"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!!!

“It's A Set Back, That's All.” COMICS! Sometimes No Face Is So Stony Time Cannot Erode It!

In which I look at a couple of Judge Dredd collections available over here (the UK) in a format which may be unfamiliar to some of you. Still trying to get the spring back in my step so bear with us, eh? JUDGE DREDD by Flint, Wagner, Blythe & Parkhouse

Anyway, this... DAY OF CHAOS: THE FOURTH FACTION JUDGE DREDD THE MEGA COLLECTION Vol. 49 Art by Ben Willsher, Colin MacNeil, Henry Flint & Leigh Gallagher Written by John Wagner Coloured by Chris Blythe Lettered by Annie Parkhouse Hatchette/Rebellion, £9.99 (2015)

DAY OF CHAOS: ENDGAME JUDGE DREDD THE MEGA COLLECTION Vol. 50 Art by Ben Willsher, Colin MacNeil, Henry Flint, Edmund Bagwell and Dave Taylor Written by John Wagner Coloured by Chris Blythe Lettered by Annie Parkhouse Hatchette/Rebellion, £9.99 (2015)

“Nothing will ever be the same!!!”, such is the fraudulent shriek prior to every pile of Comics Event Trex ever, but the only events which consistently deliver on this promise are Judge Dredd events. Most every year or two in the pages of 2000AD or The Judge Dredd Megazine, Judge Joseph Dredd's world will be shaken to its increasingly shaky core and the consequences will rumble realistically on through subsequent issues before subsiding and sliding beneath the onslaught of the next event and its own terrible outcomes. So interesting are the times Dredd lives in one can only assume his Mum pissed off a Chinese mystic. (1) Ah, but Dredd didn't have a Mum; he's a clone, one of a few from the very source of the Justice system itself – Eustace Fargo. A future cop in a future America; an America boiled into insanity by past atomic wars and reconfigured as a fascistic police state; Judge Dredd is The Law. Dredd serves the State because he believes the State best serves The People. And if The People get in the way of The State then The People get their heads cracked. In his own stony faced way Judge Dredd loves Mega City One. It is his love that is breaking your face, it just looks like a nightstick. Clearly, Judge Dredd would hold little love for Henry David Thoreau who claimed, that “He serves The State best who opposes The State most.”(2) So it may very well be ironic that in these two collections which form one big story, Judge Dredd faces off against disgruntled Sovs who are going to serve the State greatly - by unleashing viral retribution for the sins of thirty years past. Thirty years ago Judge Dredd pushed the button to end The Apocalypse War and wiped East Meg One off the map. For the past thirty years the Sovs have waited and planned. Today they act. For today is The Day of Chaos.(3)

JUDGE DREDD by Flint, Wagner, Blythe & Parkhouse

Potential readers might be feeling put off at this point by the implied weight of history but they shouldn't be. John Wagner wrote these books and John Wagner has been the main Dredd architect for longer than most of you have been alive. Age has not withered him. In short, John Wagner knows what he's doing. While the scope and severity of the events which unfold are impressive and horrific indeed, it's worth acknowledging both the quiet efficiency with which Wagner builds his story and the new reader friendly way in which he does so. In no time at all the essential information required is slickly delivered to the reader's mind via their eyes (the previous Chief Judge is in penal servitude; the new Chief Judge seems reasonable; Dredd is bored on The Council of Five; the Mayor turned out to be a serial killer called PJ Maybe; mayoral elections are imminent; and a scientist who has invented something very nasty indeed is being sought by certain someones with mischief in mind). It's a lot of plates to keep spinning but Wagner does so magnificently, slowly zooming in on certain events as other events recede and then adroitly shifting emphasis to keep the story interesting, intriguing and trucking implacably along to an an ending which may be inevitable, but never once seems predictable. His characters all possess some, and are defined by actions and words so economically it's easy to miss the skill involved. There's a lot of skill involved is what I'm saying there.

JUDGE DREDD by Flint, Wagner, Blythe & Parkhouse

It's called DAY OF CHAOS so no high fives for knowing where it's all going (it's going to go badly; the only question is how badly is it going to go) but fascinatingly Wagner goes to incredible lengths to put the inevitability of it in doubt. His genius move is in loading the dice in the Judges' favour. They have a psychic who is on the (crystal) ball, they have Judge Dredd, the new Chief Judge is a reasonable man, well, what could go wrong! Quite a lot of things as it turns out. But the crux of the Judge's f*** up, the pivot around which all the pain revolves is so brilliantly simple and so damning of The System I actually barked with laughter. Things go badly for a bit, but they are what someone with the soul of an ant might call “within acceptable parameters”. And then...oh, dear. (4) Waging a War on Terror turns out to be trickier than the Judges' might think. After all you can't shoot Terror in the face.

