2000AD #2206 REVIEW

by Gavin Johnston on November 04, 2020

Writers: Mike Carroll, Paul Cornell; Liam Johnson; Karl Stock; Cavan Scott
Artists: Nicolo Assirelli; Anna Readman; Aneke; Tom Newell; Paul Davidson
Colours: Gary Caldwell; Pippa Bowland; Barbara Nosenzo; John Charles; Len O’grady
Letters: Annie Parkhouse; Jim Campbell; Simon Bowland
Publisher: Rebellion

Prog 2206 is another “re-gened” issue of 2000ad, taking time off from the usual line-up to publish and extra-big issue for younger readers.


In Cadet Dredd: Tooth and Claw the young Dredd brothers are in the Cursed Earth, protecting some ranchers from bandits.

Over the last few years, Rebellion have really tapped into the potential of younger Dredds. As well as a slightly less cynical Joe, there’s his twin brother Rico,and his inevitable decline into corruption, and it’s always nice when a story gives a knowing wink to the reader with a hint as to future misfortunes. Tooth and Claw is full of these nice ideas and little details.

There’s a lot going on here – bandits and ranchers, giant robots, crashed aircraft, dinosaurs. There’s plenty of character, humour, and intelligent dialogue.   It’s maybe a little too densely packed.



Way back in the early 80s, super genius Abelard Snazz was created by super genius Alan Moore for a serious of short adventures. A man with a two storey brain who can solve any problem, but whose arrogance frequently lands him in trans-dimensional trouble, Abelard (not Moore)makes his first appearance since Prog 299 with The Only Way Is Up.


Snazz stories were always chaotic, and this follows the same pattern as Abelard is invited to protect a society of microscopic beings. It’s fun and fast moving, and all very silly. Not many stories will combine jokes about sub atomic particles with Beano-esqe editor balloons. Anna Readman’s first artwork for 2000AD is reminiscent of Brendan McCarthy, all psychedelia and distorted characters.



There’s more channelling of Mr Moore in Karl Stock’s Futureshock: For The Man Who Lives Everywhen. It’s an indisputable fact that the two best Futureshocks of all time are Moore’s Chronocops and Doctor Dibworthy’s Disappointing Day, and For the Man Who Lives Everywhen is reminiscent of both; fast moving humour, with detailed backgrounds adding layers to the story of brilliant but bumbling time travellers. All quite brilliant



Another character from yesteryear, the genetically engineered supersoldier Venus Bluegenes returns in Threat Level Zero. Those evil Norts have been kidnapping women and girls, under the strange misapprehension that they’re less dangerous that the male of the species. The fools.

A bit more simplistic than recent forays into the Rogue trooper universe, it’s a non-stop action strip which does a great job of reintroducing a character who doesnlt have much by way of character. If Bluegenes has any problems its that, unlike her more famous counterpart, she lacks any companions to bounce off, leading to an awkward monologue.



We also get some classic Anderson action in Anderson PSI Division: Early Warning. An alien parasite has made its way to Earth – can Anderson stop it in time?

There's some lovely art from Paul Davidson and Len O’Grady, capturing the bizarre world of mega City one.

Ignoring for a moment that The Grand Hall of Justice somehow found its way into the middle of a Sector 8 market, Early warning is fast moving, funny, and strange. It ticks all the boxes of an Anderson story - Anderson gets to proclaim “Grud on a greenie!”, has a PSI-flash and sarcastically berates some street judge before the day can be saved.


In all, a decent prog, if not outstanding.

Our Score:


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