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Continuing on the rather peculiar journey through DC's event stories with Zero Hour.  Dan Jurgens is a writer whose popularity / acclaim I've never fully grasped and this one is no exception.  It's definitely not in the same league as Crisis on Infinite Earths.

Storywise it sort of hangs together if you don't pay too much attention to what is going on and just allow yourself to be dragged along. There are references to what are probably relatively current events in the DC Universe at the time but you're dropped right into the story so if you don't have much familiarity with contemporary plot developments it can be a bit baffling.

Artwise it is about average for DC of that era.  Certainly nowhere near the nadir of John Bogdanove on Superman of that time but when you compare it to more recent stuff or some of Marvel's material of the time it is nothing special

Overall a fairly unremarkable piece of work.  If it something that passed you by then you've definitely not missed anything.  As an example of how to do a 'reset event' that doesn't really matter, it is probably a pretty good example, a bit like a lot of the crossover events that the big two have indulged in down through the years.

TLDR: decidedly sub-par piece of work that is probably a good one to forget.

It's a stone cold classic and quite possibly the best stuff to come out of Battle.  The effort Mills put into the scripting is crystal clear.  Colquhoun's artwork is unparalleled.  What's not to love.

As for editions.  Well, leaving aside the omission of the poppy on the one volume, the Titan books are quite possible the best in terms of format but the fact that the artwork has been retouched and colour pages are included makes it hard to ignore the new Rebellion edition.  Now if they had done those as hardbacks I'd have been in like a shot.

I've picked up brodart covers for the set and they take pride of place on the shelves.  All that is missing really is a good quality box set cover.  Then again, for a set that size it would probably need a couple (like the Fantagraphics Peanuts set, 2 books per box for a collection of 26 books ...)

The idea the Asterix jokes work better in French has been around for a long time.  They do work incredibly well in English as well.  If you've not dabbled, they are well worth it just for the sheer anarchy of the strip.  Always fun seeing what happens to the pirates each time they appear.

Just been working slowly through a re-read and they still hold their own really well.  Some of the later books slightly less so and I've not got to the post-Goscinny / Uderzo books yet (not read good things about them and a little bit unsure on that score but we'll see).

Recently gone back to Tin-Tin too as this was another series I dabbled in many moons ago.  Land of the Soviets is a fascinating piece as it is quite a stark contrast to the later books.  Tin-Tin is much more aggressive and gung-ho for a start.

Some real weirdos here

Aye, you don't want to know what some of them get up to with their iPods and a block of Wensleydale! 

It's also interesting to see how different people respond to the old thrills now, either through revisiting them, coming to them fresh, or remembering them nostalgically – rather than actually rereading them. There's a clear contingent of 'why did 2000 AD go woke?', holding up the 1970s comics as a bastion of quality. Then there are long-term fans who have an element of nostalgia in their thinking, but can approach the old comics critically and objectively.

I know what you mean.  There are a lot of old thrills that I still recall from the point of view of my 7 year old self with all the sensibilities that involves.  I think that's why I have such a soft spot for Death Planet, even though it is incredibly hackneyed.  It was one of the earliest stories that I connected with, partially I think because of that cover with the lead character. 

Robo-Hunter just blew my mind with the intricacy of the artwork.  The Verdus Gibson created was an amazing place, it just felt like a rabbit warren.  Then you had the insanely clear artwork of Gibbons and Bolland.  All this at a time when I'd just OD'd on the visuals of the first Star Wars film.

Yet re-reading those strips now it is clear that they've not aged well on some levels.  They were written for the age I and many others readers were at the time.  Some of the best strips are ageless.  Looking at them now there is still something that appeals to current generations at much as to those who first saw them.  Strontium Dog is, to my mind, a good example.  Tapping into that Western Vibe, giving it a Sci-Fi twist and adding in a dose of social commentary.  A lead character that was always a little removed but with a conscience that limited what he would accept ...

Tooth has definitely matured over the years and that has always been its strength.  Old characters have been revisited and occasionally, and with varying degrees of success, reimagined.  New characters have stretched our minds even further.  Even when tales don't quite click, they're still worth the while.

It will be worth the wait, I promise you.

Tjm86: I hope you don't mind, but given the nature of this Prog, I've added a bigger spoiler warning here than usual. broodblik: thanks for the prog image, which I've integrated into Tjm86's post.

Not at all.  I agree completely.  I deliberately avoided saying too much because I didn't want to spoil the impact.  I think I had pretty much the same reaction as you.  It packs a massive punch.

As for getting into a serious discussion about that episode, I would argue that it needs to wait until the physical prog is out and there has been a fair amount of time to process / reflect.