JUDGE DREDD by Willsher, Wagner, Blythe & Parkhouse

Fear, Fire and Mortis on the other hand are a different matter. Yes, the three Dark Judges turn up (Death's AWOL) but Wagner uses them more to reflect the extent of the stakes than as a threat in themselves. Usually a Big Meg shaking event in their own right, here they are just the cyanide sprinkles that adorn this dish of revenge; one served very cold indeed. DAY OF CHAOS is so dark that The Dark Judges act as something of a respite, that's how dark this one gets. (It's quite dark, are you getting that?) This is an attack on a Mega City and the deaths incurred are Mega-Deaths. After all the comic book universes which have died without a drop of blood, just a timorous winking out of existence, it's bracing and, yes, shocking to see so many dead. The business of death is a horrible business and DAY OF CHAOS never lets you forget it. By the time you get to the bit about the key under the door you'll be so starved of light that one simple act of humanity will blind you. Because despite all the sturm und drang, all the body pits, all the betrayals, all the torture and the serial killers and the dead, the dead, the dead, oh, the dead, John Wagner never forgets the humanity which makes it all bearable, which stops it al from being pointless. DAY of CHAOS is entertainment but it's also grueling stuff and as weird as that may sound entertainment-wise it's far less weird and far more honest than the weightless extinction of entire civilisations which at most cause Spider-Man to cry a tiny spider-tear.

JUDGE DREDD by Flint, Wagner, Blythe & Parkhouse

By necessity, as these episodes originally appeared weekly, the art for such a long form tale is by diverse hands . Cunningly they've kept the team to a minimum and the main story is handled by Willshire, MacNeil, Gallagher and Flint. Each of whom is a talented artist and so have unique styles, but there (sensibly given the intense density and extended duration of the epic) seems to be some attempt to conform to a base level of consistency, so that confusion is kept to a minimum but, crucially, some sense of individuality is also retained. Everyone on these pages is great, bringing solid skills to the service of pages packed with detail and information which, in lesser hands could have been inert and dull. It would be rude to pick a favourite, but luckily I am a rude man so, in a close contest Henry Flint wins; he does so purely because his style so strong and he finds room to unobtrusively include playful visual quotes from Frank Miller at least three times - the Prague enclave's architecture is straight out of RONIN; a bed in a hotel is the “heart” bed from SIN CITY; and his ladies lips are HELL AND BACK lips if ever I saw 'em. Dave Taylor and Edmund Bagwell provide art on a couple of post Chaos Day tales and the cleanliness and lightness of their approaches act as a welcome respite from all the darkness prior. Did I mention DAY OF CHAOS was dark? I know I forgot to mention it was VERY GOOD!

JUDGE DREDD by Flint, Wagner, Blythe & Parkhouse

Now, I believe the two volumes above have been recently released in North America in TPB format, but that's not the format I read them in. No, because I am Special my books form part of the Judge Dredd Mega Collection partwork (4) published by Hatchette/Rebellion. This is a proposed 80 hardback volume set of reprints of Judge Dredd strips, each fortnightly volume being organised by theme/storyline. They are not released sequentially - the 49 and 50 refer to where they will fit in the final collection. Anyway, this Judge Dredd Mega Collection has settled in at £9.99 an issue. And as I say, they are hardbacks, which is always nice, and they have a uniform trade dress with the spine building up a picture of 2000AD characters (rather than just Dredd characters for some reason; also this makes it hard to find a particular story, but I think if that's the most pressing of your concerns you are blessed indeed). None of them have fallen apart yet and despite the paper smelling like you suspect that bloke who fell in the radioactive waste at the end of Robocop did (i.e all chemically), everything seems sturdy enough. Obviously the newer stuff reprints better than the old stuff but them's the breaks. I'll be sticking with the series as long as I can and if you want me to look at any of the other volumes let me know, I'm only too happy. Actually, happy might be a bit strong. Not unopposed to the idea, say. Or I might do it anyway. Let's be straight here, I'm not your slave, pal!

But I am a slave to – COMICS!!!

