Prog 1953 - BODIES OF EVIDENCE

[Buttonman]

Must be a record for Paisley Posties with the Prog and Meg fall waking me up at 8.30 on a Saturday morning.

Lovely Ryan Brown cover and some great procedural developments in Dredd's 'Serial Serial'. That's all I've read so far - sue me! No letters.

[JamesC]

I like how the text casts a shadow on the road!

[moly]

The notebook and pen look subscriber gift look very nice hopefully be able to order these soon

[ZenArcade]

Another great cover from Ryan. Z

[Colin YNWA]

Well this is just seriously good Proggage, seriously good. If last week was a slight (very slight) dip in form (that form being bloody astonishing so last week was still a brilliant Prog) then this week a slight peak in that form, so is a very bloody astonishing Prog. One of the best I can remember. Barely a duff note amongst the glorious medley that is 2000ad. Quite brilliant.

Dredd doesn't really change its tune, the cops observe scenes and screens, yet the net is cast and the case heads towards its crescendo (we're led to believe at least) its quite brilliant comics expertly played over 6 perfect concise and balanced pages.

Defoe reaches the high notes again that it did at the start of this story. I don't think I've enjoyed a Defoe story this far in and there  is no sign of things letting up. The score in this episode are wonderfully Millsien as Defoe is bound to serve, in ways he doesn't want to. Fantastic, words I've never associated with this strip before.

Both Brass Sun and Sinister Dexter rock out with barnstorming numbers, Brass Sun more discordant and complex, S&D more traditional and solid, neither the weaker for the route it takes, both executed quite majestically, with kinetic precision, both simply magnificent.

The Prog ends with a lesson, last week I questioned how far we could continue building the story, how long the tune could maintain without a sense of it going somewhere, this week we see it doesn't have to go there simply, we should enjoy the choas as we get taken there. If the best songs are written on drugs, or in there afterglow, maybe the best Bad Company episodes will be seen as the drugs wear off and what lies behind them is revealed. Supreme stuff.

So yeah, I did my comics run today, got some nice comics I'm looking forward to, should remember when I do that not to read the Prog before I delve in, cos I'd be amazed (and very pleased) if any of um manage the glorious cacphony that this weeks Prog so masterfully generates.

[Proudhuff]

Dredd totally floating my boat and Brass Sun up there too. The rest leaving me cold I'm afraid.

[The Enigmatic Dr X]

An average prog.

Great Dredd and Brass Sun, routine Defoe and SinDex.

All clawed down by the rambling incoherence of Bad Company. I've stuck with it to see what's happening, but as all that's happening is that it's pissing over continuity and expectation like an incontinent tramp shambling through a five star hotel , I've now given up on it.

[Richmond Clements]

Don't often post on these threads, but at the moment, Abnett is giving a masterclass in how to construct a comic script. I'm in awe of what he's doing so effortlessly.

[Richard]

Give Bad Company a chance. I'm sure that all is not as it seems. It'll all turn out to be drug-induced hallucinations.

After all, it's pretty unlikely that the writer didn't read the other stories before he wrote this one, over a decade after the last one was published and 30 years after the first one.

[TordelBack]

Yup, that particular reaction to Bad Company is starting to annoy me.  How likely is it that Peter Milligan and Jm McCarthy (not to mention acknowledged fan Rufus) have just forgotten that they killed off all those characters in Book 1, destroyed the Earth, and then spent much of Book 2 trying to recreate a similar bunch of crazies with less-interesting substitutes to run about the worlds of the human diaspora?  Their presence is clearly a key part of the plot, and sitting down and clarifying what's going on in the first 4 episodes is not a requirement. 

Do we really need to have everything explained to us all the time?  Can we not just enjoy a bit of mystery?  Is mystery not what was at the heart of the original story, the deception of Mad Tommy and Kano's black box?  Is it not possible that the uncertainty, confusion and all-too-real echoes of the past, are precisely what the team are trying to create?

[Frank]

Stop apologising for the contempt Milligan has shown for readers. You're just as bad as the apologists on the Agatha Christie forums I post on, who pretend that not finding out what happened until the end of the book is "the whole point of a mystery story".

[Proudhuff]

Do we really need to have everything explained to us all the time?  Can we not just enjoy a bit of mystery?    Is it not possible that the uncertainty, confusion and all-too-real echoes of the past, are precisely what the team are trying to create?

To be know from now on as Dredd's horse

[TordelBack]

To be know from now on as Dredd's horse

Arf! (Or Neigh)

[Dark Jimbo]

Do we really need to have everything explained to us all the time?  Can we not just enjoy a bit of mystery?    Is it not possible that the uncertainty, confusion and all-too-real echoes of the past, are precisely what the team are trying to create?

To be know from now on as Dredd's horse

THAT is inspired...!

[Hawkmumbler]

Do we really need to have everything explained to us all the time?  Can we not just enjoy a bit of mystery?    Is it not possible that the uncertainty, confusion and all-too-real echoes of the past, are precisely what the team are trying to create?

To be know from now on as Dredd's horse

Yes (once, to Tordels) and yes (twice, to the Huff). Mystery was a key role in the original Bad Company, and this excellent follow up is building on the same structure, only with different causes and effects.