"...Gimme A Circus Like This Anyday." COMICS! Sometimes We're In Like Flint!

There's a little bit of Dredd in this one, a smidgeon mayhap. However there is a whole lot of Carlos Ezquerra and he's really making his computer colouring work in this one. Some real freaky skyscapes going on in the background of these panels. If you're a Carlos Ezquerra fan you'll probably want to pick this one up. Oh, looks like I started the review early, better put the rest under the jump. See ya, wouldn't want to be ya! CURSED EARTH KOBURN by Carlos Ezquerra

Anyway, this…

THE JUDGE DREDD MEGA COLLECTION REVIEW INDEX

JUDGE DREDD: THE MEGA COLLECTION Vol. 67: CURSED EARTH KOBURN Art by Carlos Ezquerra Written by Gordon Rennie Lettered by Ellie DeVille and Annie Parkhouse Originally serialised in JUDGE DREDD MEGAZINE 211-212, 221-223, 228, 239, 241-244, 314-318 & 361-364 © 2003, 2004, 2005, 2006, 2011, 2015 & 2016 Rebellion A/S Hatchette Partworks/Rebellion, £9.99 (2016) JUDGE DREDD created by Carlos Ezquerra & John Wagner

‘Cursed Earth Koburn’ mostly features the exploits of circuit-Judge Koburn, rounded out by a Dredd adventure featuring the vengeful El Maldito. Both Koburn and Maldito hark back down the ages to Battle Picture Weekly and the strips 'Major Eazy' and 'El Mestizo', both of which were created by Carlos Ezquerra and Alan Hebden. I’ve written some slapdash slop about 'Major Eazy' before HERE, but just to recap for those too busy to click on a link: Major Eazy was a laid-back one man attack, as anti-authoritarian as he was effective in taking the fight to the Nazis. And since he was very effective indeed he was very anti-authoritarian indeed, as many a weak chinned officer type found out to his stuttering chagrin. Like most of Battle’s characters he was a direct reaction against the bright eyed and bushy tailed Tommy pushing back the baddies for God, Queen and Country, always with that distinct sense of good sportsmanship which defines the British in their own minds but in no one else’s. In comparison Major Eazy would fuck you up, and fuck you up good and he’d do it quick and nasty too. Because in war you get the job done, you don’t stop and have tea and scones while you do it. Visually Eazy was modelled on David Niven, as any fool knows. No, it was the American actor James Coburn (1928-2002), an actor with an easy-going and thoroughly amiable but subtly malevolent, screen presence., Despite apparently being born with the teeth of  a much larger man the ‘70s were good to James Coburn, indeed as they were to British comics, and so the latter plucked the former’s iconic image from Peckinpah’s Cross of Iron and plunked it in a strip for kids, probably about 50 seconds after Hebden and Ezquerra left the movie theatre, since both film and character appeared in 1976. Which is why Eazy wears a German cap, usually pulled down over his narrow, calculating slits for eyes. He also usually has a cheroot drooping from his slim lip because Coburn was a keen smoker both on screen and off.

CURSED EARTH KOBURN: KUSS HARD by Ezquerra, Rennie and Parkhouse

If you buy the Arrow blu-ray of 'Bring Me The Head of Alfredo Garcia' not only will you have bought the greatest movie about Warren Oates and a head in a bag ever made, but you also get the documentary about Peckinpah, 'Man of Iron', in which Coburn probably appears, smoking. It’s highly likely because if you do buy that blu-ray (which I think you should. NOW!) you also get a disk with 10 hours (1!0! H!O!U!R!S!) of interviews, from which the contents of the doc are culled. I’m far too busy being a supercilious prick to have watched this yet, but I did treat myself to the first 30 mins or so, in which James Coburn appears, smoking. He is also, obviously, awesome.  He is so awesome in fact that after a few seconds it’s like you’re sat opposite him while he suavely drawls about the past, smoking. So convivial is his company that at one point I almost tapped him for a smoke, then I remembered it was a recording, he’d been dead for 15 years and I no longer smoke. He’s a funny one because you always think he just showed up and did his stuff, but the interview reveals him as a proper artist with thoughts about his art and a real interest in the art of moviemaking. I mean, I never realised this, but James Coburn was second unit director on 'Convoy'. The last thing I ever envisaged James Coburn doing was sitting on a water tower waiting for instructions via walkie-talkie (like a mobile phone, kids) so he could film footage for one of Sam Peckinpah’s shittiest films. Man, the dude really dug Peckinpah. Oh, he also reveals what the ending to 'Cross of Iron' means, which is something I’ve been puzzling over for about four decades. (SPOILER: It’s hilarious, after all these years it turns out that the ending to 'Cross of Iron' means that Peckinpah set Coburn and Maximilian Schell loose on a set of exploding scrap until something happened. What happened was that Schell’s prop gun fell to bits in his hand and Coburn laughed his ass off in response. That’s it. Brilliant.) Basically James Coburn was awesome, and this was duly recognised by the Academy in 1998 with an Oscar® for his role in 'Affliction'. (Which is a great movie; one that should be on Blu-Ray, people!)

CURSED EARTH KOBURN: KUSS HARD by Ezquerra, Rennie and Parkhouse

I don’t really know where I am now, uh, Major Eazy was based visually on James Coburn? Which is why Koburn is called Koburn. According to the interview with Rennie in the back of the book they tried lots of variations along the lines of “Eazy” but went with Koburn, which works. Turns out a fan suggested Ezquerra bring Eazy back, and that was Rennie’s impetus for introducing the basic character to the world of Dredd. The first strip “Sturm Und Dang” sets out the characters’ stall. Dredd is on a hotdog run with some cadets and picks up Koburn along the way. Koburn knows the territory because he’s a cursed Earth circuit-judge, a kind of itinerant sheriff with a given area to patrol. This set-up  allows Rennie to play Koburn’s slackness off against Dredd’s rigidity, to effectively define how the character works. It’s a smart move. Key is the fact that both Dredd and Koburn get the job done. It’s no good being a laidback dude if you can’t snipe a guy’s eye out from two klicks at the drop of a hat. Koburn’s all pose but underneath his cool poise you just know he’s like a cat in a room full of rocking chairs (© Traditional). All Dredd can see is infractions of Dress code and lack of respect.  But who ends up in a bath chair with a broken leg fighting a Panzer and who sashays his way through storms of bullets while barely breaking a sweat? That’s right. Oh, the panzer? Oh, yeah they are up against Comedy Nazis which isn’t ideal for me, because I’m not that into Comedy Nazis since that logically leads to Comical Concentration Camps and I have a hard time squaring that particular circle. And yet, I guess, yeah, it does acknowledge the roots of the character in a cheeky winkeyty-wink kind of a way, and no one gets hurt. Except the comical Nazis who get comically dead. Ezquerra is obviously having a whale of a time and gives The Cursed Earth his unique sheen of grubbiness while revisiting his war comic past, but with a quirky twist of Dredd. GOOD!