(1) No evidence has been found to back up the fact that this is indeed an ancient Chinese curse. The source seems to have been mistranslation, or invention, on the part of Westerners resident there. Still a nifty saying though. Gremlins are real though, right? (2) Judge Thoreau would likely have been expelled from The Academy of Law after the first semester and strongly encouraged to take his fancy schmancy ideas with him on The Long Walk; bringing law to the lawless in the Cursed Earth until death. (3) Winningly, it has completely slipped the Sovs' collective mind that they initiated the Apocalypse War and the truth has become twisted so that they are now the victims. I'm not entirely unsympathetic, Dredd went a bit far but, y'know, you get in the pit you got to face the bear. If it gives you a bloody good mauling it's on you. (4) See, it's okay getting away with all these allegedly illegal wars and allegedly illegal drone killings and giving yourselves an 11% pay rise then voting for a Benefits Cap and selling bits of us to China and demonising the poor and allegedly sticking your bits in dead pigs mouths but what they forget, what they always forget, is one day they might need We, The People to trust them. And that trust just isn't going to be there. Because no one ever gets away with anything. (Except whoever did for Red Rum, obviously). (5) Partworks have experienced a resurgence of late but they were a staple in the 1970s when it would be possible to build, oh, say for instance, a replica of Hitler's skeleton by purchasing 206 fortnightly volumes. The first volume (Hitler's skull) would be offered at a knock down price, the second volume (Hitler's femur, say) at a slightly higher price, with the regular price kicking in around the third volume. Eventually part work fatigue would set in as people would get tired of paying for each of Hitler's vertebrae and the series would quietly disappear from the newsagents. In the 1970s a cardboard box containing an unfinished Fuhrer skeleton was a staple of most homes. At least that's how my dad explained those bones in the back of the cupboard that time. In retrospect, thinking about it now, I'm having my doubts about my Dad. He was away from home a lot...Oh.

Wait, What? Ep. 128: Radical Cheek

Giffen doing Kirby in the amazing MOTU: Origin of Hordak one-shot.

Delays, delays, delays!  Sorry for 'em--I was out of town for a few days losing money at "The World's Biggest Little Slot Machine Gouge."  No complaints on that front, actually -- I spent much more time lying by the pool and eating cinnamon rolls the size of my head than I did setting my money on fire and throwing it in the air (metaphorically, mind you: it only felt like that because of the speed with which it disappeared out of my hands) and had really a fine old time overall -- but it did get in the way of timely posting of this, our 128th podcast and the one right before we take a week off.

Join me after the link, won't you, for some hasty show notes as I get ready to hustle my butt out the door?  (Hey, it is New Comics Day, you know!)

0:00-60:35: It's a new record: we go from complaining about the Internet to Age of Ultron #10 in under two minutes!  Yes, if you like hearing Graeme and Jeff wax rhapsodic about the possibilities of comics, this most certainly is not the segment for you.  I wish I could summarize everything said in this segment for you but let's just say -- if you had a complaint about Age of Ultron #10, we probably cover it in here. 60:35-1:06:41: Graeme was also non-pleased with a recent scene in Uncanny Avengers in which Rick Remender discusses his earlier controversial scene with a certain degree of, um, straw-mannishness, shall we say? I have a helpful image to illustrate! 1:06:41-1:16:59:  In the "stuff we need to talk about but have no idea how to actually talk about" department, we spend far too few minutes discussing Kim Thompson's passing and how much the contemporary comic market owes to him. 1:16:59-1:27:51: And then after contemplating comics and mortality, it's time to discuss the first six issues of Superman/Batman by Loeb and McGuinness. Graeme's version of Jeph Loeb's storytelling is actually better than the last three Loeb stories Jeff has read. 1:27:51-end: Other comics:  Masters of the Universe The Origin of Hordak one shot by Keith Giffen; Shade The Changing Man #2 by Steve Ditko and Michael Fleisher (see photo below of page discussed in the segment); The Ditko Public Service Package by Steve Ditko; Empowered Deluxe Edition Vol. 2 by Adam Warren; Batman & Batgirl #21; the currently gorgeous looking Judge Dredd story by John Wagner and Dave Taylor currently running in 2000 A.D.; and a Best of 2000 A.D. reprint I sprung on Graeme to see if he knew it:

(Do you think he'll be able to identify it? Tune and in see!)

And so, that's the ep! It'll probably be available on iTunes by the time you check this out, but it should also be available to you right here, right below:

Wait, What? Ep. 128: Radical Cheek

Remember, Graeme and I won't be recording this week, so there'll be no podcast next week, but we should be back after that to begin the whole cycle anew.  As always, we hope you enjoy, and thanks for listening!