"NOBODY Calls Me CHICKEN HEAD!" COMICS! Sometimes I Hope You Brought A Clean Pair Of Pants.

Are you ready to quiver in horripilation at the future terrors accosting Mega-City One’s premiere lawman? No, well come back when you are. JUDGE DREDD: THE HAUNTING OF SECTOR HOUSE 9 by Brett Ewins

Anyway, this…

THE JUDGE DREDD MEGA COLLECTION REVIEW INDEX

JUDGE DREDD: THE MEGA COLLECTION Vol. 77: HORROR STORIES Art by Brett Ewins, Ian Gibson, Dave Taylor, Mick McMahon, John Burns, Andrew Currie, Xuasus and Steve Dillon Written by John Wagner, Alan Grant, Gordon Rennie and John Smith Lettered by Tom Frame and Annie Parkhouse Colours by Chris Blythe Originally serialised in 2000AD Progs 359-363, 511-512, 1523-1528, 1582-1586 & 2005, JUDGE DREDD MEGAZINE 2.27-2.29, JUDGE DREDD ANNUAL 1981, JUDGE DREDD ANNUAL 1982 and 2000AD WINTER SPECIAL 1994 © 1980, 1981, 1984, 1987,1994, 2004, 2007, 2008 & 2016 Rebellion A/S Hatchette Partworks/Rebellion, £9.99 (2016) JUDGE DREDD created by Carlos Ezquerra & John Wagner

JUDGE DREDD: THE HAUNTING OF SECTOR HOUSE 9 Art by Brett Ewins Written by John Wagner & Alan Grant Lettered by Tom Frame Originally published in 2000AD Progs 359-363

JUDGE DREDD: THE HAUNTING OF SECTOR HOUSE 9 by Ewins, Wagner & Grant and Frame

I know we've all wondered more than once what Shirley Jackson's The Haunting of Hill House would be like if it was set in Mega-City One. Well, The Haunting of Sector House 9 answers that pressing question. Apparently there would be a lot less sublimated sapphism and repressive social mores and a lot more mouths exploding from walls, zombies, disembodied hands and big men in leather shouting. On reflection it might not have that much to do with Shirley Jackson's timeless terror tome after all. It definitely has to do with Judge Dredd stolidly yelling things like "DAMNED if I'll give in to a SPOOK!" and Brett Ewins wonderful ability to draw warped flesh and matter splattered walls. I really dug this one on its first appearance way back when, there was just something unsettling about the sci-fi world of Dredd suddenly morphing into a barnstorming full-on horror flick. Wagner and Grant pace this demon baby just right with each chapter containing something icky and an incremental revelation of the solution to the mystery.  And they don't even cheat on the solution, it's not just "Well, I guess we'll never know. There are more things on heaven and earth than are dreamed of in your comportment, Judge Dredd." No, there's a proper (and very "Dredd") reason for all the poltergeisting about.

JUDGE DREDD: THE HAUNTING OF SECTOR HOUSE 9 by Ewins, Wagner & Grant and Frame

Much of the fun comes from Dredd's refusal to treat the supernatural any differently to a perp with a knife and an Umpty habit. Here he shares the stage with a couple of other Judges, most notably Judge Omar who has a turban so is, I guess, a Sikh. Although Dredd's world appears overwhelmingly secular there are still familiar religions (something Alan Grant would explore in his Judge Anderson strips; we'll get to those volumes. Patience.) Omar is also a PSI Judge. I used to think that a PSI Division was about as likely as a Healing Crystals Division (Judge Credulous, presiding) but over the years the strip has worn down my resistance, also it turns out fascists have a penchant for all that silly shit so, yeah, okay, PSI Division it is. Best used sparingly though, like nutmeg. The Haunting of Sector House 9 is good little thunder through spooky tropes with a satisfying pay off, but a lot of its success is down to the atmosphere and that's wholly down to Bret Ewins' art. Which is unfortunate, because these volumes reprint some very old strips, and I guess occasionally the original materials have gone AWOL. (Or Rebellion/Hatchette haven't bothered to source them.) In this  particular case the poor reproduction annihilates the delicacy of Ewins' line. Despite his art being all about blunt impact, a kind of brusque shove to get your eye's attention, there's always a surprising amount of detail in there.  Detail  that isn't served well by the heavy handed reproduction. You can still see all Ewins's trademarks through the murk; particularly those shiny, shiny Judge helmets. It's just a shame his crisp, clear linework is swamped by blacks for the most part. Despite this The Haunting of Sector House 9 is pulpy sprint of a thing adorned by the art of one of Dredd's more under-rated artists. GOOD!

JUDGE DREDD: JUDGEMENT Art by Ian Gibson Written by Gordon Rennie Lettered by Annie Parkhouse Originally published in 2000AD Progs 1523-1528

JUDGE DREDD: JUDGEMENT by Gibson, Rennie and Parkhouse

Here Gordon Rennie manfully struggles to give Dredd and Anderson a supernatural mystery to solve, and for the most part he is successful enough. A ghostly Judge is dispensing justice on the streets, which just isn't on, and so Dred investigates along with Anderson and SJS judge Ishmael. Judge Ishmael, er, has a beard, and contributes little to the narrative before just fading into the background. He's the kind of story flab a Wagner or a Grant would have excised completely, but not Rennie, alas. This unnecesary heaviness weighs the strip down, it all seems overly convoluted in order to get to where it's going. The pacing plods, in short. And Rennie is inconsistent in his spookiness. A ghost judge whose shell casings are material enough to be traced? Um, no. I have trouble believing in gravity so if you want me to be all-in on vengeful revenants you can't trip me up with stuff like that.

