Slaine's big adventure as a time warrior ends this prog. I say "ends" but the final panel of this episode has Myrddin announcing that Grimnismal, the worst of The Dark Gods, is awakening from his slumber. Thanks for ruining the party, Myrddin.
Previously, when I wrote about this epic, I confessed to finding it difficult to follow but, in the end, I would say that I caught up with it pretty well. At the beginning, script robot Pat Mills spends a lot of time throwing new, brain bending concepts at us but, later, he seems to have lightened up a bit, letting his ideas leak into the story in the concise but accessable way that I normally associate with his writing style.
This Slaine saga is drawn by two art robots, David Pugh and Glen Fabry, who alternate runs between them. History tells us that Fabry is the star here, but his work in early episodes looks like enthusiastic fan art to me. It seems like he's drawing the Celtic warrior as a superhero who spends hours doing his hear before going into battle. But by the final episodes, his work looks amazing. The characters ooze personality and emotion, his ink work is considered and his overall style radiates confidence. Fabry seems to be the spiritual successor to the already legendary Brian Bolland. More so than Cliff Robinson, anyway.
However, the moment I saw David Pugh's first warp spasm I realised that, of the two on this story, he is the art robot for me. Slaine, almost bursting out of his own skin, snaps a chariot shaft in half and cuts his way through an army of Vikings with its sickle blades. More recently, Pugh draws two full pages of ancient, claustrophobic architecture which, we learn, are the buildings that imprison The Dark Gods. These pages are stunning. As good as Fabry is by the end, it's Pugh's work that, first time around, eroded my resistance to the new boys because they weren't Mike McMahon.
Labels: Brian Bolland, Cliff Robinson, David Pugh, Glen Fabry, Mike McMahon, Pat Mills, Slaine