Tuesday 27 October 2015

News on Alterna Comics

Now you may be aware that I wrote a lot of reviews for Alterna Comics. I do, there can be no denying it, nor would I want to. I'm on their press list so I get a new issue to review each week and several press releases from time to time. 
I enjoy reviewing their offerings and feel a sense of pride at helping to spread the love for independent and creator owned comics. There is so much fantastic work out there with so much potential, and Alterna give a voice to what would be otherwise unseen or unheard work. 

Testament to the impact that creator owned comics, particularly Alterna, are now having on the comic landscape is the fact that two of their titles on becoming available in print, sold out at distribution. FUBAR: By the sword and the blank cover introductory issue of Alterna's flagship title The Chair. This a remarkable achievement and you should try and pick up a copy for that reason alone. You'll find reviews of both books on this page.

If you're alone right now (even if you aren't) let this information soak in and just give Alterna Comics a little round of applause. Then dust off of your pens and start writing that story at the back of your head, you know the one that starts flirting around when you try and sleep, because you never know, it could be the next one sold out at distribution. 

Review: Spring Heeled Jack #4

Writer/creator: Tony Deans
Art: Seth Kumpf and Lucas Duimstra
Letters: Joshua Cozine
Publisher: Alterna Comics
Released 28th October 2015 (digital)

Spring Heeled Jack is a nice little interpretation of the old legend. It's nice to see mythology explored and subverted to tell a story and when it's done well, it's very enjoyable. This issue sees the climax of Doyle and Bell's struggle against the demonic Spring Heeled Jack.
Now for me the climax does fall a little flat. The writing is a little trite in places and this makes the story roll awkwardly towards it's conclusion, rather than hurtle excitedly towards it. Don't get me wrong you still care about the character's plight and the issue captured my attention enough to read it in one sitting, but it just lacked that extra punch to really give you palpitations. Positively there is some snappy dialogue and a neat little twist on the last page, but I wish more had been made of Bell's metaphorical conflict with the underworld when he confronts Jack, it had so much potential that was only partly realised for me. 
The artwork is good, it isn't the most detailed of comics, but it's mainly solid work and it has that independent comic charm that I have come to enjoy. There is some inconsistency but not enough to distract you from its overall impact. There are points in the issue where more could of been made of the panel layout, that would of emphasised some of the drama, but again it didn't put me off, I still remained engrossed to the end. The colour work is good and the underground sections reflect the dank and murk well, again sometimes it's simplistic but it's part of its charm. 

Overall this is a neat little horror comic that has it's own thrills and charms. The script has its weaker moments, but they never made me lose interest, rather become a little exasperated over how it could be improved with a few tweaks. The art is independently charming and so it is a little esoteric and may not be for everyone, but I enjoyed it nonetheless. Remember that all reviews are subjective and really are a reflection of what we, as reviewers, feel when we pick up a book. So bear that in mind, I moderately enjoyed this issue but that doesn't mean you won't find it completely thrilling. There's a lot to be said of the strides independent publishing is making, so this issue is worth giving a go to support that at least. It will be available on comixology from 28th October. 
Again, if we must give numerical values, for me this would achieve 7/10. 






Friday 23 October 2015

Retro review: Uncanny X-Force #2

Writer: Rick Remender
Art: Jerome Opeña
Colours: Dean White
Cover: Esad Ribic
Publisher: Marvel

My mind was caught in a fierce battle over which issue of Uncanny X-Force to review, this particular gem or number one of Remender's series. Both are, to me, incredible issues (in fact the whole run is) but #2 won out in the end as there was one moment that made me laugh uncontrollably and put a smile on my face for the rest of the day, but we'll get to that later. 