CURSED EARTH KOBURN: STURM UND DANG by Ezquerra, Rennie and Parkhouse

Next up is “Kuss Hard” in which Koburn gets a partner. Typically this is a female Judge, Judge Bonaventura, who is a bit more rules orientated than her shabby new partner, and so she’ll be getting a lesson in how things work in The Cursed Earth, dang straight! We get a bit of low-comedy where she walks in on Koburn being ridden by a Rubenesque whore and she’s all “Oh, my!”  She’s a straight arrow, see. Did you get that? The mis-matched (sigh) pair set off on the trail of The Kuss Brothers who are suspected of Organ-Legging and are regulars on Koburn’s patch. To be honest Rennie seems to get distracted early on in this one and it all just sort of happens without any weight to anything.  There’s a weird bit where Koburn visits the Brothers’ mom at the unsavoury jail she runs. When she’s less than forthcoming Koburn releases all the inmates and it’s like Rennie forgot Koburn was a Judge or something. He’s not some wandering vagabond laying down the law in his own special way; he’s a Judge! Even better (i.e. worse) their mom’s totally superfluous to proceedings, and it all ends, as it should have done a lot earlier, in a fight in a meat packing factory. It’s all a bit uninspired and flabby, which is unfortunate so early in the character’s run. But it does introduce Bonaventura for Koburn to play off, and old fogies will realise belatedly that she’s just a sex-swapped update of Sgt Daly, Major Eazy’s long-suffering subordinate.  (Later I think Eazy acquired an Arab chap who liked cutting Nazi throats, but there are probably some things we should leave to the ‘70s. Despite what UKIP think.) OKAY!

CURSED EARTH KOBURN: BURIAL PARTY by Ezquerra, Rennie and Parkhouse

“Burial Party” is up next, where Rennie widens the cast of the series to include Koburn’s fellow circuit-Judges, all of whom are either scarred or a bit nuts as befits the harshness of their lives. It’s a nice piece with drunken silliness giving way to sober reflection on occasion, as everyone drinks around the corpse of a fallen Judge, a blatant reminder of how they’ll all end up.  Despite being mostly set in one room with a fixed cast all wearing very similar clothes, Ezquerra’s art is so good at making even the mundane visually interesting with his bold feathering and attention to grimy detail, it never feels visually constrained in the least. GOOD! Having established, koburn, Bonaventura, and their fellow circuit-Judges Rennie goes on to show us one of their regular duties in  “The Assizes”. Titled after a now defunct British legal term describing courts held periodically around the country, The Assizes shows us Koburn doing precisely that small-scale  King Solomon shtick in some Cursed Earth armpit of a town. The complaints of the scabby citizenry are of the "humorous" kind and are probably really funny if you think people fucking animals is hilarious. It’s the kind of stuff that would make Garth Ennis shoot Guinness out of his (broken) nose. Still, Ezquerra has fun, and it’s always nice to see his never entirely-absent skills as a caricaturist slide to the fore. Hit and miss stuff, basically. So little is there to “The Assizes” that a substantial part of it is the prologue to the next story.  OKAY! “Malachi” is that next story and it’s where Rennie starts trying to inject some seriousness into his so far largely light-hearted strip.

CURSED EARTH KOBURN: MALACHI by Ezquerra, Rennie and Parkhouse

Malachi is some dude who encountered Judge Death and, well, unlived to tell the tale. Now he roams about killing everything he meets while saying spooky things in those spooky word balloons that make spooky words everso much more spooky!  I think he’s the physical manifestation of the hate The Cursed Earth dead hold for the living.  Or something. It’s not entirely clear, but what is clear is nothing can kill him and he’s headed straight for Koburn and Bonaventura. Which is unfortunate as Koburn and Bonaventura are currently looking in on Spring Seeds, a Juve Offenders facility. This means there’s a lot of kids for Malachi to mangle unless someone can stop him, which is going to be tough as Malachi, as is demonstrated by his run-ins with the circuit-Judges introduced in “Burial Party”, is unstoppable. Just so we care, Rennie gives us a tough Juve who may be salvageable and his pregnant girlfriend to root for. Pregnant? Yes, even in a Juve Offenders facility nature finds a way. Which is not too big a surprise as later when Malachi bursts into the girls dorm they are squealing in negligees like someone got 'Porky’s' and 'Friday The 13th' mixed up. Negligees in a Cursed Earth Juve Offenders facility! Oh, Carlos Ezquerra, you cheeky Spanish rogue! There’s a real feel of impending doom, some characters to care for, a sense of jeopardy and a genuine question about how Koburn can stop such an unstoppable force. In the interview Rennie says the more serious strips don’t work as well, but I’d have to disagree here. GOOD! Blimey, this is a proper slog isn’t it? Last push, everyone!

