2000 AD Prog 2467 Review
- Bobby Campbell
- 5 minutes ago
- 3 min read
Release date: January 28, 2026
Cover Artist: Simon Davis
Another week and another 2000 AD prog review! As the format of the weekly anthology series continues to sink its hooks in deep, and I find myself jonesing for the latest instalments from the mighty house of Tharg! Lock the door, unplug the phone, my stories are on!
JUDGE DREDD // DEATH OF A JUDGE - PART FOUR
JUDGE DREDD // DEATH OF A JUDGE - PART FOUR
Writer: John Wagner
Artist: Mike Perkins
Colorist: Chris Blythe
Letterer: Annie Parkhouse
It appears I was missing a crucial piece of contextual information as I jumped into my first ever Judge Dredd story, which is that it is possibly the final Judge Dredd story written by his co-creator John Wagner! A fact that bestows more weight to the title “Death of a Judge” than it might usually have.
This installment ups the ante considerably in terms of mystery resolution, as the pieces are carefully orchestrated into arrangement for an explosive confrontation, both in terms of plot and concept.
In some ways the foe Judge Dredd faces in this adventure undermines the premise of his mission, and the showdown he’s facing is with his own satirical insight. As I read it, authoritarianism and state violence isn’t just objectionable because it’s not nice, as many hard liners might like to think, but it’s also objectionable because it does not work as a method of creating stability, in fact, it is antithetical to that goal.
And then there’s the increasingly loveable Mechanismo Judge Ronald too!
can see why 2000 AD readers are so tuned in :)))
HERNE & SHUCK // POWER TRIP - PART FIVE
Writer: David Barnett
Artist: Lee Milmore
Colorist: Gary Caldwell
Letterer: Annie Parkhouse
The boundaries between magic and technology grow increasingly porous, as do those between the mundane and mythic, as accumulating plotlines continue to build an increasingly epic big picture.
Wait’ll you get a look at St Michael!
Starting to really fall in love with Lee Milmore’s no nonsense realistic renderings of the absurd world of Herne & Schuck. Everything has equal fidelity, demons, country landscapes, decapitated zombies, horse drawn wagons, occult rituals, government bureaucrats, and everything else besides!
JUDGE DEE // PART ONE
Writer: Ben Wheatley
Artist: Simon Coleby
Colorist: Jack Davis
Letterer: Simon Bowland
My favorite of a great bunch this week! Well deserving of the cover story spot it occupies, with a great take on a newly familiar premise. (I think this is a new character so I don’t want to spoil the odd couple set up!)
There’s a fascinating escalation of truly terrible antagonists here, which makes sense when your protagonists are maybe less than exemplary, so the villains have to be exceedingly horrendous.
Special acknowledgement is due to artist Simon Coleby here, who blends the gritty sci-fi street level action with the demonic occult world so well that this completely bonkers set up feels perfectly grounded and reasonable.
THARG’S 3RILLERS // MONEY SHOT: HIGH STAKES
Writer: Kek-W
Artist: Rob Richardson
Letterer: Rob Steen
What a great trick this comic plays! Starting out as an almost painfully ordinary crime story, but then suddenly transforming styles, and escalating into something completely unexpected and extraordinary. High stakes indeed! Looking forward to seeing where this one goes.
THE DISCARDED // PART FIVE
Writer: Peter Milligan
Artist: Kieran McKeown
Colorist: Jim Boswell
Letterer: Simon Bowland
A fight to the death to claim the mantle of Sister Trash becomes emotionally complex as Veera’s motivations are explored, and her absentee father becomes dimensionalized beyond simple bad guy/deadbeat. Kieran McKeown continues to draw the hell out of every poignant, bombastic, and delightfully weird moment Peter Milligan throws our way.
And again, let me sing the praises here of colorist Jim Boswell, who controls the emotional tempo with his color palette, complementing McKeown’s linework perfectly.
Notice the palpable vibe shift in the flashback sequence, which feels completely distinct from the Junkfall status quo of washed out earth tones, which only gains vibrancy from blunt force trauma, blood splatter, and smoldering fire.
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