2000 AD 6 (2 April 1977)

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More hard going this issue, even though the art’s much better overall.

Invasion has decent Ian Kennedy art and a not bad idea from Finley-Day, his execution is just weak. He doesn’t plot it for his page count.

Sola does a small dinosaur versus cowboy battle in Flesh. Not a lot of opportunity for the art, but it’s competent. Story’s lame though.

Harlem Heroes is rushed and trying. I keep waiting for Gibbons to impress me on this one and he never really does.

Dan Dare is awful. Mike Dorey’s art on M.A.C.H. 1 helps the story a lot. Much like Invasion this issue, Mills just paces the M.A.C.H. story all wrong.

As usual, Dredd proves the best. Malcolm Shaw has a good finish for the story–nice little moments throughout too–and McMahon has some nice panels. He’s appropriately conveying the humor.

CREDITS

Invasion, Wembley; writer, Gerry Finley-Day; artist, Ian Kennedy; letterer, Bill Nuttall. Flesh, Book One, Part Six; writer, Kelvin Gosnell; artist, Ramon Sola; letterer, Jack Potter. Harlem Heroes, Part Six; writer, Tom Tully; artist and letterer, Dave Gibbons. Dan Six, Part Three; writer, Gosnell; artist, Massimo Belardinelli; letterer, Potter. M.A.C.H. 1, Himmler’s Gold; writer, Pat Mills; artist, Mike Dorey; letterer, Potter. Judge Dredd, Frankenstein II; writer, Malcolm Shaw; artist, Mike McMahon; letterer, Tony Jacob. Publisher, IPC.

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Nowhere Men 3 (January 2013)

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Okay, yeah, it’s the Fantastic Twelve or whatever. The giant scan man has just turned out to be the Thing. You know what I mean.

Stephenson introduces even more characters this issue–so, third issue, he’s introduced about twenty-five characters total. More if you count the hippie versions of the bad guys from The Road Warrior–Bellegarde does fine with the sterile scientific stuff, but his wigged out designs are just terrible.

He doesn’t use all the characters though, only the interesting ones. Apparently the reader isn’t supposed to worry about the boring ones.

It’s the best issue so far, but since Stephenson has done so little to define the series’s theme–it’s about twenty-five people who all want different things–it just seems tangled.

Whether or not it’s worth unwrapping is still up in the air. Stephenson doesn’t plot dramatically or memorably. It’s too soon to tell.

CREDITS

Writer, Eric Stephenson; artist, Nate Bellegarde; colorist, Jordie Bellaire; letterer, Fonografiks; publisher, Image Comics.

Swamp Thing 151 (February 1995)

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Millar opens the issue with an homage to Time’s Arrow… telling the story of a woman drowning in the swamp in reverse. He rewinds her final day (starting with the autopsy) until she meets up with Alec.

An indeterminate period of time has passed since the previous issue. Alec’s back in the swamp, sort of in a caretaker role, all by himself and enjoying the world. The town of Houma is almost deserted, everyone fleeing because of his rampage a few issues before. Alec’s half of the issue is spent talking to the mystery woman about her collection of short stories, which has apparently caught her in them.

It’s a somewhat literary issue, given the Time’s Arrow reference and it’s hard not to think slips in time (from Slaughterhouse-Five), for the woman’s problems.

The other half is a Houma cop experiencing his strange new world.

It’s an outstanding comic.

CREDITS

River Run, Prologue: Flotsam and Jetsam; writer, Mark Millar; penciller, Phil Hester; inker, Kim DeMulder; colorist, Tatjana Wood; letterer, Richard Starkings; editor, Stuart Moore; publisher, Vertigo.

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