I first became aware of Remender after I picked the first volume of 'Black Science' and, after reading the first page, soaked all the pages that same day. It was unabashed, unashamed, glorious and well written sci-fi. His writing was emotive and humourous, resonating with me in that special way that comics can. 
After that I became more alert to other work he was involved in, I love his independent work, but his work with Marvel is pretty spectacular too. His blend of drama punctuated with humour works well with this series. X-Force is a team entered series and how he writes the team dynamic highlights Remender's knowledge of these characters, more than that, he understands and cares for them. You can see it in the tenderness between Betsy and Warren, the friendship between Wolverine and, again, Warren. It's shown in the irreverence and recklessness of Deadpool and Fantomex.  The writing is fantastic throughout and keeps the story moving along at a cracking pace, keeping up hooked along the journey.

I'm not a big fan of spoilers and doing retro reviews allows me a bit of leeway as this material had been around for some time, so I'm less likely to ruin everything. However there are people who, like me, are still discovering and unearthing new treasures, so there's every chance that this is new for someone out there. So I don't want to give too much of the plot away. So in this issue the team find themselves on the blue area of the moon, chasing down 'someone' from the big reveal at the end of issue #1, when they are beset by the final horsemen.
This leads me to the moment that made me choose #2 to look at. It, of course, involves Deadpool, how could it not? Deadpool is one of those characters that it is immense fun to read and, judging from Remender's full use of his beautiful insanity, immense fun to write. If you're not a Marvel fan, which happens, or you like different genres of comics altogether, the chances are you still like Deadpool. The Merc with a mouth is popular not only because of his self-awareness in some series, his inane wit but he's also a complete badass with a pretty cool skill and power set. Anyway, I'm detracting from the point slightly. Deadpool becomes engaged in a fight with the horseman War and, like no one else can, begins to sing Edwin Starr's Motown classic 'War' (good god y'all) and its a moment of comic book brilliance. This use of wit by Remender is one of the reasons I find his work so endearing.

Opeña is a frequent collaborator of Remender, working with him on 'Fear Agent' and with characters such as Punisher and Wolverine. I first noticed his work in Avengers with Johnathan Hickman and I'm rather fond of his style. It captures that point between comic and reality, blending both nicely. His character work is vivid and emotive, while the action sequences are kinetic and pacey. In a world of subterfuge, White's colours match Opeña's style well, creating an almost pastel colour effect that gives the illusions that the characters are operating just behind the veil of public perception. It's an art and colour dynamic that works really well, as so often a mismatched pairing can ruin a book, but in this case it's one of the things that helps to make it. The truth is, you couldn't have this issue without Remender, Opeña or White. That may sound like I'm being deliberately obtruse or even stating the obvious, but I'm not. If you took one of the trip away I think this issue in particular would lose its impact, it's comedic moments and dramatic fight scenes, the melancholic but beautiful relationship that Angel and Pyslocke have, would be shadows of what they are when the three are together. 

As you may of guessed I'm a huge fan of this series, it's one of the few I own both in print and digitally, so I'll forgive you for believing me to be biased. I'm only so because I've read the series, I implore you to do the same. Either get on Amazon, comixology or pop to your local comic shop and grab a issue or volume or two. You'll soon find yourself becoming as biased as me. 













Wednesday 21 October 2015

Review: Bleen #4

Creator and writer: Jon A. Colunga
Illustrator: Landon Huber
Publisher: Alterna Comics
Release date: 21st October 2015 (digital)

Horror comics seem to be prevalent lately. I don't know if it's because of things like Snyder's Wytches, or if I'm simply more aware of them, but their new popularity isn't at all damaging for fans of the genre, or comics in general.

Bleen is Colunga's first personal publication and is a foray into a fantastical world of horror. It's one of those books that could of easily been overlooked and missed and it owes a lot to independent publishing. As he says in the final acknowledgements it was given a chance to be published by Alterna Comics and I, for one, am glad it did. Indie books like this are testament to the quality of stories out there that and showcases the benefits that independent comics give the whole readership.
I'm writing this review on my break during the night shift. I'm a nurse and have just played my part on effectively restarting man's heart with my bare hands. I have chosen to relax by reading Bleen and writing about it. Now this isn't about massaging my ego, it's an attempt to display the diverse appeal that comics have and how independent publishing aids that appeal. You could be an accountant, teenager living with your parents or even a high powered lawyer dressed in a luscious and crisp suit; we all have comics in common. 

