It’s a dog’s life

Every once in a while, 2000 AD serves up a new strip that manages to attain ‘classic’ status, despite the premise being fairly ordinary. On balance, perhaps it’s actually this ordinariness—with a typically 2000 AD twist applied, of course—that marks such a strip out for longevity, because it’s not trying too hard.

A case in point is Kingdom, scripted by the usually reliable but rarely remarkable Dan Abnett. On the face of it, Kingdom is another future war story, following a battle against swarms of highly evolved insect-like creatures, referred to as ‘Them’. The twist is that the protagonist, Gene Hackman, is a tough bipedal dog-like creature wondering the Earth with his pack, getting guidance from unheard ‘urgings’ and discovering there’s more to his life and world than ‘scrapping’ and orders.

On the page, the story comes across as an odd mix of Mad Max 3, the battle scenes from Starship Troopers, and Grant Morrison’s We3, with its mix of post-apocalyptic settings, stunted language, massive and bloody battles against overwhelming odds, and intelligent, genetically enhanced canines. However, the twists in Abnett’s tales, his deft characterisation and the assured changes in pace (from frantic battles to thoughtful contemplation of Gene’s aims and desires) give the strip an identity all its own.

Abnett’s dialogue is a particular standout. Rather than aping the irritating broken English of the film world, he crafts a new language for his characters, simplifying the English tongue. Peppered with phrases known to dogs, the language comes across as a living, breathing thing (a particular standout being the phrase “your mouth is full of wrong”), and so, by extension, does the entire strip.

Ably assisted by Richard Elson’s workmanlike art, with its direct storytelling, clean lines and strong panels, Kingdom is a joy, and deserves its place amongst the very best of 2000 AD’s titles.

Kingdom: The Promised Land is available now for £11.99. For more information about 2000 AD graphic novels, check out the 2000 AD Books website.

Not at all dreadful, but, er, ‘Dredd-full’. (Oh dear.)

I don’t usually review single issues of comics, but with the Judge Dredd Megazine seemingly having its 50th or so revamp in its (almost) 18-year history (next month, it’ll be old enough to drink beer), I figured I’d make an exception.

The Megazine now comes bagged—something I find a hateful proposition—and has had two quid added to its price tag, but bad feelings are tempered somewhat by the contents of said bag. First up, the Megazine itself, which is—for the time being—finally devoid of reprint. The most notable addition to the line-up is Tank Girl, by original scribe Alan Martin and relative newcomer Rufus Dayglo. This irreverent, punky tale feels right at home in a 2000 AD title: Martin’s fun, explosive script is a real blast, and Dayglo’s somewhat retro artwork evokes the best of classic 2000 AD art, while also channelling a little Jamie Hewlett.

Elsewhere, playfulness is also evident in most of the Dreddworld strips. Female PSI Judge Anderson rummages around virtual realities, aided by an AI that resembles a levitating blue ape, while Tales from the Black Museum offers a wickedly dark take on the pressures of coming up with new fads—something exacerbated by the gnat-like attention spans of Mega-City One’s population.

The issue’s sore thumb is, oddly, Judge Dredd, whose Wagner-scripted story, Ratfink, showcases a villain so downright nasty and an outlook so miserable (it’s set in the barren Cursed Earth desert, at night, in the pouring rain) that you can’t help feeling glad the other strips are there to cheer you up afterwards. That said, Dredd is the perfect antidote to too much ‘happy’, and proves that anthologies can pack punches from several directions, rather than banging the same old drum.

Elsewhere, the closure of Extreme Edition, 2000 AD’s reprint title, means reprint has shifted to what’s touted as a ‘graphic novel’ bagged with the Megazine. In reality, this is a 64-page comic, styled to resemble Rebellion’s line of 2000 AD trades, but with noticeably thinner paper. The first collection compiles a selection of Jock-illustrated Dredd strips, offering a fascinating insight into the evolution of one of the best artists in the business. Some of the tales aren’t exactly inspired, but the collection is nonetheless engaging, and The Shirley Temple of Doom—a story about undercover Judges aiming to bring down a cityblock mafia—is a minor classic.

Messing with formats is a dangerous business, not least when you then ramp the price up. This month, however, the Megazine stands true. It’s cover-to-cover goodness, although curious scheduling means it’s not great as a jumping-on issue. (The Dredd and Anderson tales are parts 3 and 4, respectively.) Whether the momentum can be maintained remains to be seen, though, and next month’s Snow/Tiger reprint is certainly a less enticing prospect than a Jock Judge Dredd collection.

The Judge Dredd Megazine is available now from all the usual stockists for £4.99. More information on 2000 AD products can be found at 2000 AD online.

This time, Britney couldn’t decide between shaving it all off or keeping it long. (Image credit: the wonderful Rufus Dayglo.)

Look into my eyes, the eyes, the eyes, not around the eyes

Judge Anderson is an anomaly in the world of Judge Dredd. Moral, emotional, occasionally zany, and resolutely human, she offers a social conscience that sits in stark contrast to the head-cracking grimness of the monolithic Dredd.

As befitting a sometimes screwball character, what we have here is an oddball collection. Instead of Rebellion’s usual chronological fare with major characters, Shamballa offers a kind of ‘best of’, compiling stories illustrated by definitive Anderson artist Arthur Ranson (whose artwork also graced the excellent Button Man).

Although initially a foil for Judge Dredd, unnerving the square-jawed one with her flippant manner, Anderson moved in an overtly serious direction under Alan Grant, exploring the difficult subjects of child abuse and religion. The bulk of the ‘think of the children’ arcs are missing in this book, which instead largely concentrates on Anderson’s gradual understanding surrounding religion and faith—powerful ideas that the Judges seek to quash in the Godless world of Mega City One.

Within this book’s pages are Anderson’s two best tales. Shamballa chronicles Anderson leading a team of scientists beneath the Himalayas to try and stop cataclysmic supernatural events that are threatening the existence of the world. And Satan pitches Anderson against an evil, ancient being that at least thinks it’s the devil. However, because this collection cherry-picks Anderson’s adventures, it’s incomplete.

With a character like Judge Dredd, this might be less of a problem. But in this book, events are regularly witnessed out of context, and dialogue refers to things that you’ve not seen. A good example is lead story Shamballa: much of the emotional impact of the events resonates from the suicide of Anderson’s close friend Judge Corey. However, with the Corey story yet to see reprint, newcomers and lapsed readers will likely miss the significance of chunks of this book.

Despite its flaws, Shamballa nonetheless cements itself a place amongst the best Dreddworld books in Rebellion’s line. It’s just a pity so much of the story is missing.

Judge Anderson: Shamballa is available now for £15.99. For more information about 2000 AD graphic novels, check out the 2000 AD Books website.