I've recently finished 52 as part of my exploration of DC's 'Crisis' crossovers.  It seems that Infinite Crisis runs into 52, runs into Countdown to Final Crisis, runs into Final Crisis.

It's been fascinating in many respects as the myriad storylines seem to explore the minor characters that inhabit the DCU.  Some of the lead-ins to Infinite Crisis such as the Rann-Thanagar War were well worth the read (but then I've always had a thing for Adam Strange mainly because of the Sci-Fi leanings there).

Not sure about how cheap the individual issues are but the graphic novels are definitely not cheap right now.  In fact since Covid it seems that there has been a real ramp up in asking prices.  I managed to pull together the older 4 volume editions of 52 and Countdown.  There are 2 volume editions as well.  Tracking down decent copies at sensible prices turned out to be quite a challenge.

[Hi. Your friendly admin here. I've edited Tjm86's message to start this thread off with a warning. This thread will have major spoilers for Judge Dredd. If you do not want to know before you read your comic, don't continue with this thread.]

Hi. Your friendly admin here. I've edited Tjm86's message to start this thread off with a warning. This thread will have major spoilers for Judge Dredd. If you do not want to know before you read your comic, don't continue with this thread.

Robinson's cover is a thing of beauty.  Total chaos and a cracking use of colour to focus attention on what Dredd is about to do.  Teague definitely knows his stuff!



Oh, Thrills of the Future announces the next series of Dreadnoughts over in the Meg!  Happy days.

But on to the prog ...

Judge Dredd: A Better World part 8

Okay, before getting in to this one I think it is fair to say that it deserves a spoiler warning.  A rather substantial event that should not be covered in detail until everyone has had a chance to read it for themselves.  So this is going to be a bit opaque in places.

Williams and Wyatt have upped the tension significantly over the last few weeks and now it explodes.  Flint is given the script he seems to revel in and it looks like he had a field day with this.  From those contrasting early scenes from an innocent child's eyes that are crushed Tianamen Square style to that shocking double page spread that serves as a freeze-frame for that moment, hammering home the impact, then Dredd's reaction and those final scenes ... Flint is the perfect man to represent chaos, to facilitate the flow of the narrative while still leaving the reader struggling with the whiplash of events.

In many respects there was an inevitability to events in this episode.  It is a convention of Dredd that idealism ends up brutally suppressed by the inherent tensions in MC1.  Whether it is the Judges, criminals or external forces, the outcome is always the same.  The question is always where will the blow come from.

There is also a sense of timeliness in this story.  Not that we are quite at the point depicted this week but the growing tensions in our country as populists inflame marginalised groups and jump on bandwagons is a very real issue right now.  The fears about how the mob might act at any moment are pushing politicians and the police in uncomfortable directions. 

Definitely. highlight this week.

Indigo Prime Black Monday Part One

Kek-W and Lee Carter deliver a far more action packed episode.  It certainly has that disjointed, surreal feel to it in terms of script and artwork.  Arguably Carter is one of the best suited of the current crop of artists for this strip and has been for a long time.  I can't think of many that can capture that Burroughs-esque sensibility whilst making things look so believable.

So we have double crossing, betrayal and an impending torture scene with that ultimate question: Duke or Then There Were Three?  Anyone else get the feeling Ken-W is not a Genesis fan?

What is impressive though is that after such a brutal Dredd, this episode still satisfies.

Full Tilt Boogie Book Two Part Five

De Campi, Oxana and De La Cruz have a real challenge living up to the standards of the first two strips then.  To be fair, they do a sterling job.  Ocana's colour palette suits the mood of the narrative; dark, moody and almost oppressive.  The handful of revelations this week actually serve more to raise further questions than provide answers.  It is ironic that are heroine is moving deeper and deeper into mysterious realms since that is precisely the direction of events this week.

FTB has arguably turned into one of the major successes of Regened.  It wears its manga-esque sensibilities lightly whilst fitting neatly in that long history of Tooth strips that push readers' expectations.  De Campi has created a fascinating universe, populated with intriguing creatures and characters.  Not sure where things are going right now but it is becoming far more compelling as we progress.

The Fall of Deadworld Retribution Part Nine

In some respects then it was inevitable that this was going to struggle then.  It is ironic that Ken-W has produced one of the weaker strips this week given what he delivered in IP.  Kendall's artwork is as gloriously disturbing as ever.  Ultimately though it is hard to engage with the confusion of the direction right now.  Where that chaos works admirably in IP, it does less so here.

It was always going to be a challenge to weave the tale of events that led to the lifeless husk Dredd and Anderson encountered all those years ago.  Now that we are bogged down in an alternate version of the Apocalypse War mixed in with Necropolis.  Comments others have made about how things seem to have gotten away from Kek-W are not wholly unreasonable.  It may work after a re-read but as things stand at the moment it is struggling to hold its own against the competition this week.