Bleen #4 is the final chapter in this series. Before reading this I was unfamiliar with Bleen. I'm on Alterna's press list so every week I get a shiny review copy of a book to enjoy and review, Bleen was this weeks offering. M So I wanted to jump in at this chapter, which is far beyond my usual comfort zone of knowing every minute detail before diving in headlong, to see how I felt about it. I wasn't disappointed. The writing is smart and snappy and the artwork suitably grim. The story moves along well and it was way to come into at such a late juncture. I even felt a great empathy with Bleen at the grand finale. It's a good smashed of a book when you can come in at the final hurdle and still fall for it greatly. It's inspired me to go back and catch up with the events, which is a point in Bleen's favour. 
The art by Huber helps the story along at a good pace and is well suited to a horror comic. There's not really a panel out of place and there's some interesting layouts that drew my interest. The creature of Bleen's torment is reminiscent of Jack Skellington from 'the nightmare before Christmas' and holds quite a sinister appeal.

Overall this a good closing chapter to the story. It builds to a tense, if somewhat inevitable climax that holds your attention to the last panel. The writing is solid and complimented well by the noir artwork. The only downside for me is the misspelling of 'future' in the acknowledgments, but that's just the pedant in me playing silly buggers. Colunga hints at more to come and if this series is anything to go by, I'm excited to see what comes next.





Friday 16 October 2015

Reflections on Sandman. Volume 1- Preludes and Nocturnes.

Writer: Neil Gaiman
Artists: Sam Kieth, Mike Dringenberg, Malcom Jones III
Colourist: Daniel Vozzo
Letterer: Todd Klein
Covers: Dave McKean
Publisher: Vertigo

I'm in danger of repeating myself, I realise that. I'm in danger of turning into a machine that perpetually harps on about breaking free from my shackles and discovering a whole new world of independent and creator owned comics. Bragging about being brave enough to leave behind the comfort of the familiarity of superheroes and their outlandish adventures. If this statement begins to bore you then I bear you no ill will, I'm on the cusp of boring myself. However it is leading to an important point here so afford me a jot more patience before you jump ship into the deep, vast waters of Internet distraction. 
Like many people it began with Batman, how could it not? Batman led to other DC characters, which in turn led to Marvel. You cannot blame me I was twelve years old, impressionable and was what is colloquially known as a geek. As I grew older my interests burgeoned and become more well rounded, but I still loved Batman; I fear I always will. Much like Neil Gaiman who, in the introduction to 'Whatever happened to the caped crusader?', confesses a similar love. So really it is fitting that someone who I can identify with on some levels is responsible for the work that opened up exciting new worlds for me.
Now Sandman isn't my first brush with independent or creator owned works, that privilege lies with 'The Boys' which was my first memorable experience outside of the 'big two'. Though if 'The Boys' opened a crack in the door, then it was Sandman that blew the door into innumerable splinters and shook the foundations of the universe (and the dreaming).
I was well aware of Neil Gaiman before I came across Sandman, I'd read many of his novels and they had a profound effect on me. Every so often you will discover something that changes your outlook, your nature and almost everything that he has written falls into this category. If it does not, then it's likely because I haven't read it yet. So having been initiated into his style of writing, in the way that he captures the magical in the mundane, forever hinting at the existence of a world hidden just beyond ours. Building layer upon layer of story, flawlessly blending a multitude of ingredients to create an immersive fantasy. I began to hear whispers of 'The Sandman'. It was spoken about in hushed tones of reverence by people I knew, almost like a kind of worship. It felt too grown up, too far removed from the standard archetype to be enjoyed by a young man who still clutched Batman and Spider-Man tightly to his chest. However having just recovered from the epic 'American Gods' I needed a Gaiman fix and was convinced that it had to come in the comic form. So I headed out bravely to my local comic book shop, the same shop that opened my eyes to the boys, and enquired about Sandman. After spilling my guts about my current situation, the kindly manager informed me that he too had gone through a similar process, although for him it was Green Lantern he was struggling to tear himself away from years ago. He took the plunge and recommended that I do the same; as you may of guessed I'm ecstatic that I did.

