Jaws rip-off from the notorious 2000AD precursor Action, possibly the most punk comic ever produced. Which also means that reading the collection is like trying to listen to a whole punk album*. You see one guy get disembowelled in some gruesomely inventive fashion by a great white, and it's awesome. Fifty, and it's a statistic. Mills' introduction makes much of his co-writer's scientific contributions, but while I can just about buy the infant sharks getting between the bars of a shark cage and eating a diver, the bit where Hook Jaw brings down a helicopter feels like more of a stretch. And then we've got the one where Hook Jaw somehow gets over the reef completely surrounding a tropical island, in order to wreak havoc within the lagoon. Though my problem is less with the freak wave that accomplishes this, than with how the Hell anybody else ever gets to or from the island by sea if the reef really is all-encompassing. Which later developments make clear it isn't, but this is par for the course; at times the strip can't even keep its own story vaguely straight from one issue to the next. Cliffhanger - the ghastly tycoon insists that if the natives don't bring back the shark alive, he'll drive them from the island! Next installment opens on the next page: if the natives don't kill the shark, he'll drive them from the island! I mean, yes, we've all had bosses like that, but there's no indication here from anyone that the mission has entirely changed.
Anyway, this being a Pat Mills comic, the shark represents nature's revenge on mankind, so many (though not all) of the people he eats are nasty capitalists, drawn with all the subtlety and nuance still evident in Mills' current work, the four intervening decades having apparently taught him little more than the word 'sheeple'. The human protagonist is diver Rick Mason, who starts off working for a maniac oil tycoon, barely survives the oil rig's feud with Hook Jaw, and then proceeds to get another maritime job working for another greedy and unscrupulous bastard. So someone with much the same ability to learn from experience as his creator, then. Still, the art is entertainingly gory, and so long as you read it in serial format rather than go into a feeding frenzy, it has a certain brutal aplomb. The tragedy is that the best stuff is in the final story, much of it never published at the time thanks to the pearl-clutchers getting Action cancelled. This pretty much drops any pretence at social commentary, and just has crooks killing people and sharks killing people and one especially memorable panel where a shark eats another shark whole. Plus, in the single best installment, Hook Jaw just goes to a British beach (Looe! I've been there!) and eats a kid for the Hell of it. "Julian felt no pain. There was only a dull throb where his legs used to be..."
*Yes, I know there are exceptions - the Adverts, the Dead Kennedys, even the Clash's first. But you know full well what I mean.