2468! Who do we appreciate? 2026AD! Where I review every issue of 2000AD (And a few Megazines) published in 2026! Here we go!
Judge Dredd: Death of a Judge
- Annie Parkhouse (Letterer)
- Chris Blythe (Colourer)
- John Wagner (Writer)
- Mike Perkins (Artist)
This is one of those interesting moments you get with serial fiction. This entire episode is Dredd and Ronald travelling to a rendezvous they know is a trap. We get Perkins and Blythe let loose on the colossal structures of Mega-City 1 in a way that put in mind of how LA is shot in Collateral. A city so beautiful and so busy that everyone’s alone. Quiet in the midst of frantic activity.
That Michael Mann comparison holds all the way through too as we see how the two Judges operate and Parkhouse gives us some tight, functional dialogue with the Justice Department control room. Dredd goes in chin out, daring the perp to try something. Ronald plays it subtler, more careful. More advanced. It’s a lovely, oddly melancholy note and one that reminds us of the price Dredd pays for what he does, as well as the price his city does. The cost of ‘freedom’ is total vigilance and an old man reasonably certain he can’t be killed. He can, he has, and he isn’t the only one as we round the corner into the final part of this story.
Herne & Shuck: Power Trip
- Annie Parkhouse (Letterer)
- Gary Caldwell (Colourer)
- David Barnett (Writer)
- Lee Milmore (Artist)
Herne meets the King-Without-A-Castle, and a family member. At this point it’s pretty clear how much fun I’m having with this story and this is a great instalment. The King has an uncanny, friendly quality to him that put me in mind of classic German fantasy movie Heart of Stone and Caldwell’s sun-drenched colours only make it seem more otherworldly. But the key to this is the two puzzles Herne is faced with. One hides its solution in plain sight, and when he fails he’s led to solving the second one; his origin. Milmore’s precise art and Parkhouse’s letters give the story the space it needs to breathe and it’s a rare treat to see a story like this where the hero fails, and that’s the point. Plus the reveal on Herne finally figuring out who his mum is is adorable.
Judge Dee
- Simon Bowland (Letterer)
- Simon Coleby (Artist)
- Jack Davies (Colourer)
- Ben Wheatley (Writer)
Dee has the worst time, as a tunnel is dropped on her, her boss dies and her hitch-hiker cracks the case. Maybe. God, this is fun, Davies and Coleby render Klato the demon as something between vomit and an autopsy, an idea gristling himself into existence and it’s a delight to look at. Like an oil slick painting of the Hulk. That sort of subtle uncanny tension is everywhere, as Dee’s boss’ body is contorted by forces only he can here and the tunnel Dee is in is detonated with evil explosives. Seriously, explosives covered in evil symbols. The way Wheatley is playing with Klato as a fun partner , and the hint that Dee may not be the only Psi Department Judge with a passenger, is so well done. Enormously good, horrible squamous fun.
The Discarded
- Peter Milligan (Writer)
- Simon Bowland (Letterer)
- Jim Boswell (Colourer)
- Kieran McKeown (Artist)
Veera reaches Toxic Lake, discovers Sister Trash was telling the truth and realises her father may have been right. Still an awful, awful dad, but right. I’ve bagged on this story every week but honestly this episode is pretty fun. McKeown’s art is fluid and burly, and his drones are a nice hat tip to Oblivion. The dingy colours are cleverly used by Boswell to set tone and Bowland gives everyone a unique voice. The script’s fun too, even if it is just Veera running into three groups of people in a row. The robotic priest with a microwave for a head is a genuinely funny touch though. While this instalment finishes with Veera captured, again, it’s at least making progress.
Tharg’s 3rillers Present: Money Shot: High Stakes
- Kek-W (Writer)
- Rob Steen (Letterer)
- Rob Richardson (Artist)
You have to respect any story where an accountant packs heat, yells ‘Suck on that, Bela!’ and explains why she’s okay with vampires existing with the line ‘Chicago. Lapsed Catholic.’ This belts along, slightly to its detriment but Steen’s letters are great and Richardson is having so much fun with the two colour schemes. Kek-W’s on top form too, and there are three great gags and a moment of skin-crawling horror. Plus an actual legitimate ‘I’M SORRY, WHAT?!’ ending for 2000AD fans of a particular age. Big fun and a great tie off for the issue.