Much like Gaiman's other literary dreams, Sandman affected me deeply. I fell in love with comics all over again. In fact the extent of its affectation runs so deep that I am physically struggling to finish the series. I'm serious, the last two collections 'The Kindly Ones' and 'The Wake' are currently sat on my shelf eyeing me with a wistful gaze emploring me to pull them off and read them with furious gusto. However I'm not sure that I could emotionally handle it, as I have an inkling of what will transpire in the hallowed pages and worry that I'll have trouble letting go. I'm slowly building up the courage and am hoping that writing this will help me come to terms with the closure. The fact that work like this exists is the greatest testament to how truly amazing comics can be, and this is the volume that started it all. 

Preludes and Nocturnes introduces us to Morpheus, the King of the dreaming and his kin, the Endless. It's a dark and, thanks to Gaiman, lyrical literate world. Beginning with 'Sleep of the Just' which reads a little like a classic English horror story and sets up the shape of things to come. Roderick Burgess attempts to entrap Death, but only succeeds in imprisoning Dream, incurring his wrath and setting off a chain of events thus beginning our journey. Now this volume does have some linear story progression, i.e there is a central story arc that flows throughout the issues, but there are seemingly infinitesimal events occur here that take on significance later in the series. That's one of the things I adore about Gaiman's writing, how he makes a tiny ripple that later becomes a tidal wave of revelation. He creates this world and I think that, at least for a while, he becomes a part of them. In later volumes there are standalone stories that involve the dream king as well as entire story arcs, but there is always this overbearing shadow that something great is in play behind the scenes. The writing is both uplifting and haunting, it is incisive and moving, and affects you negatively and positively. In the fact the whole scene in the diner in '24 Hours' is absolutely harrowing and I found myself reading it peeking out from behind the sofa, afraid of what would happen but unable to look away. Gaiman has an inimitable style of writing and as Stephen King has once said of him is "..a treasure house of story..". Gaiman has a vast wealth of knowledge about stories, both those he is writing and those he is not. His explorations of historical drama, myth and legend is twisted to his own needs and interwoven beautifully. He draws upon multiple elements and layers them as only he can to create this fantastic, well rounded world. His knowledge and love of character shows throughout, calling on classic historical characters such as duo Cain and Abel while also including cameos from DC characters such as Etrigan, Constantine, Martian Manhunter and, of course, Batman. Batman only exists in a single panel but it's a nice nod to a character Gaiman loves. Although Gaiman has stated that his attempt to mix superheroes with the world of Sandman, this blend of well known comic book heroes and characters of legend shows how Gaiman understands character and uses it to his advantage. He is a masterful storyteller and uses the dream king to exhibit this, after all what are dreams but stories?