CURSED EARTH KOBURN: GOING AFTER BILLY ZANE by Ezquerra, Rennie and DeVille

In the final Koburn tale, “Going After Billy Zane” Rennie cranks up the seriousness and sets up a creepy tale in which the past which haunts the present bares its teeth. Koburn teams up with Judge Rico (who is basically another clone of Fargo; a younger Dredd) to track a Citi-Def squad lost on manoeuvres in The Cursed Earth. Unfortunately the Billy Zane Block Citi-Def squad are not lost but are tracking a distress signal, a distress signal sent by a man who died twelve years ago. Obviously they don’t know that, but we do. The squad are led by a female leader who lost her kids twelve years ago, the man who died twelve years ago was the Judge who broke Koburn in and, uh, about twelve years ago Rico had doubts about his lineage. (The original Rico being Dredd’s bent Judge brother. Judge Dredd's favourite joke: "My bent Judge brother has no nose! How does he smell?...") Which kind of reflects the strip in essence. That is, it struggles to link everything so that there’s a true sense of things coming full circle, a sense of inevitability but it..just…can’t…quite…make it happen. Which is a shame, because there’s some strong stuff on these pages. Strong enough certainly to entertain but not any stronger than that, alas. Ezquerra’s pours the creepiness on this one with a great inky ladle, making rocks and crevasses look far more menacing than you want them to . There’s a surface sense of unease and an undercurrent of violence running through all Ezquerra’s art here. The big noses and whiskery  comedy chins stay at home and he breaks out the shadows and silhouettes to unsettling effect. The strip peters out on a cliff hanger which is as yet unresolved, but even that seems appropriate to the sense of amorphous menace it seeks to convey. Koburn’s last outing is GOOD!

JUDGE DREDD: EL MALDITO by Ezquerra, Rennie and Parkhouse

Yes, that was Koburn’s last hurrah but there’s still one story to go: “El Maldito”. This strip is interesting for a couple of reasons, the most obvious of which I’ll save ‘til last. In this one a spooky figure is wading in on the side of the workers at a food processing facility in The Cursed Earth. What’s interesting here is that it’s not often that you see something so “up the workers!” in comics these days, which I find both odd and troubling. Mostly because this silence seems to reflect the increasing belief that somehow unions are bad things. Over here the papers (who are all to a greater or lesser extent in hock to tax dodging billionaires with their own freedom stifling agendas) endlessly roar at any and every episode of industrial action. And the vox pop is less than ideal, “how dare they inconvenience me!”, “I wish I could have the day off work!” and all that cretinous rot. Hey, poncho, I’ve been on strike. I’ve been on strike more than once, and I’ll let all you vox pop nincompoops out there into a little secret: you don’t get paid for strike days. And if I could afford not to get paid, pal, I wouldn't go to work. Those people striking? They are making a personal sacrifice to protest some form of injustice or proposed measure which will erode the safety of all involved. So, think on next time. Anyway, here we have a bunch of “peons” striking and acting up and generally getting in the way of business. Obviously that can’t stand, so the company send in the men with the batons. Apparently these workers want conditions improving or fair pay or somesuch socialist snowflake nonsense. Probably want treating like human beings or some other pie in the sky shit. So the plan is as ever, a few heads get cracked, names are named and the ringleaders get rounded up and hey ho we can all get back to work. Or you can. I’ll just spend all this lovely money while you put your back into it.

JUDGE DREDD: EL MALDITO by Ezquerra, Rennie and Parkhouse

Unfortunately a lot of companies mistake salaried employment for indentured servitude, and even more unfortunately a lot of governments are happy to let them. Oh, don’t worry, my right wing chums, I’m fighting a losing battle. It’s okay, don’t ruffle your share portfolios over it; you’re winning while I’m whining. Today Theresa May sent her letter triggering Article 50 which will see us begin to leave the EU. Yes, we’ll be leaving all that “red tape”, all those pesky regulations that gave us holidays, safe working conditions and kept our food safe are all up for grabs now. And the Tories have the whip hand. So, yeah, good times ahead for people who want more human faeces in their drinking water and horse meat in their Bolognese. Regulation! Pah! Who needs it! Personally I think we should just go the whole hog and bring back hanging, National Service and 'The Black and White Minstrel Show'. Say, did you see that shit about “Empire 2.0”? And that’s the grown-ups in charge that is. I despair, I honestly and utterly despair. I also lose my track but always find my way back. The strikers are helped by this spooky figure who comes in times of need, this El Maldito. The company has Judge Dredd. Sparks fly and symapthies may not lie entirely where you expect. It’s a decent strip with good points to make about industrial relations, but Judge Dredd survives a massive explosion, uh, because, and the subplot about the guy and his kid doesn’t gel but, y’know, fun is had and salient points are made, so GOOD! Oh, the other interesting thing (besides how irritated you got when I went on about strike action) is that El Maldito is a tip of the hat to 'El Mestizo', which like 'Major Eazy' ran in Battle Picture Weekly. Unlike Eazy this was set in the American Civil War and involved a black slave turned mercenary having weekly and very violent adventures. Yeah, a black slave , and if you started any of that moaning about pandering to Social Justice Warrior Snowflakes shit he'd have stuck a stick of dynamite up your arse and kicked you off a cliff. And quite right too. Unfortunately while I do remember the strip, all I can remember is he looked like Jimi Hendrix as dressed by Sergio Leone and was balls cool. Although it was the ‘70s so we probably would have said he was “jolly spiffing” and then laughed at some homosexuals on TV. Since there were only 16 episodes someone should collect the 'El Mestizo' strips so I can buy them, you know, with money I earned while not striking. HAH!

CURSED EARTH KOBURN: GOING AFTER BILLY ZANE by Ezquerra, Rennie and DeVille

NEXT TIME: If I don’t end up in jail for sedition, it’ll be more Judge Dredd and thus more COMICS!!!

"...Do Not Adjust Your Brains!" COMICS! Sometimes "M-O-O-N" Spells “Moon”, Despite What Tom Cullen Thinks.