JUDGE DREDD: JUDGEMENT by Gibson, Rennie and Parkhouse

But it's not without entertainment and Rennie gets a couple of very good moments in there, such as when the gang boss realises he's just made a biiiiiiiiiiiiig mistake. And the mystery itself is pretty good, there's just the odd leadfooted moment which makes you pause just long enough to irritate. A bit of red pencil would have helped. It's close to good, but what hurls it across the line is Ian Gibson's phenomenal art. Or to be more precise Gibson's phenomenal colouring. Seriously, there's some crackerjack colouring going on here. Done in something resembling ink wash, the colours are a work of art in themselves. The indigo Ghost Judge really pops out from the world it is haunting. For that world Gibson chooses a really chirpy and upbeat palette with warm pinks, deep blues and jolly greens which, draped over his lithely curvaceous lines, create images so ebulliently cartoony they are a joy. In Judgement Rennie does okay, but Gibson raises things up to GOOD!

JUDGE DREDD: ROAD STOP Art by Dave Taylor Written by Gordon Rennie Lettered by Annie Parkhouse Originally published in 2000AD Progs 1582-1586

JUDGE DREDD: ROAD STOP by Taylor, Rennie and Parkhouse

Gordon Rennie again! This time Rennie picks up a bunch of genre cliches, each of which would be insufficient for a story this length and mushes them all together to create a kind of creepy comicbook rumbledethumps. And, I have to say, it's not half bad. Hmmmmm! For a bunch of reasons which can all shelter under the umbrella of Plot Convenience (which is much better than hunching under the bus shelter of Plot Contrivance) Judge Dred is stranded until a storm passes at a decrepit Road Stop with a serial killer, an assassin, a coach trip and several other cits. That's pretty good. But the Road Stop comes under attack from a mutant gang and, yes, and, the owners of the Road Stop have something hungry in the basement. It should be overstuffed but, credit to Rennie, it moves along with quite a bit of zip and not without a few surprises. There's never a dull moment, but then with that lot going on there shouldn't be. (Again, though, Mr. Editor should have pointed out that you don't tell someone who has just revealed themselves as an assassin that you would love to help them but you have to pack all this stolen money..oops, you're dead!) Fun for the most part, writing-wise.

JUDGE DREDD: ROAD STOP by Taylor, Rennie and Parkhouse

But the art? Grud on a Greenie! Who is this Dave Taylor! He's the Tip-Top Top Cat and no mistake! His art has a wonderfully European inflection and a super robust sense of physical dimension. He doesn't stint one jot on the characters or the locations either. The road house is wonderfully designed, with a real sense of novelty to every room, rather than a jaded sense of yes-I've-seen-Blade-Runner-too-it-was-forty-years-ago-can-we-move-on-now-please. And there's no stinginess with the character designs either. Most folk would have saved the robot with a monkey’s head or the electric-circuit person for their own projects. But here they are just part of a bunch of wild designs which get less page time than Judge Dredd's bike. Dave Taylor goes all-in is what I'm saying. I looked him up on Wikipedia and it turns out he's English so that explains everything. Apparently he also had a double hernia. I doubt that's the secret of his ridiculously good art though. Road Stop is solid stuff so GOOD!

JUDGE DREDD: THE FEAR THAT MADE MILWAUKEE FAMOUS! Art by Mick McMahon Written by John Wagner Lettered by Tom Frame Originally published in JUDGE DREDD ANNUAL 1981

JUDGE DREDD: THE FEAR THAT MADE MILWAUKEE FAMOUS! by McMahon, Wagner and Frame

In 1981 Judge Dredd got his own Annual! (Well, I guess in 1980 strictly speaking). This was pretty momentous if you were 11 years old, because that meant that Christmas would bring not only the 2000AD Annual but also a Judge Dredd one! (Family finances permitting; the ‘80s was a hard time for us, we had to let one of the planes go). North American genre comics have annuals too, but these are published too randomly to suggest anyone producing them actually knows what the word means, and are basically just fat comics. A fat comic chucked out intermittently is not an “annual”, North American genre comics! In Britain where we understand the value of routine and the meaning of words, Annuals come out just before Christmas, are magazine sized with hard covers and cater to a range of interests; sports, puzzles, etc and, yes, comics. The 2000AD Annual would bulk itself out with old reprints (one year I’m sure Rick Random Space Detective was in there. Rick Random! I’m sure Rick Random has his charms, but it was a bit like interrupting a kid’s party with a lecture on the Joys of Accounting. Rick Random isn’t exactly FLESH!) but IIRC Judge Dredd’s Annual was all new stuff. Even if it wasn’t, even if I’m wrong, it had an awesome Mike McMahon drawn strip (yes, this strip!) which took advantage of the big pages and extra length to really go Total McMahon.