The artwork took a little getting used to for me, not because of its quality for it is simply sublime, rather because I was so used to 'newer' artwork. Don't forget that the first release of Sandman was around the same time that I was born, so the comics that I had started with had quite a different style. That initial shock passed in moments and I think that quite often I actually now prefer this style of art. It's the perfect foil for Gaiman's scripting and has a dreamy quality that of course suits the story perfectly. Some of the panels appear to be caught in the penumbra between worlds, with a sort of sonombulant ethereal quality that is enchanting. Sam Keith left the book after saying he felt as though 'he was in the wrong band' and starting with '24 Hours' Mike Dringenberg, who had been inking, took over on pencils and Malcom Jones III took over the inks. The transition though is seamless, it can sometimes be jolting when an artist leaves part way through but it was handled properly and the story doesn't pay the cost. At the time these were the industry's most sought after artists and the fact that they gave their services so willingly is testament to the appeal that Sandman holds.
The artwork again exhibits perfectly the diverse appeal of comics and showcases their potential for discovery. I unearthed something that changed my opinions, changed my tastes and my preferences and ultimately my perceptions of what comics can be. The artwork shows this because, before I maybe would of neglected to read or enjoy a work because it didn't quite fit with what I was expecting, but the skilled artists here have taught me that there can be much more to enjoy beyond the realms of your comfort zone.
My first contact with Dave McKean was Arkham Asylum written by Grant Morrison. I thought his artwork was gorgeous and the way it was painted across the pages was quite magical. For Sandman he has created a series of covers that are majestic in nature. The way they are painted, even sometimes built, mirrors how the layers of story are built by Gaiman. Looking at them is a glimpse into the mind of McKean himself and you get the sense that, like Gaiman, that mind operate at just a higher level than most people. If you're a fan of beautiful artwork, Sandman is worth it for this alone too.

There is so much more to Sandman that this reflection could never be large or comprehensive enough to do it justice. The only thing that could is to go out and buy 'Preludes and Nocturnes' and read it. No pore over it in detail, soak in every word, every letter of each word, each deft stroke of the art and let it slowly open up your mind. If you have already done this and are already familiar with Sandman, then for heaven's sake pull your copy off the shelf and do it all over again, you may discover something you missed. I was hoping that writing this would be an act of catharsis that would help to me to finally read the last two volumes, but I think I have given myself the thirst to start from the beginning once more.
Gaiman inspired me in my own writing and his offerings with Sandman inspired me to follow my dreams, showing me whole new worlds of possibility. Ultimately you take what you want from works like this, stories that creep inside you. Opinions are subjective but Sandman offers something for everyone and I defy you to read it and not be moved in some way.
In summary, you really cannot summarise Sandman. For me it is beyond analysis, it sits outside of critique. It is a masterpiece that has stood fast in the tides of time. Gaiman et al have created something poetic, beautiful, lyrical, delicate and literate in a world of pictures. Something unstoppable and resolute, Sandman will still be here in years to come and, almost ironically, will refuse to fade into dreams.

Wednesday 14 October 2015

News

Not a new review this time, but more of a little heads up. FUBAR: By the sword is released in print today. I reviewed the digital release a while back but if you like to feel and hold the comics you read give the print version a go. Here's a link to the initial review http://retrogradereview.blogspot.co.uk/2015/09/review-fubar-by-sword.html

Thanks for reading. Come back soon for another review. 

Friday 9 October 2015

Review: Alterna AnniverSERIES The Chair

Writer: Peter Simeti
Art: Peter Simeti & Kevin Christensen
Publisher: Alterna Comics
Released: October 7th 2015

Today I've been looking at the AnniverSERIES edition of 'The Chair' from Alterna comics. The AnniverSERIES is celebrating a decade of publishing for Alterna, which when you think about is a pretty massive achievement. I've mentioned before that my education in comics started with Marvel and DC, so discovering that there has been whole worlds of quality independent comics, hiding just behind the veil for so long, is testament to the amazing opportunities for discovery that the medium provides.

Though I'm relatively knew to the world, I'm no stranger to furore surrounding The Chair. Having followed Alterna Comics on Twitter for some time, I did dip my toes in the pool of understanding from time to time from reading various tweets and following links, though this is the first time I've read it fully. I wasn't disappointed.

The Chair follows the story of Richard Sullivan, an innocent man wrongly sent to death row. This isn't a tale of supernatural horror, the main character isn't stalked by some beast from another dimension. This is a tale of authoritarian brutality, the horrific cruelty that we as a species are capable of. As the tag line says "on death row, the only monster is man". That's part of its appeal, that it doesn't resort to classic archetypes, but rather exposes the lack of humanity that humans can have. 