Judge Dredd on the moon. That's it. JUDGE DREDD: DARKSIDE by Marshall

Anyway, this…

THE JUDGE DREDD MEGA COLLECTION REVIEW INDEX

JUDGE DREDD: THE MEGA COLLECTION Vol. 80: DARK SIDE OF THE MOON Art by Paul Marshall, Peter Doherty, Laurence Campbell, Lee Townsend, Brian Bolland, Mick McMahon and Ian Gibson Written by John Smith, Rob Williams, John Wagner and Gordon Rennie Lettered by Tom Frame, Ellie De Ville, Tony Jacob and Simon Bowland Colours by Alan Craddock, Peter Doherty and John-Paul Bove Originally serialised in 2000AD Progs 47, 50-52, 57, 1017-1028 & 1468, JUDGE DREDD MEGAZINE 328-331 © 1978, 1996,2005, 2012 & 2016 Rebellion A/S Hatchette Partworks/Rebellion, £9.99 (2016) JUDGE DREDD created by Carlos Ezquerra & John Wagner

JUDGE DREDD: DARKSIDE Art by Paul Marshall Written by John Smith Coloured by Alan Craddock Lettered by Tom Frame Originally published in 2000AD Progs 1017-1028

JUDGE DREDD: DARKSIDE by Marshall, Smith, Craddock and Frame

The order of these stories are all to cock chronology wise. The earliest Luna-1 stories are later in the book. I'm not sure why that is but we start with another disappointing John Smith Dredd outing. All the more disappointing because there are some pretty nifty elements here, but it all fails to gel. Someone is murdering people on the Luna-1 colony, someone with Judge Dredd's DNA! Worse, old Stony Face is actually on the moon pursuing a perp while also accompanying Psi Judge Hassad who has had “premonitions of a premonition”, so it could actually be Dredd. In fact who else could it be? It's a really promising set-up, but Smith fails to capitalise on it and plays his hand far too soon. What you end up with instead of a murder-mystery is a lot of running about bumping into call-backs to older, better stories.

JUDGE DREDD: DARK SIDE by Marshall, Smith, Craddock and Frame

He's aided and abetted by Marshall's clean line and chunky directness, which in turn is lent pizzazz by Craddock's vivid colours, which include photographic elements. The colours give it an otherworldly touch and the art successfully casts everything in a serio-comic mode. But it's all for naught as the tale is torpedoed by Smith's failure to balance his disparate elements. Usually his blend of comedy and horror is jarring, but intentionally so. Here his hands are too heavy on the horror and the humour both; resulting in a tonal roller-coaster of brutal murders which keeps ploughing into the candyfloss stand of the overly broad comedy, because for some reason it's on the track instead of down below next to the boating pond. Some of this sense of humour failure stems from Smith's distaste for the Judicial System; having Dredd interrogated by a Teutonic sadist complete with monocle and duelling scars is slapstick rather than satire. Some of the sense of humour failure is...well, inexplicable really; Psi Judge Hassad's a step too close to the old “Dearie Dearie me!” stereotype for comfort, never mind comedy. (Later we'll see some more unfortunate stereotypes; being white, male and totes privileged I'm willing to give stuff from the '70s a grudging pass, but not from the '90s.) I get the impression John Smith doesn't enjoy writing Dredd much, which is fine, each to their own but unfortunately more often than not it ends up with the reader not enjoying reading Judge Dredd. That’s less than ideal. EH!

BREATHING SPACE Art by Peter Doherty,Laurence Campbell and Lee Townsend Written by Rob Williams Coloured by Peter Doherty Lettered by Ellie De Ville Originally published in 2000AD Progs 1451-1459

BREATHING SPACE by Doherty, Campbell, Townsend, Williams and De Ville

Regular Squaxx dex Kano will know that in the comments we've been having a bit of a think about who “gets” Judge Dredd; it being a bit of a notable failure on the part of some Dredd scribes. Turns out it's a matter of opinion! Anyway, here we have a good way of avoiding that problem; Judge Dredd isn't in Breathing Space. It's a space-noir which uses the enclosed environment of Luna 1 to excellent advantage. The newly appointed Chief Marshal of Luna 1, Judge King, steps onto the lunar surface and straight into a mess of corrupt Judges, corporate backstabbing and...MURDER! In a nice tip of the space-fedora to SUNSET BOULEVARD the story starts with a dead man, and then we go back and see how he ended up there. It's not so much whodunnit as a whydidhedowhathedunnit. Any greater detail risks an eruption of the Thrill Suckers' ambrosia – SPOILERS!

BREATHING SPACE by Doherty, Campbell, Townsend, Williams and De Ville

For such a sweet read it's odd to find in the text at the back that Breathing Space had a troubled gestation. Due to illness Doherty (he got better; don't send cards) draws only the initial episodes but Campbell & Townsend pick up from him so delicately that you barely sense a switch in style. Although episodes appeared regularly, apparently it was written over three years (by which I mean there was a ruddy great hiatus in there, not that Williams' was honing it over a three year period like some kind of Joycean perfectionist; as good as it is it's still space-noir not ULYSSES, people), but you'd not guess as the pared down style reads smooth as a successful getaway. The consistency is helped no end by Doherty's continued presence as colourist; his use of a strictly limited and thoroughly muted palette sets a suitably sombre tone for the dour proceedings. The whole thing zips glumly along and Williams' intelligent plot is peppered with characters just the right side of caricature, there's some nifty misdirection and the vital plot point is rooted firmly in the “Dredd” universe. Placed as it is after Smith & Marshall's misfire of dayglo clowning the success of Breathing Space's restrained doom-mongering seems all the greater. There's no Dredd in it but it's still VERY GOOD!

Thus starts a brief run of the original Luna 1 stories. It's not all of them; just those with art by Brian Bolland, because everyone likes to remember when you would get weekly doses of Bolland Thrill-Power. Fat chance of that now. I'll burn through these, because they are from that period when Dredd was finding its feet as a strip. Any elements that have survived into the Dredd canon (NOT cannon; that's a thing that fires projectiles. Make a note of that.) are sparse, since even for a strip which delights in exaggeration as Dredd does, Wagner is so far over the top here he risks clipping the moon itself.