JUDGE DREDD: THE FEAR THAT MADE MILWAUKEE FAMOUS! by McMahon, Wagner and Frame

The story isn’t much; Dredd is chasing down a bad mutant hombre but comes unstuck when the Milwaukee dead rise up to exact revenge for their nuclear annihilation. It’s a bit of zippy fluff which gets by on the visual joke of the bad guy and Dredd’s refusal to give an inch in the face of a city of restless spirits. Mostly it's McMahon's show. McMahon’s art here is a summation of his “scabby” style, which he would immediately start moving away from, like the restless genius that he is. You can really see here his technique for making the most of his page count by creating pages within pages; that is, a group of three or four panels which are read together within the larger page on which they nestle. He really covers some ground like that, and it leaves him free to have a big image dominating the layout to boot. He also colours it like a gifted child armed with felt tip pens; if Lynne Varley had done it we'd all be shaking a tail feather over it. His pages here were so scrumdiddlyumptious that even an 11 year old could tell. I spent a lot of 1981 copying Mike McMahon’s art from the Judge Dredd Annual 1981 in biro on some wallpaper offcuts we had lying about (remember wallpaper?). Yes, I should have got out more. The Fear That Made Milwaukee Famous! is not only a pun on an ancient Schlitz beer advertising slogan but, drawn by Mike McMahon, it is thus VERY GOOD!

JUDGE DREDD: THE VAMPIRE EFFECT Art by Mick McMahon Written by John Wagner Lettered by Tom Frame Originally published in JUDGE DREDD ANNUAL 1982

JUDGE DREDD: THE VAMPIRE EFFECT by McMahon, Wagner and Frame A space ship carrying alien life form samples crashes into Mega City one and an energy vampire is on the loose! The more it eats the bigger it gets and by the time it has eaten a few under-city dwellers it is pretty hefty and ready to chow down on Mega City One. Can Judge Dredd and his fascist pals stop it before it's too late? Yes, obviously. But how? Yeah, smart guy, how? There's not much to this solidly scripted effort other than a steady ratcheting up of the stakes and a pervasive sense of hopelessness, which is quite a lot really; and most of that is probably down to the art by Mike McMahon.

JUDGE DREDD: THE VAMPIRE EFFECT by McMahon, Wagner and Frame

One year later and we can see just how much hunger McMahon's talent has for fresh artistic conquests. The man gobbles up challenges like the in-story vampire chows down on energy. Ravenously. His art still retains a grubby patina but is far more visually controlled now. There's a discipline in the straightness of lines strong enough for him to perch his more expressionistic tendencies atop them. The flare of Dredd's helmet is starting to reach the point where he'll be forced to enter rooms sideways, but the exaggeration is consistent with the larger landscape of visual hyperbole it inhabits; which makes it Art rather than a goof. Fret not, though, McMahon's art has lost none of its playfulness despite his apparent turn towards the stern. His colours are more subdued here with the odd pop of a green knee pad leavening the dourness, but there's still wit; see the negative colouring on people “bitten” by the vampire, and his refusal to make the vampire anything other than a blob speckled by colour. The reproduction here is a crying shame, tending as it does to the blurry. But The Vampire Effect is still drawn by Mike McMahon and so it is VERY GOOD!

JUDGE DREDD: HORROR HOUSE Art by John Burns Written by John Wagner Lettered by Tom Frame Originally published in 2000AD WINTER SPECIAL 1994

JUDGE DREDD: HORROR HOUSE by Burns, Wagner and Frame

A one episode punchline strip in which Dredd has to rescue a kidnapped kid from an animatronic house of horrors. This is from a Winter Specuial which, unlike an Annual, is a fat comic released at seasonal intervals. Used to be we just had Summer Specials which were an awesome part of being a kid. Looks like we now have Winter Specials because profits in the third quarter are down, or whatever. I don't know, but I for one am not sitting on a Blackpool beach in my trunks reading Shiver'n'Shake in November, thanks. Must be getting old. So, yeah, the old lag John Burns (b.1938) has scads of fun with the different dioramas in the Mega-Tussauds’ of Terror, and my eyes enjoyed his lovely tides of colour breaking over the page. Burns’ style is very European, characterised by pin-sharp linework so awesome that he took over Modesty Blaise from Enrique Romano in the ‘70s. Burns was beloved by kids of the ‘70s for his art on the smutty newspaper strip George & Lynne, by the ‘80s he was blazing trails of awesome on the page for 2000AD, where his work embraced colour with a vigour that would make a vicar blush. I like John Burns’ art.  Unfortunately while the script’s punchline isn’t bad as such, it landed leadenly as I hadn’t realised there was anything amiss with Dredd’s behaviour. He’s not exactly chatty Cathy at the best of times is he now? Anyway, John Burns drawing Judge Dredd fighting things is always GOOD!

JUDGE DREDD: CHRISTMAS WITH THE BLINTS Art by Andrew Currie Written by John Wagner Coloured by Chris Blythe Lettered by Tom Frame Originally published in 2000AD Prog 2005

JUDGE DREDD: CHRISTMAS WITH THE BLINTS by Currie, Wagner, Blythe and Frame

This is the finale of a long running storyline about Dredd failing to catch Ooola Blint, who is addicted to euthanasia-ing unwilling people, and her useful idiot of a husband, Homer. The problem with this series of mega-books is here we just get the end of the chase. Maybe the other bits are in other books, I don't know. Anyway, although robbed of much of its cumulative impact, the script is the usual drly comic Wagner effort wherein romance and murder become so intertwined it gets hard to distinguish between the two. At heart this is pretty sick stuff but thanks to Wagner's deadpan delivery this very sickness becomes part of the humour.

