I wish to add: how bloody good is the art throughout this prog?
Bloody good, that's how bloody good.
Okay, the cover's not the best thing Gibbons ever did, but it's a striking image, I always welcome a drawing with depth and it's damn nice to see him back on 2K!
I'm also delighted to see Cam Kennedy back where he belongs - on Dredd. Can we have a longer run of his stuff in future, please?
The dark Charlie Adlard stuff on Savage is a real joy, too. It's very British, isn't it, to use b&w in this way?
Atmospheric and appropriate.
Richard Elson is one of the best artists to emerge in the last few years, and I'm glad to see him continue to work on the Galaxy's Greatest.
That splash page - with due credit to the writer who suggested and scripted it - is just splendid.
All his monsters do look the same, but I don't really mind.
As for Low Life - Henry Flint continues to set the standard a 2000AD artist must attain before we call him genius.
I know I say this a lot, but it's very heart-warming to see an artist with a distinctive style openly - and without shame - display the influences we all love from 2000AD's early days.
Finally, I want to use the word "promising" for the Teague and Goddard art on Chopper.
I confess that I was a little nervous about whether their style would suit it - they were often a little static on Young Middenface - but this was great.
The movement worked very well, the characterisation was spot on and I'm convinced their partnership has visibly matured and blossomed over the last year. (Fnarr, fnarr)
I even love the style of Cat Sullivan's little cartoon.
Overall, I want to congratulate the staff of 2000AD for leading the way with an anthology of such quality.
NB The stories read damn well, too.
It's just the art really left my fishy thrill-receptors almost fried to a batter-covered crisp!
- Trout
