2000AD #1848 Review


As with most weeks we have a varied selection of random comic goodness with 2000AD. This week brings us to 2000AD #1848, which contains Judge Dredd, Age Of The Wolf III, Slaine, Past Imperfect and The Ten-Seconders. Let’s take a closer look.

First up is Judge Dredd. John Wagner continues to offer a great script without relying on Dredd. The writing has a real sense of division. The second half, in particular, leads into plenty of ‘calm before the storm’ moments. It goes well with the vibrant and detailed art of Ben Willsher.

Next is Age Of The Wolf III. Alec Worley pens a tense script that has plenty of dialogue and suspense – a welcome break from the recent action. That said, it end’s on a decent enough cliffhanger which does a great job of keeping interest. Once again, Jon Davis-Hunt offers great depictions of this unique world, with enough color to keep it vibrant and alive.

This is followed by Slaine. The most recognisable aspect here is the vibrant, beautiful artwork of Simon Bisley; the use of color is simply fantastic. That said, it makes putting up with Pat Mills script much easier. I like the story, but this issue is very non-linear and, given the hectic action scenes involved, doesn’t make for the easiest understanding.

After this comes Past Imperfect. I like this story and concept by T.C Eglington, even if it is predictable. If you use a historical character like Charles Darwin, the themes of the story basically sell them selves out straight away. That said, Eglington wastes no time getting on with things and offering a fun little romp. John Charles offers plenty of detail, but some color may of been better – the greyscale gives it an ‘old-timey’ feel which is fine, but the lively supernatural nature of the story might appreciate something more bright.

Finally, we have The Ten-Seconders. Things really get to a head here as Rob Williams shows a keen understanding of characters and personal writing – even with the likes of Damage. It’s surprising how well such developments work, actually. Once more we have the stunning visuals of Ben Willsher, which flow and ebb between color schemes of vibrant greens to deep blues. And orange… you know, for the explosions.

4/5

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