JUDGE DREDD: CHRISTMAS WITH THE BLINTS by Currie, Wagner, Blythe and Frame

Christmas With The Blints is more of a characer piece than an action piece so Currie has his work cut out for him. Fortunatley Currie seems to have a yen for caricature, so fun with faces is right up his street, and his “acting” is well up to snuff(heh!) for the duration. He does a particularly sweet Morgan Freeman whose sloping contours suggest the influence of the Master Caricaturist Mort Drucker, which is nice to see in a Dredd strip. It's a wordy episode but Currie keeps it interesting and his crisp, clean style is attractive if never eye boggling. Christmas With The Blints is GOOD!

JUDGE DREDD: THE JIGSAW MURDERS Art by Xuasas Written by John Smith Lettered by Tom Frame Originally published in JUDGE DREDD MEGAZINE 2.27-2.29

I really like John Smith as a writer, and I really, really like Judge Dredd as a character but I don't think John Smith writes a good Judge Dredd. The Jigsaw Murders doesn't change that opinion. Smith has his very own range of obsessions he rarely deviates from: body horror, fractured stream-of-consciousness inner monologues, creepy malefic beings whose reality can be a bit dubious and a rigid dislike of authority. This latter quality overshadows his more intriguing aspects on Dredd, because he gives the impression he's holding his nose whenever he has to write Dredd himself. I don't know how he gives that impression but he does. So what I do is, I just read it as a John Smith story and that usually works out okay. Here then I ended up reading about a serial killer who dismembers his victims to disguise his less than sane search for a replacement arm. This being a John Smith joint he rides about in an ice cream truck and is haunted by The Giggler, a creepy kid's toy, and is pursued by Judge Dredd, who looks like our Judge Dredd but is an inflexible asshole prone to bad one-liners. He's not as bad as Millar and Morrison's tone-deaf interpretation of Judge Dredd, but then at least here he's in a decent story which is something that pair never managed to conjure up. As John Smith stories go it's pretty good, there's a hilarious bit where the Jigsaw Killer finally gets his arm and it's all kind of icky and nasty like a good John Smith tale should be.

JUDGE DREDD: THE JIGSAW MURDERS by Xuasas, Smith and Frame

It's illustrated by Juan Jesus Garcia, who likes to be called “Xuasus”, in a fully painted style which I like to call “mostly successful”. It's got some real heft to it thanks to Xuasus' penchant for lumpiness and there's a winning ugliness to everything, not least the characters. However, stiffness is an issue when he paints people in motion, and while it didn't entirely convince there was always the odd stand-out like the panel below. Interesting, I guess I'd go for. The Jigsaw Murders is pleasantly odd thanks to Smith's script and Xuasus', uh, heavy approach. So, GOOD!

JUDGE DREDD: THE JIGSAW MURDERS by Xuasas, Smith and Frame

JUDGE DREDD: THE BEATING HEART Art by Steve Dillon Written by John Wagner & Alan Grant Lettered by Tom Frame Originally published in 2000AD Progs 511-512

JUDGE DREDD: THE BEATING HEART by Dillon, Wagner & Grant and Frame

This is a little two parter, a playful update of Poe's “Tell-Tale Heart” which is amusing enough in its way, but is of note largely because of Steve Dillon's art. In 2015 comics lost Brett Ewins (see above) and in 2016 Steve Dillon died, which makes this volume a bittersweet read. It does provide a reminder that Dillon's sparky art could lift a trifle like this out of the filler category and up into GOOD! without breaking a sweat. Dillon may only ever have drawn one female face but he put atop it a cascade of Bizarre '80s hairstyles that would give a Studio Style executive a chubby, and while his décor could be minimal his pacing was precise. Best of all Dillon would always remember that it was Judge Dredd's strip and really nail his Dredd bits down hard. Ciao, Steve Dillon! Ciao, Brett Ewins! And thanks for all the Thrill-Power!

And as all the best horror stories end with a hand coming out of the ground…

JUDGE DREDD: THE FEAR THAT MADE MILWAUKEE FAMOUS! by McMahon, Wagner and Frame

NEXT TIME:  I'm not sure but probably Judge Dredd in some - COMICS!!!

“EASY THE FERG!” COMICS! Sometimes It's Not The Fall That Kills You!

It's Valentine's Day! This Valentine's Day Judge Dredd's first and only love, The Law, sends a Valentine...straight...to...his...HEART! JUDGE DREDD: THE DAY THE LAW DIED by Bolland, Wagner & Frame

Anyway, this… JUDGE DREDD: THE MEGA COLLECTION Vol. 33: THE DAY THE LAW DIED Art by Mick McMahon, Brian Bolland (Dave Gibbons inks one episode), Brett Ewins, Brendan McCarthy, Garry Leach, Ron Smith, Carlos Ezquerra and Henry Flint Written by John Wagner and Garth Ennis Lettered by Tom Frame, Dave Gibbons, Tom Knight and Jack Potter Colours by Chris Blythe Originally serialised in 2000AD Progs86-108 & 1250-1261 © 1978, 1979, 2001 & 2016 Rebellion A/S Hatchette Partworks/Rebellion, £9.99 (2016) JUDGE DREDD created by Carlos Ezquerra & John Wagner