Thistlebone The Dule Tree Part Eight

This is particularly so when you consider what the prog is rounded out with.  Eglington and Davis continue to weave their Hammer tribute tale in their own inimical style.  Davis' artwork renders the horror spectacularly, conveying such disturbing events with his usual panache.  What is fascinating is how he can combine cartoonish imagery with such perfectly formed figures and scenery so effectively.

As always this tale burns slowly.  Eglington allows events to linger, leaving a palpable sense of dread at what is going to happen next.  Then the pace steps up multiple gears towards the end before delivering the cliff-hanger.

This series is rapidly growing in stature.  The first few tales were impressive enough but this one is shaping up into one to rival Cradlegrave as one of the most effective horror tales in the prog.

I think it is fair to say that as slowly as the year has started, this week marks a serious step up in quality.  There is a fascinating balance of hard-core action, drug-induced mayhem, mystery and horror.  Creative teams are delivering the goods in style and even the weakest is still effective enough to leave readers pondering their judgement.

As we've said so often, the prog has its waves.  The lowest still leaves the competition in the dust but when it starts to pick up we're left in no doubt as to the quality of its output.  I'd make a strong case for this week marking a palpable step change and if it is any indication of where things are heading this year I'd say that we are in for some serious treats.

Now that The English Astronaut has finished I've gone back to re-read it.  TBH it didn't really seem to land that well.

The overall concept seems reasonable enough.  Admittedly it is a fairly well-trodden "investigating the future to prevent a catastrophe" framework, it starts out fairly soundly.  Whether the significance of the dates lies in the Whoniverse is a little unclear.  Certainly it is fair to say that there are strong links to Dr Who in the tale, parallels with UNIT and so on.

Then of course there are the cultural divergences.  Shifting from modern protest through historical schisms and into full-blown cultural-icon manifestations seems a bit chaotic.  There is a definite sense of dislocation and discontinuity in the tale.  The shape of the modern comics industry seems to take a bit of pasting in that middle episode with talks of 'porny comics' and 'fifty quid statues'.  There is also the play with the standard scientific and military types.  Archetypes that are pretty much the staple of Dr Who at times and quite a bit of British Sci-Fi to boot.  Throw in a flying saucer and a giant cat being attacked by (Sherlock Holmes / Alan Turing / Quatermass?) and it is chaotic and then some.

It's hard to figure out whether Cornell is being incredibly clever or quite lazy.  The tale closes with a character as confused as the reader.  There is no real sense of closure, is that the point though?  Major Thomas Anderson never returned home but someone has, possibly?  Is that closing scene the modern day or the time at the start of the tale?  It ends with a fairly standard "and then he / she woke up ..." that has the potential to simply negate everything that went before.  It sort of undermines the whole story to some extent.

Overall it feels overloaded as a tale.  A little too much going on and not enough thought given to getting across the central idea.  It's still a little unclear what that idea actually is.  Is it questioning the possibility of achieving change?  There may well be multiple realities but ultimately we only ever inhabit one?  Why are we fighting over ideas rather than trying to find lasting solutions?  All of these at the same time?

It's a provocative tale to be sure but perhaps not for the right reasons.

I am always going to go with "Alone In A Crowd" Prog 205.  Wagner perfectly captures the claustrophobia and paranoia of living in MC1.  That almost Darwinian environment that leaves citizens constantly looking over their shoulders.  Plus, for my money, some of Steve Dillon's best work.

To be honest Hickman's X-universe left me cold.  There have been some dire runs since Claremont quit as lead scribe.  The worst has to be Chuck Austen's run but even then there have been few runs that have inspired.  Post House of M it picked up in places but only marginally.

It really is quite difficult to figure out what is going on with this current generation of X-men.  The resurrection idea is an odd one to throw into the mix, taking away any sense of risk.  The only one I thought they did a good job on was the Excalibur reboot.  Possibly because it was totally divorced from everything else and picked up on ideas rooted in Moore's Captain Britain stuff.

Those are the best types of threads in these parts.

All the more fun when we stray into arcane misunderstanding territory and dairy-product approaches to iPod maintenance!

I used to think Dan Abnett was a pseudonym for John Wagner, and that Kek W was Mark Millar. So I'd best sit this one out.

I do indeed ... Kek-W was Mark Millar .... whatever did Kek-W do to deserve such a scathing insult!!!!!!

Never has the wait for Red Razors coverage been so desperately anticipated

Am I the only one who reads this sentence in the style / voice of Today?