Carlos Ezquerra’s art is essentially caricature, which made me lose my bearings when I first saw it, back while obsessed with the slanty panels and alarming trousers of George Pérez. Now the upsides are much clearer, especially when the style gets buoyed up by current production standards and Ezquerra’s recent design habits – those are two serious characters up there, especially the one on the right who has a lifetime of heroism and agony ahead of her. For Tripwire I read the new Cadet Anderson collection from 2000AD, which didn’t make me change my dim view of prequel stories, but didn’t damage my admiration for Alan Grant either.
And: Martians invade and England prevails in Scarlet Traces, leading to a great many Victorian faces caught in flashes of fright, which happens to be one of D’Israeli’s areas of expertise.
And: several months of 1998 Judge Dredd collected in Judge Dredd: The Complete Case Files 28, some of which is smothered by the year of its creation to the point of oxygen starvation. Retrospective satire is always lumbered with knowledge of all the cyclical failures that followed – barring the odd outlier like Warren Ellis’s Transmetropolitan, which hovers above irrelevance on an updraught of pure dissatisfaction – so the news that Mega-City One politics includes a Liar Party prompts a muted response in light of all events on planet Earth everywhere at the time or since. On the other hand, John Wagner and Ezquerra’s close look at Judge Galen DeMarco’s workplace dilemmas is timelessly potent. Soap opera with a purpose.