It’s now established tradition that Dredd mega-epics are usually separated by the best part of a year so as to allow everyone to get their breath back, including the readers; but back in 1978 John Wagner must have been full of beans and youthful pep because Old Stoney Face would barely have time to wash his smalls after “The Cursed Earth” before being unwittingly embroiled in “The Day The Law Died”. This one would be purely John Wagner’s creature and as such it trades heavily in his trademark satire via absurdism, rather than the more in-yer-FACE!!! style favoured by Pat Mills. While “The Cursed Earth” had been an energetic and eye popping exercise in world building “The Day The Law Died” turned its gaze inward and set about consolidating the world of Mega-City One, with particular emphasis on The Judge system. Back in Mega City One Dredd is immediately framed for murder, dispatched to Titan, shot in the head and left in no doubt that the new Chief Judge, the flagrantly insane Cal, is up to no good. Heading a rag-tag resistance Dredd has to free his city from the autocratic maniac, his own Judges and Cal’s Praetorian guard of Klegg alien mercenaries. Slicey-dicey! Oncey-twicey! Personally, my money’s on Dredd.

JUDGE DREDD: THE DAY THE LAW DIED by Bolland, Wagner & Frame

Previously Judges had been shown as an elite police force with traffic cops and more routine police being glimpsed around and about the strips. The very name, “Judge” suggested they were high up some nebulous law enforcement hierarchy. It was now made explicit that the Judges were the police, the whole police and nothing but the police. They were The Law. Hmmm. That’s catchy. However, there was still an elite police force, the Special Judicial Squad (SJS). These being an armed version of Internal Affairs, or the gimlet eyed automata known within most organisations as “Audit”. Tellingly these salty looking SJS dudes sport a uniform even more fascistic than that of Dredd, and since Dredd’s helmet has the twin lightning bolt emblem of the Schutzstaffel instead of eyes, that’s pretty darn fascistic. Keeping these little charmers under control comes under the purview of the Deputy Chief Judge, second in command to The Chief Judge, the prime panjandrum of the Justice System. Both these sit on the Council of Five, with three other seasoned vets.

JUDGE DREDD: THE DAY THE LAW DIED by Ewins/McCarthy, Wagner & Frame

More seasoned vets are on show when the Judge Tutors appear to help Dredd. Back in the ‘70s the old saying was “Those that can’t, teach. (And those that can’t teach, teach P.E.)” Accordingly Judges who are no longer street fit end up teaching in The Academy of Law. Dredd has a bunch of these dudes with missing bits on his side. They are pretty funny; one guy calculates their chances of survival while they are falling to their probable doom, another is called Judge Schmaltz so…you can fill in the blanks there, I guess. Oh, Judge Giant turns up again reminding me that his presence links Judge Dredd to HARLEM HEROES. Alas, JUDGE DREDD was slow to incorporate black characters and Giant only appears intermittently hereafter. Since he uses the word “baby” and refers to his “pappy” this might have been for the best. He is, however, resourceful and instrumental in saving Dredd’s bacon, so there’s that. Apparently Mike McMahon started drawing Judge Dredd under the impression the character was black (mostly because his name was a garbled leftover from Pat Mills’ pitch for JUDGE DREAD, a voodoo horror strip which didn’t happen.) Imagine if they’d stuck with that!  You’ll have to imagine it, because they didn’t; Judge Dredd is white, baby. White like Pappy’s bedclothes! Baby! Things look bleak for Dredd and Mega City One until he and his team of maimed trainers smash through to the undercity and land in the Big Smelly. Oh, yeah, turns out the undercity is the polluted husk of the American Eastern seaboard. Seems it was easier just to concrete over it and build Mega-City One (some landmarks were relocated above ground for the tourists e.g. Empire State building), the Big Smelly is the Ohio River. On impact, most of them die as a result, but they do meet Fergee who is a big lovable doofus with a penchant for ultra-violence.  Fergee’s lack of smarts, specifically his failure to realise he is dead, will be instrumental in foiling Cal’s plan to nerve gas the whole city.

JUDGE DREDD: THE DAY THE LAW DIED by McMahon and Wagner

Don’t be deceived by those leaden paragraphs from my stilted hamd because Wagner is a talented writer, so he knows how to leaven the strip with exposition without sapping any of the demented drive of his tale. A tale which is an answer to an interesting question. What if someone with only the most tenuous grasp on sanity achieved the most powerful office in the land? Apparently he would build a big wall, institute a whole slew of authoritarian and often preposterous laws, throw a hissy fit when the public failed to display the requisite adoration, surround himself with pusillanimous yes-men and, basically, just abuse the office he holds and stain the system he represents like a crack addled Little Lord Fauntleroy. But enough about the 45th President of the United States! (Cue: sad trombone.) Weirdly enough that’s also what Judge Cal does after he has connived his way into The Chief Judge’s chair. “It is the doom of Man that he forgets!” squawks Nicol Williamson’s skull capped Merlin in EXCALIBUR (1981) and he’s not wrong. See, Wagner doesn’t base Cal on the Roman Emperor Gaius Julius Caesar Augustus Germanicus (AKA Caligula) merely because he’d recently watched  the 1976 BBC production of “I, Claudius”. I don’t doubt that it helped, particularly as the late John Hurt’s performance of “the little boot” was probably reliably arresting. (Wagner almost certainly hadn’t seen Tinto Brass’s porno-chic “cult” movie CALIGULA (1979), for which we can only be thankful.) No, he probably picked Caligula mostly because, well, “It happened before, it will happen again, it's just a question of when.” as Charlton Heston narrates in ARMAGEDDON (1998). It’s called learning from history, and when we don’t this is where we end up. Also with Wagner picking the much maligned Roman Emperor the opportunities for absurdism knocked harder than a drunk whose forgotten his keys. Suetonius says Caligula made his horse (Incitatus) a Senator? Wagner can have his Cal appoint a fish Deputy Chief Judge. Yes, Judge Fish is the spectacular character find of 1978! Who can ever forget his sage advice, “Bloop!” or his heartbreaking “Bloop! Bloop!” Gets me every time. Wagner has a ton of fun with Cal’s credulity straining antics so we’ll not spoil it for anyone. But, y’know, Judge Fish!

