Final Solution, Late Assessment
I picked this up in the sale, and thought that you all deserved a white-hot, up-to-the-minute review of something that is only thirty-four years old.
Unlike previous posts, this isn't a first impression of anything. In some respects it's a last impression. This is where Strontium Dog, a mainstay of the comic since before I could remember, came to an end.
Oddly enough, I didn't care too much at the time. I was fully engaged with the prog, but I was at the stage where was I appreciating stories rather than being thrilled by them. The truth of it was I hadn't got a kick out of Strontium Dog since we'd first met Durham Red and I hadn't been invested since the hunt for Max Bubba. There was no dramatic tension. Stories went on like they were trying fill a quota. But then, for the first time in ages, something interesting happened. Simon Harrison took over on art duties.
I know that opinions even still are many and loud but in those days, unless the Nerve Centre printed a lot of letters on the subject, the 2000AD forum was just you and your buddy. If you liked it and he didn't, that was as divisive as it got. I liked Harrison's work. It was different, and Strontium Dog had been the same for too long. I used to be more open-minded about art way back when, and there's no denying that what was on show was quality work. But the old-school, stuck-in-the-eighties stick-in-the-mud that I am now looks at Harrison's art and says, 'It's all very nice, I suppose, but it's not Strontium Dog, is it?'
Middle-aged conservatism aside, though, let's just concentrate right now on how very nice it is. Alright, the characters are odd to the point (and often long past it) of being grotesque. Elongated faces, tiny eyes, lumpy musculature. It's hard to tell who's mutie and who's norm here. On the other hand, this is beautifully done. Forms are delineated with the finest of lines and the smudgiest of shadows. Its all brightest and darkest at the same time. I don't know if chiaroscuro is the correct term, or even if I'm allowed to use such a hifalutin word in regard to comics, but damn me if I'm not going to use it. The Harrison fella's got his chiaroscuro sorted, and no mistake.
But on the other hand, it's not Strontium Dog, is it?
Ignoring my usual memory lane schtick, what's the bottom line on The Final Solution?
For:
Some thrilling stuff here. It's action-packed and (for a Strontium Dog script) fast-moving.
The one detail that I remembered from long ago was the New Church's coup. Given the present state of UK politics, I appreciated it even more this time around. The bad guys seizing control of parliament is Die Hard cool and the royal family 'taking the honourable way out' is a hoot.
And bigger-picture, this is a worthy sequel to Portrait Of A Mutant. Stuff is happening. Big stuff. Important stuff. For the first time in a long time, Strontium Dog is on the move.
Against:
Harrison's acid house skater vibe has dated badly. Case in point: the Keeble kids on Smiley's World. I only remembered how they'd been in The Slavers of Drule. Seeing how they're portrayed here, I cringed. I really did. This is where you miss Ezquerra's sci-fi spaghetti western thing.
But the main drawback? It's LONG. Not just Strontium Dog long, but long and broken up. If you count The No-Go Job as part of it, then this is a story that ran for two years. Seriously.
In honour of the staggered and fragmented way the story was presented to us originally, and because my attention span (and yours, I'll warrant) ain't all it might be, I will take a break here and consider the MacNeil finale in a later instalment.
I picked this up in the sale, and thought that you all deserved a white-hot, up-to-the-minute review of something that is only thirty-four years old.
Unlike previous posts, this isn't a first impression of anything. In some respects it's a last impression. This is where Strontium Dog, a mainstay of the comic since before I could remember, came to an end.
Oddly enough, I didn't care too much at the time. I was fully engaged with the prog, but I was at the stage where was I appreciating stories rather than being thrilled by them. The truth of it was I hadn't got a kick out of Strontium Dog since we'd first met Durham Red and I hadn't been invested since the hunt for Max Bubba. There was no dramatic tension. Stories went on like they were trying fill a quota. But then, for the first time in ages, something interesting happened. Simon Harrison took over on art duties.
I know that opinions even still are many and loud but in those days, unless the Nerve Centre printed a lot of letters on the subject, the 2000AD forum was just you and your buddy. If you liked it and he didn't, that was as divisive as it got. I liked Harrison's work. It was different, and Strontium Dog had been the same for too long. I used to be more open-minded about art way back when, and there's no denying that what was on show was quality work. But the old-school, stuck-in-the-eighties stick-in-the-mud that I am now looks at Harrison's art and says, 'It's all very nice, I suppose, but it's not Strontium Dog, is it?'
Middle-aged conservatism aside, though, let's just concentrate right now on how very nice it is. Alright, the characters are odd to the point (and often long past it) of being grotesque. Elongated faces, tiny eyes, lumpy musculature. It's hard to tell who's mutie and who's norm here. On the other hand, this is beautifully done. Forms are delineated with the finest of lines and the smudgiest of shadows. Its all brightest and darkest at the same time. I don't know if chiaroscuro is the correct term, or even if I'm allowed to use such a hifalutin word in regard to comics, but damn me if I'm not going to use it. The Harrison fella's got his chiaroscuro sorted, and no mistake.
But on the other hand, it's not Strontium Dog, is it?
Ignoring my usual memory lane schtick, what's the bottom line on The Final Solution?
For:
Some thrilling stuff here. It's action-packed and (for a Strontium Dog script) fast-moving.
The one detail that I remembered from long ago was the New Church's coup. Given the present state of UK politics, I appreciated it even more this time around. The bad guys seizing control of parliament is Die Hard cool and the royal family 'taking the honourable way out' is a hoot.
And bigger-picture, this is a worthy sequel to Portrait Of A Mutant. Stuff is happening. Big stuff. Important stuff. For the first time in a long time, Strontium Dog is on the move.
Against:
Harrison's acid house skater vibe has dated badly. Case in point: the Keeble kids on Smiley's World. I only remembered how they'd been in The Slavers of Drule. Seeing how they're portrayed here, I cringed. I really did. This is where you miss Ezquerra's sci-fi spaghetti western thing.
But the main drawback? It's LONG. Not just Strontium Dog long, but long and broken up. If you count The No-Go Job as part of it, then this is a story that ran for two years. Seriously.
In honour of the staggered and fragmented way the story was presented to us originally, and because my attention span (and yours, I'll warrant) ain't all it might be, I will take a break here and consider the MacNeil finale in a later instalment.
