2000 AD

Comic Heroes - - Comics We Rate -

Re­viewed: Prog 1950

Writer: Var­i­ous

Artist: Var­i­ous

Pub­lisher: Re­bel­lion

For­mat: Weekly

One of the many nice things about 2000 AD is that it reg­u­larly pro­vides jump­ing-on­point is­sues. This (as­ton­ish­ingly the 1,950th is­sue) is a par­tic­u­larly strong one, with four open­ing in­stal­ments that give a good taste of where these sto­ries are go­ing.

Judge Dredd has pride of place, just as he should. “Se­rial Se­rial” sees the re­turn of mass-mur­derer PJ Maybe. The twist here is that you never ac­tu­ally see Maybe. He ma­nip­u­lates events from afar by tip­ping Dredd off about an un­solved case. It’s good fun, and quite dif­fer­ent to the epic dis­as­ter sto­ries that have en­gulfed Mega City One of late.

De­foe is an alt-uni­verse zom­bie story set in the 1600s. Pat Mills’ di­a­logue is or­nate, but the story so far can be summed up as: zom­bies at­tack. Hap­pily, Leigh Gal­lagher’s mono­chrome art is won­der­fully macabre. The story opens with a rot­ting ca­daver and only gets nas­tier from there.

Brass Sun is one of the more in­trigu­ing 2000 AD se­ries of re­cent years. A steam­punk adventure (al­beit with thank­fully few dodgy im­pe­ri­al­ist over­tones) it’s very dif­fer­ent from the vi­o­lent strips that make up the rest of the is­sue. Inj Cul­bard’s art has a cool, at­trac­tively Euro­pean feel and it’s en­gag­ing enough to en­cour­age new read­ers to check out the back cat­a­logue.

Fi­nally, Bad Com­pany. This fu­ture war saga reached a nat­u­ral con­clu­sion in the late ’80s, and sub­se­quent re­vivals haven’t quite matched it at its best. “First Ca­su­al­ties” looks set to change that. Ten years af­ter the Krool war, Danny Franks is a haunted shadow of his former self, drafted back into ser­vice in an at­tempt to find old com­rade Kano. It’s dif­fer­ent enough from previous sto­ries to not feel like a re­tread, while Ru­fus Day­glo and Jim McCarthy’s art is a lov­ing trib­ute to the late Brett Ewins and is ev­ery bit as in­sane as his orig­i­nal etch­ings. Will Salmon

The comic of the fu­ture re­vives past glo­ries.

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