, the alien isn't as cute as he looks and if “Diplomatic Immunity!” didn't work for Joss Ackland it sure as shit isn't going to work in The Big Meg. It's fun but slight and Ian Gibson's art is the real draw (ho!) Here Gibson is drawing as “Emberton” because for some reason there was a period where he confused the nuts off me by appearing in 2000AD under a couple of names (I think one started with “Q...”). For a bit back then I honestly thought there was some kind of Ian Gibson Movement or something. It would have been better than the wave of Bisley manques we did get. Oops, little bit of bitterness showing there.

JUDGE DREDD by McMahon, Wagner & Frame

Next up is Howler which is big fat lump of Mick McMahon. Again , as with Skar above, John Wagner's story is the barest whiff of a thing; this time it is clearly just there so Mick McMahon can do whatever the Hell he wants for 36 or so pages. Since I would quite happily look at Mick McMahon's drawings of the contents of his fridge, the fact that he's drawing a story about an alien who thinks shouting loud enough to make people explode is going to make him King of Mega City One is just a dream made paper. Basically here McMahon's art is in line with that Legends of The Dark Knight I talked about a bit back. The illusion of depth is created not by perspective but by the layering of flat elements. It reminds me a lot of the work of Oliver Postgate (Noggin The Nog and all that); it's easy to imagine McMahon's figures lolloping across the panel with their arms and legs moving in a weirdly convincing but thoroughly unrealistic way. This is uber reductive cartooning, all geometric shapes and straight lines; the genius is in the measure of character which still informs everything McMahon draws. Mick McMahon is a living genius – FACT! Also, Judge Dredd gets his head dunked in a lav. Watch out for toothy poos!

JUDGE DREDD by Kennedy, Wagner, Blythe & Frame

The traddest effort comes next in the form of Prey. I don't know who T.C. Eglington is but s/he does a decent job in providing a story about weird murders in an aid camp set post Chaos Day (see Vol.s 49 & 50). There's nothing amazing here but it's solid stuff and manages to lightly touch on a couple of real issues. Richardson's art is in the more traditional North American style (e.g. Ethan Van Sciver i.e. the Green Lantern one, not the more talented, arty one) and the end result is probably likely to be more to the taste of palates not used to 2000AD's traditionally richer mix. Then again look at Cam Kennedy. Don't mind if I do, cheers! Kennedy sees out the volume with a couple of tales. I was all ready to bang on about how it was a damned shame that Kennedy, a uniquely kinetic artist, had never found real success over in the Americas. Then I remembered he did all those comics based on the children's entertainment Star Wars so he's probably doing a-okay. Here he's doing better than a-okay because he's drawing Judge Dredd. And Judge Dredd and Cam Kennedy are like boots and feet – they are meet. Like all the great Dredd artists Kennedy has his own spin on The Chin. Literally in fact, because Kennedy's Dredd-chin looks like a crispy baked potato. In a good way. Kennedy's two strips are by John Wagner and are light hearted affairs with a varied roster of aliens for Kennedy to depict in his signature crumbly and lolloping style. Solid stuff, showing Dredd's softer side and given that extra oomph that only Cam can. Braced between Kennedy's efforts is a frothy piece combining escalating disaster and alien religious extremism, all of which is given whatever entertaining weight it has by Jim Murray's art. Murray's art is in that fully painted style popularised by Bisley and mills' The Horned God way back when; a style adopted by many but which only few could manage. Luckily Murray's one of the few.

JUDGE DREDD by Murray, Wagner & Frame

Like my comb-over in a stiff wind, this volume is a bit all over the place but that's a nice change of pace from the nerve shredding marathon of the Epics. I appreciated the varied art styles and the various tones of the tales. While it doesn't hold together as a book that's because it was never meant to. However, it is like reading a really big Judge Dredd Mega Special or something. I had fun and some of that fun was was spectacular (Mick McMahon!) and sometimes it involved Tony Luke's toothy poos. But overall it was GOOD! (But if you like Mick McMahon you can take that up to VERY GOOD!)

The question is not whether there is life in space but rather whether they read – COMICS!!!

Steamroller of content: Hibbs' 10/10

Yes, yes, let's keep this week's Steamroller of Content rolling along, with me doing This Week's Comics actually, y'know, THIS week...!

BATMAN #13: I thought this was very very effective, full of mood and tension and anxiety and evil clowns and, yeah, just everything you might want in a modern comic. To a certain extent, I think the vigor as a commercial product that BATMAN has shown since its relaunch might possibly single-handedly make "the new 52" have been worth it. Clearly America's #1 superhero comic book of the moment, I thought this was frankly EXCELLENT.

BATGIRL #13: this one, on the other hand? Not so much. I mean, the main story was perfectly adequate attempt at making  grrrrr/gritty nemesis for Babs (who, let's remember, until now has primarily be associated with Killer Moth) -- but it feels to me like... dunno, trying to hard or something? I was pretty insulted by the "tie-in" to the Batman storyline, with its wraparound cover and instant sell-out, but only being, yuck, 2 pages  of anything, and that thing was pretty much no-thing, anyway. So, yeah, I thought it was pretty EH.