JUDGE DREDD: LAND RACE Art by Brian Bolland Written by John Wagner Lettered by Tony Jacob Originally published in 2000AD Prog 47

JUDGE DREDD: LAND RACE by Bolland, Wagner and Jacob

The Land Race is a riff on the American West tradition of the first person to stake a claim on a piece of land getting to own it. (And by “people” I mean European immigrants; the native Americans were not consulted. I always like it when the Americans descended from European immigrants get all pinch-arsed about immigrants. Dunces.) Bolland has fun designing the vehicles driven by the prospectors, but the mayhem soon gives way to a protracted scene involving an old woman being mind controlled into signing her land away. Amusingly the bad guys are from Interstellar Psionics Corporation, i.e. IPC (the then publishers of 2000AD). There's also a panel of Judge Dredd's head in the corner of which is an X-Wing from the children's entertainment STAR WARS. I think this was to do with a Competition at the time; where you had to find these scattered through the comic to win...er...something to do with STAR WARS. George Lucas' bum fluff? I don't remember that bit; the prize. Unfortunately, we also see here the two Mexican Judges who are, uh, a bit stereotypical what with the sombrero, 'taches and the “Thees” and the “heem”s. Weird in that way only kids '70s could be Walter The Robot gets a girlfriend in the form of Rowena The Robot. Best of all though we discover that Judge Dredd's palate is so disciplined that he can tell the difference between man-made cookies and those made by a robot. Personally I think more should have been made of this and Judge Dredd hereafter is a lesser character without his cookie tasting skills. Trains not taken, eh? All these things are more interesting than the story which is just a lively entertainment, wonderfully drawn by Bolland. But there are worse things to be than entertaining and drawn by Brian Bolland so OKAY!

JUDGE DREDD: THE FIRST LUNA OLYMPICS Art by Brian Bolland Written by John Wagner Lettered by Tony Jacob Originally published in 2000AD Prog 50

JUDGE DREDD: THE FIRST LUNA OLYMPICS by Bolland, Wagner and Jacob

Not much to this one beyond Bolland's reliably exemplary art and a horrifically un-Dredd moment. Most of it is a lot of simple jokes about The Olympics. The Sov competitors are full of drugs, and the bits that aren’t full of drugs are mechanical; the high jump is very high because of the low gravity; etc etc. Wagner nails the commentators' voices, and the jokes are mildly amusing jokes, but to his credit it's all a feint because at strip's end Dredd starts a war with the Sovs by accidentally shooting a Sov Judge. It's clearly an accident and the Sovs are over reacting, but Judge Dredd? An accident? Get outta town. I think this is the first appearance of the Sov Judges and Bolland totally nails their appearance; so much so that they have barely changed over the ensuing decades. I particularly like the way their helmets echo those odd toppings on the Kremlin. I thought I might have to do a quick run down of The Cold War and how America and Russia's nuclear cockfencing endangered the whole world. Luckily I don't have to because Putin and Trump have brought it all back. Personally I'd have preferred the return of the Rubik's Cube but there you go, they didn't ask me. Some okay jokes and a super unexpected cliff-hanger, with Bolland's comical realism on top like a tasty Kremlin Onion, is OKAY!

JUDGE DREDD: LUNA-1 WAR Art by Brian Bolland Written by John Wagner Lettered by Tony Jacob Originally published in 2000AD Prog 51

JUDGE DREDD: LUNA-1 WAR by Bolland, Wagner and Jacob

WAR! HUH! Oh, you know that song! In the future Luna 1 War tells us, “Wars today are NO LONGER FOUGHT BETWEEN VAST ARMIES, But by Combat units consisting of FOUR SOLDIERS and one reserve!” This idea doesn't last any longer as the duration of this strip (The Apocalypse War certainly seemed more substantial than a ruck in a pub car park.) but it is a good idea nevertheless. Dredd watches from the side-lines saying awesome things like “We're no better than The Sovs. They use war as an excuse to grab land – we treat it as a GAME!” I'm a-okay with eight year olds reading that despite how it may sound to sophisticated twenty year olds and up. So you can stop rolling your eyes, pal. Anyway, the Sovs are a bad lot so they spike the M-C1 reserve with a “Hypo-Dart”. Big Mistake. Judge Dredd dons a suspiciously Dan Dare-esque helmet and gives those unsporting Sovs' hides a good tanning. For two issues now we've had to “listen” to Wagner's excellently aggravating sports caster (Bolland makes him look like a certain Daily Planet stringer. Heh.) so on our behalf Dredd chokes him with his own mike, turns to the audience and spits, “War is POINTLESS. War is EVIL. WAR IS HELL!”. Hey, sometimes the truth doesn't need nuance. GOOD!

JUDGE DREDD: THE FACE-CHANGE CRIMES Art by Brian Bolland Written by John Wagner Lettered by Tom Frame Originally published in 2000AD Prog 52

JUDGE DREDD: THE FACE-CHANGE CRIMES by Bolland, Wagner and Frame

Unlike the concept of war as a 10 man sporting event, the idea introduced here would persist for the duration of the Dredd strip, causing no end of bedevilment for our future Lawman. It does what it says on the tin, this face-change technology. So here we start with a bank robbery by Laurel and Hardy with Charlie Chaplin, where the robbers evade capture after a bit of !presto-changeo! by being evacuated with the faces of the (3) Marx Brothers. Needless to say Bolland's art is every bit the perfect fit for the bizarre sight of dead 20th century comedians robbing a future bank on the moon. Luckily Judge Dredd has a somewhat unlikely knowledge of deceased 20th Century Comedians and quickly zeroes in on his suspects. Freed by their lawyer, who is a dead ringer for the famous actor and acromegaly sufferer Rondo Hatton, Dredd is left kicking his heels but..."TWO CAN PLAY A DIRTY GAME…!", and he doesn't mean nude Twister. This is a fast and fun one, with Bolland's realism coming to the fore to underscore the visual lunacy of what's going on. You know, VERY GOOD! Personally I feel more could have been made of Dredd's credulity stretching knowledge of 20th Century trivia; it could perhaps have been combined with his amazing ability to tell who cooked what he's eating in order to solve future crimes. On second thoughts we're just a touch of smug irony away from a Matt Fraction Image comic, so forget I said anything. The world doesn't need any more of those.