Peter Simeti is the founder of Alterna Comics, and has had experience with about every job going in the business. His wide breadth of experience shows in the writing here. The story builds at a good pace, layering up the suspense page by page. As should be expected with a story set in death row, the tone is suitably gritty. The speech drips with a near intensity that instills a sense of foreboding, that something terrible is coming to the protagonist Richard Sullivan. The splash page at the end is a cliffhanger that leaves you aching to know what's happening. Though Sullivan is a bitter character, understandably, he is written in a way that doesn't remove you're empathy or sympathy for him. You find yourself keeping your fingers crossed for his safety, which is a futile practice, but you do it nonetheless.  

The artwork from Kevin Christensen and Simeti too, is an exercise in doom and gloom in keeping with the setting of the story. The prison is a mess of shadows and darkness, as much a ominous character in the story as the people trapped within it. The black and white moody panels add to the general murky darkness of the tale being told. On occasion you do feel that a touch of colour would add to the gory splash pages, but I understand the decision to keep the colour out of the story. This is a chance to immerse yourself in darkness after all. The art flows well throughout and you never struggle to understand what panel is coming next. 

Overall this is a brilliant read, it's easy to see what it's one of Alterna's best selling works. I found myself gripped to the very last page, then eager for more. The graphic novel will be out in December 2015, so I think a few rereads will be done before then. The story moves well and the pace never slips or trips and its general murkiness is well matched by the artwork.
I've learnt my lessons recently not to be pigeonholed into one genre, or limit myself to publishers. There's a vast universe of amazing work out there and 'The Chair' is a good place tot start a journey of discovery. If you're looking for something different than the standard horror archetype, or trying to branch out into something new. I implore you to give this a try, you won't be let down. 
I'm not going to belittle this work by giving it an overall rating, it's simply fantastic. It is much more to me than 30 pages of comics fun. To me it is the totem for my journey of comic freedom. So let me just say, wonderful. 

Sunday 4 October 2015

Review: 2000ad prog 1950.

Now I realise I'm a little late to the party here, over half way between this prog and the next, but the combination of four 13 hour shifts in a row and my ten week old son delayed me slightly. There's also the fact that I had the last chapter of The Alienist to finish from prog 1949, I realise this wouldn't of affected my understanding of this prog, but hey I'm a bit of a stickler when it comes to reading.

1950 is replete with four new stories, all at their nascent, so that readers can dive straight in, a status quo reset of sorts. After a fashion I'm approaching this prog as a semi-lapsed reader, my first memories of 2000ad are as a forbidden fruit at my grandmother's house. My uncle had an extensive collection of annuals, which were on the 'big' shelf until I was old enough. However that didn't stop me climbing the desk underneath the shelf to reach the summit and immerse my self in the amazing world hidden in the pages; Strontium Dog, Judge Dredd and Dan Dare singing to me from the pages in a harmony of unknown excitement. Sadly though over the years I lost touch, until recently in the last couple of months. I happened across the submissions page of 2000ad inviting writers to submit their future shocks s
ideas (my attempts at this are another story all together) and instantly my memories came back and I rushed out to the newsagents and picked up the most recent copy and have purchased it weekly since, almost religiously. So this prog, for me, comes at a time when I'm rediscovering the different worlds that this stellar publication had to offer. Which brings me to the point of this little diatribe, that it doesn't matter if you're a lapsed reader, consistent obsessive reader, part time delver or completely new reader, this is a fantastic prog to jump into. 