JUDGE DREDD: THE DAY THE LAW DIED by Bolland, Wagner & Frame

Artistically “The Cursed Earth” was a two-hander between McMahon and Bolland, with McMahon’s hand being comically large like that of a cartoon mouse and Bolland’s being more refined and smaller like that of a lady of means. “The Day The Law Died” is more of a scrum; there’s a real pout pourri of art styles on display for the length of the epic. In a North American mainstream genre comic this would lead to a right buggers’ muddle and generally not work terribly well. Here it works out surprisingly well. Regular 2000AD readers (and Brit comic readers in general) were conditioned to understand that a strip’s artist could change at the drop of a hat. Being too young to be anything other than positive it was viewed as more of an opportunity to see a different style, rather than an indication that Terry Blesdoe had had to step in because Barry Teagarden had started shouting at buses due to the punishing demands of drawing 8 pages of Space Urchins every week for wages that would shame Sports Direct. It helps also that there’s a definite visual through line. Say Mike McMahon ends his strip with Dredd’s gun arm stuck deep in a Klegghound’s gullet, next Prog Brian Bolland will start his strip with…Judge Dredd’s gun arm stuck deep in a Klegghound’s gullet. And although every artist tends to draw MC-1 and the Judges with their own slightly quirky way, you are still clearly reading a strip about a future cop in a future city.

JUDGE DREDD: THE DAY THE LAW DIED by McMahon, Wagner & Frame

Big Brian Bolland leads us in with his reliable clarity of line and subtle undermining of his hyper realism via restrained caricature. As ever his episodes are few and far between but always a tight delight. Mike McMahon gets stuck in, his work here being a bit airier than on “The Cursed Earth” but no less manic or delightfully inventive. By now Mike McMahon is able to bend reality to his scrappy whim and can populate his strip with what look like maltreated Muppets lolloping about a claustrophobic jumble of a city without once endangering the reader’s suspension of disbelief. There are also strong hints of McMahon’s next evolution in style peeking through, but right here  right now Mike McMahon’s work is sweet indeed! Gary/Garry Leach looks like he’s got too much ink on his brush and that spoils his usual majestic delicacy of line this time out. Brett Ewins and Brendan McCarthy team up and their combination of rigidity and fluidity creates an interesting effect each couldn’t achieve alone. Picking up the baton for the last stretch is Ron Smith. I understand Ron Smith is a divisive artist for a lot of Dredd fans, due primarily to his cavalier attitude to continuity of the series’ designs. Despite being in the top ten in terms of Dredd output (probably, I can’t be arsed to check) there’s not likely to be a “Dredd by Ron Smith” volume any time soon. Which is a shame, because I think Ron rocks. Like McMahon he can lard a page with a so much detail and information it’s staggering. His page layouts are always striking, with at least one dominant image to grab the eye, and sometimes more, so the eye bounces about the page, but always in the right direction. He shows a remarkable agility with regards to shifting scale between panels without jarring the eye, and the amount of detail he crams in is ridiculous. I’m a particular fan of his hyperbolic body language, shown off here to best effect by Cal’s contortions as his mania grips him. Look, Ron Smith is the man who drew “Sob Story”, “The Man Who Drank The Blood of Satanus”, “The Black Plague”, “The Hot Dog Run”, “Shanty Town”, “Tight Boots” and co-created not only Chopper but also Dave, the orang-utan mayor. John says Ron’s The One!

JUDGE DREDD: THE DAY THE LAW DIED by Smith, Wagner & Frame

“The Day The Law Died is an artistic mish mash held together by the strength of the various styles on show and John Wagner’s elegant and understated blend of absurdity, drama and action. It’s VERY GOOD!

JUDGE DREDD: HELTER SKELTER by Ezquerra, Ennis, Blythe & Frame

This volume of JUDGE DREDD: THE MEGA COLLECTION also includes “Helter Skelter” a 12-parter from the year 2001 which marked Garth Ennis’ return to the character of Dredd. In comparison to the “Day The Law Died” it’s a slight effort indeed, but not without its charms. An experiment in dimension mapping comes unstuck when a probe returns with what looks remarkably like the Geeks from the old 2000AD strip THE V.C.S. Further incursions of the familiar occur, and it all turns out to be a plot by Judge Cal from another dimension to kill Dredd, since he can’t stand the idea that there’s a dimension where Dredd won. Cal is accompanied by an army of Judges, a bunch of Dredd’s old enemies (dead in this dimension: Fink, Rico, Murd The Oppressor, Cap’n Skank, etc) equally upset at the thought of a live Dredd and a bunch of dimensional flotsam and jetsam  familiar to elderly Squaxx Dec Thargo, or keen readers of reprints.