JUDGE DREDD: THE OXYGEN BOARD Art by Brian Bolland Written by John Wagner Lettered by Tom Frame Originally published in 2000AD Prog 57

JUDGE DREDD: THE OXYGEN BOARD by Bolland, Wagner and Frame

This strip is where the young John K(UK) was infused with a life-long detestation of the Free Market philosophy so beloved of soulless cankers who walk like humans. Regulation isn't the enemy, greedy psychopaths are. Sure, I know, I know, if we just leave the provision of services to find its own level no end of good will result. After all, human behaviour is improved no end by the possibility of earning ridiculous amounts of money without obstruction. And if you believe that fairy story/self justificatory pile of horse apples you probably think you can eat the moon on crackers. Anyone who has ever ridden a train in England or received a utility bill know that The Oxygen Board isn't just a possibility; it's inevitable. You also know that Free Market philosophy makes about as much sense as wearing hats made of shit. And if they could charge you for it they'd tell you that was a good idea too. And some of you would do it too. So, uh, yeah, on the moon, oxygen is piped in and billed and if you don't pay your bill...well, that's on you! It's a wicked and powerful punchline most writers would make much hay out of, but Wagner slaps it at the end of a tale of thieves who have robbed the very Oxygen Board itself. Their ironic comeuppance turns the whole thing into a darkly prescient parable. It's drawn by Brian Bolland too, and if that's the only thing that gets people looking at what is a tiny masterpiece then all the better. VERY GOOD!

JUDGE DREDD: FULL EARTH CRIMES Art by Mike McMahon and Brian Bolland Written by John Wagner Lettered by Tom Frame Originally published in 2000AD Prog 58

JUDGE DREDD: FULL EARTH CRIMES by McMahon, Wagner and Frame

This one is better than its simple premise might indicate. On the moon people go loco at Full Earth like people are purported to do on Earth when the moon is full. We then get a conveyor belt of crimes punchily slapped down by the living genius Mike McMahon. It's a succession of funny future crime set-ups each followed by a Dredd-is-a-hard-bastard punchline. E.g Dredd saves a leaper but then gives him 90 days Penal Servitude for public nuisance. Wagner doubles down by having a lady bystander tell Dredd off, because the guy is clearly not the full shilling, only for Dredd to fine her 2,000 Creds for obstructing Justice. Then, with a poker face like iron, Wagner TRIPLES down and when she complains Dredd ups the fine to 4,000 credits. Actually, it is quite funny now I think about it. There’s a bunch of that kind of thing before Dredd goes home exhausted. It's just a string of jokes really, with the double page opening by Bolland and the actual meat of the story by Mike McMahon. Call me unstable but I will always have room in my mind for the final panel where Walter faithfully tucks a blanket around “Dear Judge Dwedd...” OKAY!

JUDGE DREDD: GLOBAL PSYCHO Art by Ian Gibson Written by Gordon Rennie Lettered by Tom Frame Originally published in JUDGE DREDD MEGAZINE #328-331

JUDGE DREDD: GLOBAL PSYCHO by Gibson, Rennie and Frame

Oh, thank Grud. We’re nearly at the end! Oh, you're all feeling the fatigue, what about me? I went to C**********d and back halfway through writing this (round about the Luna-1 War bit) because people think I have to contribute to the social life of the family or something! It was cold and windy enough to require my big coat too! Straight back with “school shoes” and here I have to go on about Gordon Rennie, while fielding black looks from the person cooking the tea. Anyhoo, Judge Dredd is outfoxed by a serial killer in a oner which sets up the somewhat chunkier one which follows on below. Ian Gibson draws in his kind of diseased kid's illustrator style and once again his colours are a delight of polished inkwashes. The most interesting thing for me with Global Psycho is the fact it shows a bum and a bit of tit on a killer's strung up victim. We didn't need a bit of bum and tit in my day! Not in Judge Dredd anyway. What we did our own homes was another matter. It's just a setting up strip so it's OKAY!

JUDGE DREDD: KILLER ELITE Art by Paul Marshall Written by Gordon Rennie Greytones by Jean-Paul Bove Lettered by Tom Frame Originally published in JUDGE DREDD MEGAZINE #328-331

JUDGE DREDD: KILLER ELITE by Marshall, Rennie, Bove and Frame

Gordon Rennie acquits himself quite well here; it helps he's given himself a strong premise. The psycho from Global Psycho is dying, but before she pops off she collects the galaxy's greatest murderers and has them all face off on the moon. The prize is the seat aboard an escape pod. It doesn't sound like much of a prize, but the complex will explode in sixty minutes and there is only one seat on the escape pod. Dredd's in there because he is after all “the greatest mass murderer in human history”; which by this point in his history is probably understating the matter. It's nice to be reminded how much blood is on Joe's hands every now and again. Particularly if you've recently watched him get tucked up snug by a fawning robot. A whole lot of mayhem ensues but to avoid it all getting a bit one-note Rennie builds the trap around Dredd so tightly that by the time he reaches the pod with another survivor you really don't know how he's going to get out of it. It's fast and fun, and if not quite as fast or fun as Rennie might think, it's fast and fun enough. The only let down is the art. While there's nothing wrong with Marshall's typically sturdy work, someone has made the (cost cutting?) decision to go for gray tones instead of colour. This makes it all a bit visually drab, so much so it starts to undermine the art. The swathes of gray don't allow anything to pop, even when you know what you are looking at should be popping like Space Dust on a pre-teen's tongue. But Dredd's convincingly Dredd, and Rennies' Most Dangerous Game is dangerous enough so GOOD!

DARK SIDE OF THE MOON shows that Luna-1 is whatever any particular writer requires of it; empty and forbidding in Breathing Space, noisy and garish in Darkside, bustling and crazed in the original strips and the moon is just, well, there as a deadly backdrop in Killer Elite. It doesn't really matter as the freedom allows all these different approaches; and while some work (Breathing Space) and some don't (Darkside) none of that's down to the setting. As a volume it's GOOD!

NEXT TIME:  Manners maketh the Judge, so says Judge Mum and - COMICS!!!

"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!!!

“Not Unless He Had Three Legs.” COMICS! Sometimes It's Nice To Have A Change Of Scenery!