Now my standard prog reading habit is to read through the pages in a flurry of excitement, be disappointed that I've finished so swiftly when I reach the back cover, then begin again and pore over each page in detail; and these pages have detail in abundance. Starting with the cover by Chris Burnham, I'm a Burnham fan so when I heard he was doing the cover art I was excited to say the least. It doesn't disappoint, it's kinetic, detailed and captures ol' stoney face dispensing some harsh justice, which is what we all want right? Nathan Fairburn's vivid colours help the cover stand out amongst the shelves and add an extra nuance to overall appeal.
Of the four new stories we open with Judge Dredd, probably the publications recognisable character so there's no surprise there. 
Serial Serial (script by John Wagner, art by Colin MacNeil, colours by Chris Blythe, letters by Annie Parkhouse) reads like a crime thriller. There isn't much in the way of action in this first chapter, but the script is well written and the story flows smoothly, layering up the suspense and intrigue nicely, which is unsurprising as the script is from one of Dredd's 'parents' John Wagner. It's also no surprise that Wagner draws on Dredd's rich history to add to initial mystery, bringing PJ Maybe back to the fold. Now in the wake of events like chaos day and Enceladus, showing the stress that Mega-City is under and a stretched thin justice department struggling to grasp control. Ghost Town in the previous two progs expanded on that idea and showed exactly how draconian and ruthless a Judge can be. So a part of me was hoping that the stories would continue in this vein, taking time to really examine justice as an idea. However this murder mystery is a nice change of pace I'm excited to see how it pans out. MacNeil's art and Blythe's colours render a world with a subtle element of the cartoon but the pages look gorgeous and the panels translation smoothly across the page in a way that makes reading so easy and enjoyable. This is the work of professionals who know what they're doing and do it superbly. 

Defoe is a new venture for me, as I previously missed it out in my hiatus. The London Hanged (script by Pat Mills, art by Leigh Gallgher, letters by Annie Parkhouse) is a pleasing introduction to the world. The script is spot on, easy to read and paced well. The characters have their own individual voices which are distinct and give you a sense of the cadence with which they speak, Defoe comes off as suitably surly. The black and white art is a suitable companion to this dark, moody tale, creating a grim miasma that suits a story centred around the undead. The panel layout is a little formulaic but that is not bad thing when each panel is superbly detailed; the title splash page is a wonderful spectacle to behold. Defoe was created by Mills and Gallagher and the pair seem to be having fun returning to this world, you can't help but be absorbed back into it. 

Brass Sun: Motor Head (script by Ian Edginton, art by INJ Culbard, letters by Ellie de Ville) is a clever work of science fiction. Edginton's script is well written, interesting and keeps your curiousity piqued, with a lovely twist to keep you wanting more until next weeks prog. Culbards's art is explosive, literally, the two page spread is filled with glorious details that knock your eyes back into your head a little and promptly weep that your drawing will never be quite that good. 

Bad Company, as I understand, is a celebrated series not seen since 2003. For me this is again my first experience of this futuristic war story, but it was again a pleasing introduction to the world. First Casualties (script by Peter Milligan, art by R.Dayglo & J.McCarthy, letters by Simon Bowland) is set ten years after the war with the Krool. Bad company, what's left of them, are growing old and frail in a veterans compound, drugged to the maximum to keep their nightmares suppressed. The script does a good job of exposing the veterans vulnerability and you can almost feel the post traumatic stress in each panel. The art is dark, detailed and, especially in panels showcasing the compound, makes you feel enclosed and trapped. The two combine to pan out a tale that begins to build toward intrigue and conspiracy. There's also a nice little reference to Brett Ewins that even I managed to understand. 

So in summary this is a fantastic prog and I thoroughly enjoyed reading it, three times. However on a slight negative note there is sometimes a little assumed history. Parts of each story that the writers take for given that the reader will understand, for a prog that is offered as a jumping  on point it is a little downer. It is inevitable though, as 2000ad has such a rich tapestry of characters and stories in it's illustrious history that you cannot expect not to draw on it for influence. It's all about how you perceive this assumption, I for one was happy to greet the stories as something to be discovered, something for me to research in the next few weeks. This prog is rife with creators, writers, artists, colourists and letterers at the top of their game and it is a shining example of just how good comics can be. Despite the minor assumptions, I really can't give it less than a full 10/10.