JUDGE DREDD: HELTER SKELTER by Flint, Ennis, Blythe & Frame

It’s all done with a sense of fun (there are roughly “two thousand” dimensions already mapped. Ho ho!)  and while it trades unashamedly in nostalgia there’s enough of a plot and some decent jokes to leave you with a smile (and maybe a little tear as you recall Ace Garp’s sign off floating through the air). Carlos Ezquerra draws the bulk of it and is as reliably Carlos Ezquerra as ever. Most notable are his computer manipulated backgrounds which are interesting reminders that he was a swift adopter of new tech. Henry Flint does a bit of it and he’s as inkily delightful as ever, managing to evoke early McMahon while also being clearly his own man. “Helter Skelter” has some good scenes and makes a valid point about the Judges (they don’t do it for their benefit but for the citizens’ benefit) but is never really more than a bit of a nicely illustrated lark. GOOD!

NEXT TIME: Uh, maybe look at some other bits of Dredd’s world? People seem interested in that judging from the, uh, two comments. So pack your swimsuit and your sun oil! Factor 2000!

INDEX TO JUDGE DREDD: THE MEGA COLLECTION REVIEWS

“He Thought He Could Forget The Past. He was Wrong.” COMICS! Sometimes I Find A whole New Way To Bore You!

Of late I've been a regular Chatty Cathy and no mistake, so as a change of pace I've scanned in some House Ads which ran in DC Comics from (and it's totally arbitrary this) March 1989 to August 1990. I always enjoy looking at these things when I dig out my back issues; they remind me of stuff I have tucked away (and even sometimes forgotten), or nudge me about stuff I mean to pick up at some point before...I come to my senses and start acting my age. Sometimes they just make me shake my head and wonder how that turned out for everyone. Heck, it's just fun looking at them, basically, and I hope you share my fascination...

Anyway, this...

While this is an image heavy post, and so you do get off lightly, you don't get off Scott-free as I have some words as well. Looking at the ad for SKREEMER I am reminded of one of several reasons why I will always be happy to give Peter Milligan a hug i.e. the ferocious passion with which, early in his career, he sought to make James Joyce an influence on comics. Now with most (mainstream North American) comic writers rarely straying to any level higher than that of Glen A. Larson or The Disney Channel his example is missed more than ever. Also, SKREEMER is not only violence and intelligence beautifully and cheekily intertwined via Milligan's script and Dillon/Ewins' art, but it is also still in print today. So go and buy a copy before I do a more in depth write-up on it, is what I'm getting at there.

JUSTICE INC. by Helfer & Baker isn't in print and (AFAIK) has never been reprinted. This is bad. However, you can pick up both prestige format issues for pennies. Which is good. Particularly if you want a comic which wades into the same troubled waters of America's History as Ellroy's UNDERWORLD USA trilogy and Don Winslow's POWER OF THE DOG. Not only that, but it does so by avoiding Ellroy's grating (if historically accurate) racism and Winslow's risky dalliance with cliché. JUSTICE INC. is also funnier. Not only that but Helfer's scripts show that if your dialogue is going to make the art play second fiddle, then it better be pretty immaculate dialogue. Which his is. Of course, it doesn't hurt to have a stylistic chameleon like Kyle Baker on board either, and he makes every artistic inch begrudgingly allotted him work like a pastel shaded dream.

Additionally, from this aged vantage, I well recall Alan Grant and Norm Breyfogle's Batman run(s). As well I should, as it's the only comic I allowed myself while, ahem, studying due to the fact that Guinness doesn't buy itself. (Sometimes I weakened and bought SHADE THE CHANGING MAN as well. Shhhh.) Those were some rock solid Batman comics and I'm pretty sure I can't be alone in being keen on a comprehensive collection of them appearing one day.

I note also that there's an advert for THE ART OF WALTER SIMONSON down there, and that volume is packed full of Simonson's early DC work, and is a humongous joy for any Simonson fan (which should really be any fan of Comics). It's also cheap to pick up today; so you just ran out of reasons for not owning it, chum. The magnificent Gil Kane's there as well; still alive back then, and fulfilling his personal dream of adapting (with Roy Thomas) Richard (not John) Wagner's The Ring Cycle. That's easy to find too in 2016, and if you like Gil Kane (as well you should) then that's you sorted. I never read Pepe Moreno's BATMAN: DIGITAL JUSTICE, which was probably for the best as I believe it's now considered to be to DC Comics as E.T. THE VIDEO GAME was to Atari.

There's lots of other stuff there, and feel free to share your recollections and misgivings regarding them. But before I go, it has always struck me as a bit of a dick move on the part of The Flash to challenge Superman to a race. Do you not think? And on that note, stick your face right into The Past and enjoy...COMICS!!!

NEXT TIME: Take a wild guess, that's right - COMICS!!!

"Justice Has A Price. The Price Is Freedom." COMICS! Sometimes I Hesitate To Correct An Officer Of The Law But I Think You'll Find That In This Case The Price is £9.99 Fortnightly. OW!

Borag Thungg, Earthlets! Clearly I have nothing useful to do with my time because I have bodged up a master list of the JUDGE DREDD MEGA COLLECTION. As each volume is released I will update the list and the accompanying image gallery. Should I “review” a volume I will link to that volume in the list. So, interested in the JUDGE DREDD MEGA COLLECTION as “reviewed” by yours truly, then this is the list for that. Pretty clear stuff. No questions? Anyone? Good. If anyone wants me to look at a particular volume, just drop me a comment. The volumes aren't released in order so it's not like I have a sensible plan of attack. If anyone wants me to stick them where the sun don't shine I suggest you keep that sentiment to yourself, cheers. Right, that laundry won't wash itself. Pip! Pip!