In which Judge Dredd is a right gadabout and doesn’t even have the decency to send a postcard.!!BONUS MAP OF THE MEGA-TERRITORIES!! JUDGE DREDD: GULAG by Charlie Adlard

Anyway, this…

THE JUDGE DREDD MEGA COLLECTION REVIEW INDEX

JUDGE DREDD: THE MEGA COLLECTION Vol. 56: BEYOND MEGA-CITY ONE Art by Brendan McCarthy, Steve Dillon, Dermot Power, Charlie Adlard and Inaki Miranda Written by John Wagner, Alan Grant, Garth Ennis, Mark Millar & Grant Morrison and Gordon Rennie Lettered by Tom Frame, Mark King, John Aldrich, Annie Parkhouse and Simon Bowland Colours by Wendy Simpson, Chris Blythe Eu de la Cruz Originally serialised in 2000AD Progs 485-488, 727-732, 859-866, 1382-1386 & JUDGE DREDD MEGAZINE 246-249 © 1986, 1991, 1993, 2004, 2006 & 2016 Rebellion A/S Hatchette Partworks/Rebellion, £9.99 (2016) JUDGE DREDD created by Carlos Ezquerra & John Wagner

ATLANTIS Art by Brendan McCarthy Written by John Wagner & Alan Grant Lettered by Tom Frame & Mark King

JUDGE DREDD: ATLANTIS by McCarthy, Wagner & Grant and Frame

Have you ever seen a British Bobby’s helmet? Ooooh, don’t! Get you! Stop it! OoooOOOOooooOOOOOOh! No, really, back when they walked the beat tipping the wink to the ladies, dispensing directions  and gruffly moving on the ruffians and all that, before they became  swaddled in bullet proof jackets and started cradling matt black engines of death while licking their chapped lips, back before that, did you ever seen a British bobby’s helmet? We used to call them “tit heads”, because kids have no respect and, also, they were a pretty ridiculous bit of gear. And yet thoroughly British in their ridiculousness, due to their air of wonky pomp.  Brendan McCarthy’s design for the Brit Judge embraces this tradition and carries it into the future like a sheikh carrying a blonde lady on the cover of a Mills & Boon romance. Smoothly, that is. It also suggests he is the only person in existence who ever looked at Calos Ezquerra’s original Judge design and thought, “Hmmm, pretty impractical, but not impractical enough!” Pity the poor sap who has to patrol the mean streets of Future Little Tidworth in this get-up.

JUDGE DREDD: ATLANTIS by McCarthy, Wagner & Grant and Frame

It works on the page though because Brendan McCarthy is  a design genius, and part of that genius must be due to his total refutation of physical practicalities.  Not only is the Brit Judge get-up visually delightful  it is also very British, what with its lion(s) rampant and multiple Union Jacks (The Royal Union Flag, to any Canucks out there).  All the kind of garish tat in fact which symbolises the overcompensation this nation makes for its reduced circumstances and present global irrelevance. I wouldn’t be surprised if the kneepads alternated playing the national anthem and Churchill’s speeches, and the belt pouches contained the fixings for a nice cup o’ char. Preposterously impractical and ostentatiously nationalistic, like fascism filtered through buffoonery Brendan McCarthy’s design captures the British character to a tee. I like it. Other than that though we learn little as Brit-Judges just act like Judges and the strip isn’t set in Brit-Cit but instead in Atlantis, which is not a mythical sunken city but a way station on the sea bed. The strip is a shaggy mutie story that earns its length by introducing Atlantis and Brit-Cit judges, and by being drawn by Brendan McCarthy; it’s worth reading just to see McCarthy’s giant manta rays alone. Throw in the bumptious bobby design to boot and it’s GOOD! Stuff.

EMERALD ISLE Art by Steve Dillon Written by Garth Ennis Coloured by Wendy Simpson Lettered by Tom Frame

JUDGE DREDD: EMERALD ISLE by Dillon, Ennis, Simpson and Frame

Bejabbers! If and it isn’t the quare man hissownself now, Garth Ennis! To be sure, and there’s been many a pot o’ gold at the end o’ his rainbow o’writing! To be sure, to be sure! Oho, oho, oho! But this’ll no be one of ‘em! See and if he’s not brought his sense of humour with him!  Ah now, ‘tis a turrible, turrible ting his sense o’ humour is.  Aye now, ‘tis a sorry tale indeed. In the immortal words of Alan Partridge, “Der’s more to Oirland dan DIS!” What? Oh, it’s racist when I do it is it? I see. I better stop then. When Garth Ennis does it it’s satire. Except it isn’t. Unless you are a lot less demanding than me. You know that particularly poor satire that’s so bad it is actually indistinguishable from what it purports to satirise? Well, after reading Emerald Isle you will. I guess it’s a satire of people’s ideas about Ireland but it’s kind of painful. Mind you, me and Garth Ennis’ sense of humour will always at odds. Mostly because I have an outdated belief that humour should be funny. A little bird tells me though that  different people find different things funny, so if you think having a Guinness harp© on a Judge’s helmet and potato guns that you can set to “chips” are funny, then you tuck in!

JUDGE DREDD: EMERALD ISLE by Dillon, Ennis, Simpson and Frame

Unconvincingly mixed into this hilarious stuff is a more grounded tale of a M-C1 hitman who hides out with a bunch of terrorists. Terrorism is apparently just a bit of a jape until the proper crook turns up, then things get heavy. The insouciant  Emerald Isle Judges are unprepared for the sudden explosion of pitilessly thuggish activity. Luckily Judge Dredd lends a hand. Personally I’m a bit unconvinced that terrorism in Ireland and organised crime were not inextricably linked but I’m not going to argue that point with anyone from Ireland. Say, has anyone else seen that crackin’ John Boorman movie THE GENERAL (1998)? Brendan Gleeson’s in it and it’s well good. Based on Dublin Crime Lord, Martin Cahill, it probably soft soaps the harsher reality but still, Brendan Gleeson. Lovely, lovely Brendan Gleeson. ORDINARY DECENT CRIMINAL (2000) stars Kevin Spacey and apparently covers the same ground. I’ve not watched that one so I’d not know. Meanwhile, back at the point, the late, great Steve Dillon draws “Emerald Isle” in his usual sturdy fashion whereby he avoids drawing anything too demanding but his stylistic charisma prevents it all getting too bland. He’s also wise enough to know that Dredd’s the star, so he’ll ensure at least one really great image of Dredd being Zarjaz! He’s a right good choice for such a whipsaw mix of comedy larks and brutal violence given his style can accommodate both at the expense of neither. It may not be the craic it thinks it is but “Emerald Isle” is GOOD!

