Writer and artist come together though for the strips best moment, “As a boy, I loved guns. Goodard use of perspective to juxtapose how clumsily outsized his robotic body is compared to the masses makes for some surprisingly effective moments of humor. In this case Patrick Goodard gets to be more of an author in portraying the mustache twirling villainy of this robotic hound. The closeness in this strip also means Pat Mills gets to take even more swings at unhinged Quartz as he emotionlessly blasts his way through the zombie like scientists. Besides, this story was never about whether our heroes will live or die, it’s about how far down their personal rabbit hole they’ll go and what they’ll find there. Mac’s not dying might be seen as a cop-out, and there’s been too many cliff-hangers of someone being fatally shot only to end up perfectly fine, but his survival does give us the visually wild on-the-spot brain surgery scene which makes it all worthwhile. The heart of this chapter is Danny’s place within the squad, even after all these years of warfare he’s still hesitant about killing in cold blood – which sets him apart from all the other hardened killers. The strip leaves it up in the air whether he is crazy or if there’s something to it. Last week’s “Schrodinger’s Dog” device seemed a bit unexplored, but in this chapter we get some great result with an enemy soldier who’s convinced that he can’t be killed because he came close death so many times but walked away scot free. Tom Shapira: This is a fun one – the crazier this strip gets, the better it is. Not to discount Annie Parkhouse’s lettering and sound effects that enhance the read or the script by Ian Edginton, but comics are first a visual medium.Ĭredits: Peter Milligan (script), Rufus Dayglo (art), Dominic Regan (colors), Simon Bowland (letters) This is the kind of comic that on a cursory flip through a floppy will visually grab you and make you buy it. Taylor hits us with some lovely vistas in his widescreen panels, sure some have corpses in the foreground, but the images are no less stunning. ‘Live Evil’ part 2 is a real visual treat. Dredd’s dialogue does nothing to change his overall impression from last chapter. The light in the world and in Taylor’s panels is what she fears, the scores and scores of the dead from the “Day of Chaos.” The dialogue, the sound effects, and Lamia’s actions to calm her discomfort all ramp up the feelings. Those near black panels set a tone as Dredd arrives to get the Exorcist Judge, Lamia, and reinforces that sympathy for her as she is drug back into the light. Speaking of dark, Dave Taylor makes use of shadows so deep that at points it takes careful attention to notice that his panels are no actually full on black. We get a glimpse of her origin as she shaves her head, saving us the need to Google her history and revealing a possibly dark turn coming in the future. Lamia opens the chapter as she armors herself to face the outside world and the mass of ghosts she knows await her. She’s also dryly comic in a very British manner. They created a solid impression of Judge Lola as a very apt person she is smart, quick witted, capable, and in no need of anyone else to save her. Greg Lincoln: In ‘Live Evil’ part 2, the creators reveal little of the plot, but do show a lot about the women central to this Judge Dredd story. Credits: Ian Edginton(script), Dave Taylor(art), Annie Parkhouse (letters)
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