AvX: CONSEQUENCES #1: I think that personally, my favorite "consequence" of this issue is that Cap apparently went squirrelly, and decided that the best time to go shopping for new clothes was in the narrow space between AvX #12 and this... and that no one is willing to say anything to his face about it. "Cap, seriously, you look like a penis now." or "Nice look, did NFL Superpro have a sale?". Anyway, the plot of this is mostly "Cyke's in jail, doesn't care"... I don't know, where can he possibly go as a character from here? He was always the most boring of the X-Men original or giant-sized or uncanny or new, and this isn't doing him any favors. He's just as dull watching mope around a prison cell. Hope is also told she can go be a normal kid first, but someone is going to have to take her hand and take her clothing shopping first, because she looks distinctly unnormal standing around in that combat suit talking like that. Just, god, please don't let it be Cap taking her to the store -- his fashion sense sucks! That comic was extremely EH.

UNCANNY AVENGERS #1: I really wanted to like this, but man I have such a hard time with the things they're trying to get us to believe about how the world perceives the mutants, etc. I sure don't believe when Captain America comes along and says that *Alex Summers* is the last, best hope to lead mutantkind to their new Avengery-destiny. Dude, Alex Summers is a damp squib of a character. Just about the only thing he's got going for him is that cool costume. But past that? Name one actual human-personality trait he's ever shown in some 40 years of existence? No, you can't, because he's never exhibited one either.

I mean, honestly! You want the even duller brother of the world's most tedious mutant to lead an Avengers team, really?

The main thing UNCANNY AVENGERS has going for it is John Cassaday, who is, of course, a very fine artist. My problem is that this isn't a gathering of characters that I want to see him draw, and the situation he is drawing is fairly uninteresting to me. This was OK.

HALLOWEEN EVE: This is one big Amy Reeder showcase, and, yeah, she's an artist to watch, with a wicked sense of style and verve in her drawing. I'm less enthused about her lettering and coloring -- the former looking entirely computer done with too large baloons, the latter being too bright in too many places, and without a good balance between background and foreground. But who cares, the art itself is so pretty! The story, on the other hand -- pretty much just "A Christmas Carol", except set during Halloween -- I've read worse, I'm sure, but it was pretty average stuff. So what to rate it what to rate it... Oh, hell, I'll go with a low GOOD.

POINT OF IMPACT #1:  Jay Faerber's new ongoing black & white crime book, and while part of me thinks that maybe it veers towards the wannabe TV Pilot that Abhay was discussing earlier (at least partially pushed along by the ode to Boomtown in the text page), I thought it was a zippy enough first issue to say something about it. Artist Koray Kuranel is new (or at least "new to me"), and he's still got some awkward drawings to get out of his (?) system -- look at that hand in the next to last panel of the last page and tell me that doesn't look like that weird SNL character with the tiny hands? But I was more struck through a lot of the issue that the art kind of looked like Ian Gibson. Haven't seen his art is years -- still working in the UK?

Anyway, this is a noble effort that looks like it has a certain amount of potential. I'll also call it a low GOOD.

RED SHE-HULK #58: Or, what would, in any other universe, be called #1. I'm very much not the audience for this, I don't think, because in my brain, making Betty Ross a hulk (let alone the very idea of multiple, colored hulks!) seems about as wise as having, say, Jean Loring become Eclipso after killing Sue Dibney.  But, even if I didn't think that, I'd want to see some characterization or personality or motivation, all of which seem to be 100% absent in this comic book. Is it too much to want the titular hero of a book to be a protagonist... well, or at least a motivating factor in things that happen? Yeah, this ain't for me. AWFUL.

PHANTOM STRANGER #1: I can't believe that I'm going to say this, but maybe this was even worse than #0.  If only because it didn't have the deeply wrong Judas backstory, yet was, in effect, exactly the same story as issue #1 -- someone wants PS to help them (in this case, it is Raven, once [but no longer] of the Teen Titans), PS betrays them because God tells him to, PS levels up (he's down to 28 pieces of Silver now, woo!) -- exactly and precisely the story of #0, where it was the Spectre then. Douchebag Monthly! This is going to sell and sell and sell!

I lie, there is ONE more thing that's slightly different, something which pushes this issue truly into howler territory -- at the end of this it sure looks as though the Phantom Stranger goes home to his wife and loving children. Yep, not only have the entirely missed the point of being a "stranger", they now seem to be saying that Judas has changed his name to "Phil", and is living The American Dream in what looks to be a suburb.

I'll just let that idea sink in for a moment.

I kind of now need to give this comic just one more issue to determine if it is merely criminally insane, or Bob Haney-style brilliant. I know which way I'm leaning, but I have to leave the possibility of brilliance open, don't I?  So, while I want to say "CRAP", I'm barely, and perversely going to call it as "INCOMPLETE".

AME-COMI GIRLS #1: Well, even shrunk and reformatted, I'll stare at Amanda Conner art all day long. And, boo, that she only does about 2/3rds of the comic, but it still looks nice in those bits. Plotwise the comics is a bit sex-n-gore-y, but if you're looking for an anime-style version of Wonder Woman, with nice cheescake art, there are certainly worse directions this comic could have gone.  So, that's, what? OK, I guess?

OK, enough from me... what did YOU think?

-B