JUDGE DREDD by Mick McMahon & Pat Mills

Anyway, this... JUDGE DREDD THE MEGA COLLECTION Published by Hatchette/Rebellion UK, 2014 onwards.

Judge Dredd Created by Carlos Ezquerra, John Wagner & Pat Mills

Volumes:

01 – JUDGE DREDD: AMERICA Cover by Colin MacNeil

02 – JUDGE DREDD: DEMOCRACY NOW Cover by John Higgins

03 – JUDGE DREDD: TOTAL WAR Cover by Simon Coleby

04 - JUDGE DREDD: THE DEAD MAN Cover by John Ridgway

05 - JUDGE DREDD: NECROPOLIS Cover by Carlos Ezquerra

06 - JUDGE DREDD: JUDGE DEATH LIVES Cover By Brian Bolland 07 - JUDGE DREDD: YOUNG DEATH Cover by Frazer Irving

08 – JUDGE ANDERSON: THE POSSESSED Cover by Brett Ewins

09 - JUDGE ANDERSON: ENGRAM Cover by David Roach

10 – JUDGE ANDERSON: SHAMBALLA Cover by Arthur Ranson

11 - JUDGE ANDERSON: CHILDHOOD'S END Cover by Kev Walker

12 - JUDGE ANDERSON: HALF-LIFE Cover by Arthur Ranson

13 -

14 – DEVLIN WAUGH: SWIMMING IN BLOOD Cover by Cliff Robinson

15 - DEVLIN WAUGH: CHASING HEROD Cover by Colin Wilson

16 - DEVLIN WAUGH: FETISH Cover by Cliff Robinson 17 -

18 -

19 - LOW LIFE:PARANOIA Cover by Henry Flint

20 - LOW LIFE: HOSTILE TAKEOVER Cover by D'Israeli

21 - THE SIMPING DETECTIVE Cover by Cliff Robinson

22 -

23 - JUDGE DREDD: BANZAI BATALLION Cover by Jock

24 - JUDGE DREDD: MECHANISMO Cover by Colin MacNeil

25 - JUDGE DREDD: MANDROID Cover by Kev Walker

26 - 27 -

28 - JUDGE DREDD: THE LIFE AND CRIMES OF P. J. MAYBE Cover by Cliff Robinson

29 -

30 - TARGET: JUDGE DREDD Cover by Jim Baikie

31 – JUDGE DREDD: OZ Cover by Steve Dillon

32 – JUDGE DREDD: THE CURSED EARTH Cover by Mick McMahon

33 - JUDGE DREDD: THE DAY THE LAW DIED Cover by Mick McMahon

34 - 35 -

36 – JUDGE DREDD: THE APOCALYPSE WAR Cover by Carlos Ezquerra

37 - JUDGE DREDD: JUDGEMENT DAY Cover by Carlos Ezquerra

38 - JUDGE DREDD: INFERNO Cover by Carlos Ezquerra

39 - JUDGE DREDD: WILDERLANDS Cover by Trevor Hairsine

40 - JUDGE DREDD: THE PIT Cover by Cliff Robinson

41 -

42 – JUDGE DREDD: DOOMSDAY FOR DREDD Cover by Dylan Teague

43 - JUDGE DREDD: DOOMSDAY FOR MEGA-CITY ONE Cover by Colin Wilson

44 -

45 - JUDGE DREDD: ORIGINS Cover by Brian Bolland

46 -

47 - JUDGE DREDD: TOUR OF DUTY: BACKLASH Cover by Carlos Ezquerra

48 -

49 - JUDGE DREDD: DAY OF CHAOS: THE FOURTH FACTION Cover by Henry Flint

50 – JUDGE DREDD: DAY OF CHAOS: ENDGAME Cover by Henry Flint

51 - TRIFECTA Cover by Carl Critchlow

52 - 53 - 54 -

55 – JUDGE DREDD: THE HEAVY MOB Cover by Dylan Teague

56 -JUDGE DREDD: BEYOND MEGA-CITY ONE Cover by Brendan McCarthy

57 - CALHAB JUSTICE Cover by John Ridgway

58 - 59 -

60 – HONDO-CITY JUSTICE Cover by Cliff Robinson

61 - SHIMURA Cover by Colin MacNeil 62 - 63 - 64 - 65 - 66 - 67 - CURSED EARTH KOBURN

68 - CURSED EARTH CARNAGE Cover by Anthony Williams

69 - 70 - 71 -

72 - JUDGE DREDD: THE ART OF TAXIDERMY Cover by Steve Dillon

73 - JUDGE DREDD: HEAVY METAL DREDD Cover by John Hicklenton

74

75 – JUDGE DREDD: ALIEN NATIONS Cover by Cliff Robinson

76 - JUDGE DREDD: KLEGG HAI Cover by Chris Weston

77 - JUDGE DREDD: HORROR STORIES Cover by Brett Ewins

78 -

79 - JUDGE DREDD: INTO THE UNDERCITY Cover by Tiernen Trevallion

80 - JUDGE DREDD: DARK SIDE OF THE MOON Cover by Brian Bolland

Judge Dredd! He is the – COMICS!!!