Available 10 October in UK stores & digital download over 2000 AD online shop!
Written by Rob Williams. Drawn by Mark Harrison.
One working-class man, Erik Weller, goes from sadsack Marlon Brando lookalike to fighting machine after several bops to the head. Dredd enters near the end of this segment. It’s an interesting tale about a Chaos Bug survivor, but some of the art, particularly the gang fight, is muddled so that’s it’s difficult to tell what’s actually happening at first glance.
I’m not opposed to looser art styles like Kevin Mellon‘s “American Muscle” for Creator-Owned Heroes. Harrison conveys well Erik’s despair at living paycheck to paycheck for his family and contentment that he’s helping rebuild the Big Meg. There’s good storytelling, but it needs tweaking for clarity.
Written by Ian Edginton. Drawn by I.N.J. Culbard.
It’s a long way to go in this epic, but Wren finally moves on to the next phase in her journey. She has allies in a monk and a man-faced mech (cool design, BTW). If readers are unaware of the universe of “Brass Sun,” there’s that sweeping view of the vast machinery as a reminder on the third page.
Written by Pat Mills. Drawn by Clint Langley.
Hammerstein’s sympathetic portrayal is obvious, even if you’re not aware of Pat Mills’ background. It’s a basic story of the hero overcoming authority in a sad, corporatist world. I was most interested in the story when Hammerstein was with the other ABC Warriors on Mars. In this Terran flashback, I neither care for his Warrior allies Hammerstein convinced out of entering the scrap heap nor the U.N. officials on the sidelines.
I’ll echo my praise for Clint Langley’s art. If nothing else, seeing the varied robotic designs, human weaponry, and smooth flow of action scenes is the reason to stick with this adventure.
Written by Dan Abnett. Drawn by Lee Carter.
Conclusion. The ETCs finish their encounter with Uuveth, but it doesn’t end the tension between humans and aliens. The personal reason given for taking on Uuveth moves the path toward a potentially uglier confrontation. I look forward to the next threat Bulliet and company meet.
Written by Simon Spurrier. Drawn by Simon Coleby.
Amusing introduction to Judge Jack Point. He’s a goofball doing his best Sam Spade impression, describing his situation, Angeltown, and his vicious pet, Larf. Dark humor is disguised as corny humor. In this segment, Jack encounters a very large lady; there’s a misunderstanding based on neither knowing who the other is. The fat lady doesn’t sing and gets a forced rest, but she hands Jack an important jester statue. In the end, an assassin looks on suggesting that Jack hasn’t met his biggest (heh) threat yet.
Coleby’s noirish art is similar to Ben Willsher’s efforts on “Lenny Zero: Zero’s 7.” The figures are drawn ragged. The grays are not used as emphasized as in “Zero.” Instead there’s some smattering of colour. The use of normal-sized white text inside large black captions is awkwardly making the text seem smaller, but I got used to it.
Overall, I liked 1804 better than last week’s Prog.