Once again we have another fresh, varied copy of 2000AD within reach. This week, 2000AD #1828 contains continuing stories from Judge Dredd, Dandridge, Tharg’s 3rillers, Stickleback and Zombo. Let’s take a closer look.
First up is Judge Dredd. This carries on the current arc. Where as most Dredd stories are all about guns, explosions and Dredd looking rather unhappy, this issue has a more solemn and quite pace to it, thanks to Gordon Rennie and Emma Beeby. The ending in particular, is something few Dredd stories do, and something not many writers would would attempt to pull off. Of course, Paul Davidson’s cold visuals help to pull the empty setting off as well.
Next up is the supernatural-heavy world of Dandridge. This week, Alec Worley continues to delve into the fantastical setting but, along side the artistic work courtesy of Warren Pleece, begins to show an even greater sense of humor. The ‘interrogation’ scene, which is the majority of this weeks Dandridge, is rife with references and general jokes at the genre conventions of this type of scene.
After this there’s more from Tharg’s 3rillers. David Baillie continues to offer a fantastic story and script. The pacing is excellent, skipping all the boring bits that would bog down other issues. Its a small time jump, but the writing is fluid enough to easily pick up. Likewise, Inaki Miranda once again offers a detailed depiction of the wonderful setting, brought to life with Eva De La Cruz’s colors.
This is followed by more Stickleback. The plot thickens a little more, and Ian Edginton continues to thread more detective like elements to the story. More than just a wonderful and bizarre setting, fleshed out by D’Israeli’s striking black and white visuals, the script starts to ground a more coherent story as well.
Finally, this week ends with more Zombo. At this point, whilst still funny, the plot borders somewhere in-between in depth and simply irrational and random. The setting and title aren’t for everyone. Al Ewing continues to explore a weird setting that might not suit everyone’s tastes. Likewise, Henry Flint’s art is just as vibrant and, at points in this issue, abstract. Whilst its definitely something worth looking at, this issue caters to a more specific audience; an audience who are no doubt very happy with the current offering.