2000 AD Prog 2470 Review
- Bobby Campbell
- 2 hours ago
- 4 min read
Release date: February 18, 2026
Cover Artist: Clint Langley
After last week’s grand finale we’re back in the business of building suspense and business is booming!
JUDGE DREDD // THE FINDER OF LOST THINGS
Writer: Ken Niemand
Artist: Rob Richardson
Letterer: Annie Parkhouse
A nice single-serving Mega-City One slice of life tale about a low level psychic undergoing a routine spotcheck, for unauthorized use of Psi-Powers, after washing out of the Academy of Law.
Usually a duty well beneath the personal involvement of Judge Dredd himself, but he’s playing a hunch, under the auspices of keeping current with the academy dropout protocols.
Lana Locke, our dropout turned private investigator, gives her business card to Dredd after the requisite action sequence, as his hunch and her vague premonitions anticipate events to be continued.
Loving Rob Richardson’s art here. There’s this restrained cartoonish line in his otherwise very practical draftsmanship that is quite delightful.
I also like the attention to detail on the mundane settings and characters. The level of immersive character building detail put into Lana’s bathroom is truly terrific. The intrusion of these grim action figures into her grounded world is depicted beautifully. As is the pastel neon colorwash that covers these pages.
HERNE & SHUCK // POWER TRIP - PART EIGHT
Writer: David Barnett
Artist: Lee Milmore
Colorist: Gary Caldwell
Letterer: Annie Parkhouse
Have to admire Herne’s commitment to his hat as he races a selkie across the sea! Maybe speaking to the magical power of iconography, is Herne still Herne without his hat? Or is he just a bald guy with a beard?
I really enjoyed the cumulative build of the lesson imparted here, where Herne, having already been punished for his compassion, gets tested once again.
That would be the difference between having values vs adopting postures, do you stick with it when there’s no tangible value?
JUDGE DEE // PART FOUR
Writer: Ben Wheatley
Artist: Simon Coleby
Colorist: Jack Davis
Letterer: Simon Bowland
Into the haunted mansion our buddy cop duo go! I loved the conceptual formulation for ghosts depicted here as human emotional resonances trapped in the actual building materials.
Nostalgia is a kind of haunted condition in that way too, I suppose, as my 1980’s childhood media landscape was dredged up with the bigger, stronger, and evil Soviet counterparts to our protagonists! “How do you square that with your arrogant western morality?”
Man, if lines like that don’t do my decadent American heart some good!
And just like that the black mail plot has hatched, and our big bad has been revealed, onward and upward!
FUTURE SHOCK // ONCE UPON A TIME ON HOLLYWORLD
Writer: Ed Whiting
Artist: Peter Clinton
Letterer: Rob Steen
A surreal satire on the increasingly predatory nature of corporate entertainment, where All-Dimension Cameras capture not only the likeness, but also the consciousness of actors, where they are exploited, in perpetuity, after bodily death. A once wild sci-fi premise that these days feels almost not far fetched enough!
We’ve watched this reality slowly creep in since that John Wayne beer commercial back in 1996, then more profoundly when Peter Cushing’s cgi zombie shuffled on stage, and now full capture likeness rights have become another commodity to sell to the highest bidder.
I won’t spoil the twist, but of course with profit as the sole consideration, there is no end to the depths of degradation for both art and artist.
So here’s a question! Am I seeing Peter Clinton’s excellent line art sans colors because this is an advanced review copy of the prog? Or is this how the story is to be published?
I can imagine it as a meta-commentary on the working conditions of artists. In the story, our auteur filmmaker’s deadline is reduced from 24 days to 24 hours.
If so, I’m not sure the point is expressed clearly enough, leaving the art feeling mostly unfinished, but maybe that’s the point? I’m not opposed to black and white art! Quite the opposite! But this looks almost like pencil art with the contrast tuned up, rather than truly finished art.
The interjection of occasional color in the lettering adds further to the confusion!
THE DISCARDED // PART EIGHT
Writer: Peter Milligan
Artist: Kieran McKeown
Colorist: Jim Boswell
Letterer: Simon Bowland
The art team here continues to escalate their display of raw power! Every issue they seem to find another level of quality, even here where it’s all atmosphere and character work.
The revolutionary father in monochromatic blue and his undercover cop, and would be assassin, daughter in glowing orange. Of course, just as Veera’s heart is beginning to turn her cover is blown, but is Aaxon’s heart truly in the right place to begin with? I guess we’ll see!
I was wondering how Peter Milligan managed to build such a believable world of hopeless bleak despair, but I’ve recently discovered he’s a very vocal and dedicated Tottenham Hotspur supporter, and he’s certainly just writing what he knows!
Just kidding, just kidding, mostly!
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