Kickstarter poses problematic questions about the making of art for both ends of the production line — it fudges the role of risk-taker and the question of whose responsibility the risk actually is at the same time — but when someone like Dan Brereton stages crowd-funding campaigns and they overshoot their targets by a mile, the net good of connecting an artist infrequently spotted in the wild with a fan-base is hard to argue with. It’s also a way for characters like the Nocturnals to return to print, continuing a long-term project of Brereton’s that more or less had me at hello back in the 1990s. The Nocturnals ride again in The Sinister Path, a full length graphic novel which I read for Tripwire, and whose faults I completely forgive for the chance to examine the current version of Brereton’s evolving style of painted art, now a bit more expressionistic and flexible than it used to be, as well as the boho-chic of the ghost named Polychrome. If she can junk the greatcoat learn to smile, so can the rest of us.
At the same place: words about Judge Dredd: The Complete Case Files 29, strips which find 2000AD‘s main man looking his city’s social and political forces in the eye. He interprets what he sees differently than anyone reading it, now or then, but that’s because these reprints are from 1998-1999, and writers John Wagner and Alan Grant are looking out of the window.