BOOK OF THE DEAD Art by Dermot Power Written by Mark Millar & Grant Morrison Lettered by Tom Frame & John Aldrich

JUDGE DREDD: BOOK OF THE DEAD by Power, Millar & Morrison and Frame

I’m stretching charity to its limits when I say that Mark Millar and Grant Morrison’s Judge Dredd work is the high point of neither of their careers. Considering how little I rate anything by Mark Millar this should be warning enough. At this stage of their careers (the crazysexyfuntime ‘90s!) Millar & Morrison had teamed up and were giving interviews like they were pop stars in the vein of Pepsi and Shirley or something; they seemed pretty committed to the novel artistic approach of just telling people they were awesome without actually making any decent comics to back that up. A right self-promoting pair of capering  mountebanks  they were. Preening narcissists, some might say, because people can be very cruel. Morrison and Millar were all mouth and no trousers, as we say over here. Morrison would eventually snap out of it and lower himself to write some decent comics, which very clever people would read a great deal more into than was actually present. I don’t know what happened to him after, because the last thing I read by him was something odious about Siegel and Shuster’s treatment by DC which, while I can’t remember the specifics, certainly sounded like “Goodbye, John” to me. Apparently, because I ceased paying attention long ago, Millar would just defiantly plod on regardless, cultivating his lucrative furrow of thundering chicanery and creative impoverishment to spectacularly rewarding effect. Financially, not creatively rewarding, obviously. Before that though, the team were steadfast in their belief that if they reduced Judge Dredd to the level of a shit ‘80s straight to video action twat, this would be a good thing. At no point in their complacently leaden tenure on the strip would their approach bear any fruit other than arse grapes.

JUDGE DREDD: BOOK OF THE DEAD by Power, Millar & Morrison and Frame

“Book of the Dead” is a pretty representative bunch of those very arse grapes. Here the legends in their own minds send Dredd to the city of Luxor in Egypt, where they can’t be bothered to invent a future society, because they are busy modelling Speedos© for Deadline, or taking about being punk while actually being about as punk as Barry Manilow, or whatever and who cares, so they just make it a really superficial idea of how Ancient Egypt was, you know, pyramids, pharaohs, mummies, etc. but with hover cars, energy staffs and Resyk. Given the amount of thought involved we’re lucky the Judges don’t ride about on robot camels and Dredd doesn’t come home with a rug from a mega-bazaar. Whenever Dredd’s abroad some folk’s antennae start twitching in case any casual racism slips in, but I think the mental sloth on show here is damning enough. It’s just a multi-part punch-up and a piss poor use of Dermot Power’s not inconsiderable talents. Power fully paints the strip with a level of skill and artistry better suited to a script where someone was, you know, actually trying.  There’s some lovely muscle work on show reminiscent of the master of muscle magic, Mr Glenn Fabry, and at no point does Power succumb to the twin pitfalls of fully painted 2000AD art: drab colours and visual inertia. His work here is so lovely for seconds at a time I forgot how insultingly contemptuous the writing was of its audience. It’s only because of Dermot Power that this gets OKAY! rather than CRAP!

GULAG Art by Charlie Adlard Written by Gordon Rennie Coloured by Chris Blythe Lettered by Tom Frame

JUDGE DREDD: GULAG by Adlard, Rennie, Blythe & Frame

Charlie Adlard draws this one. Charlie Adlard is famous for drawing The Walking Dead, which is itself famous for being successful and unerringly mediocre. You knew that, but did you know that Charlie Adlard is now the UK Comics Laureate. Disappointingly, unlike the Poet Laureate, this does not mean that he has to produce comics on the Queen’s birthday or royal births and marriages, and public occasions, such as coronations and military victories. Her Madge’s Royal God-appointed face as she opened up her birthday card to find a picture of a rotting corpse tottering around a valiantly nondescript America would be quite the thing! No, it seems it’s more of a charitable position whereby the noble art of The Comic is promoted with the hope that one day it will be as popular as poetry. (<--- joke!) If you didn’t know that, then it probably evaded your attention that Dave Gibbons was the last UK Comics Laureate. As part of his promotional efforts I like to think The Gibbons used to squeeze himself into his Big E leotard from his Tornado days and leap into libraries scattering comics like startled gulls into the receptive faces of the next generation of comics’ readers. And old people sheltering from the cold. That probably didn’t happen but I think we all feel a bit better having imagined Dave Gibbons dressed as Big E. Take your pleasure where you find it doesn’t just apply to Wilson Pickett fans.

DAVE GIBBONS: BIG E stolen from thefifthbranch.com

The story? Oh, “Gulag” is about Judge Dredd getting a bunch of stubbornly unmemorable Judges together to rescue some POWS from a Siberian Gulag. Yeah, by the way, in case it hasn’t become obvious these reviews aren’t the kind which tell you significant character appearances (e.g. here: Psi Judge Karyn), who created them (Dean Ormston and Alan Grant), which story they first appeared in (Raptaur), where that story first appeared (Judge Dredd Megazine #1.11-1.17) and when (1991). No, these are just what an old man of questionable lucidity manages to crank out in the time allotted by circumstance. Reviews, but not as we know them. There’s little rigour or design to them. It’s less Douglas Wolk and more a shaky old gent muttering to himself in a library (Dredd…zarjaz!...Rico…BAD! Pat Mills…lovely teeth! Space Spinner…Big news for readers inside! Etc etc), before Dave Gibbons unwisely clad in the rags of yesteryear, bursts in and causes me to vapor lock in shock. Prone to divergence at no notice, yeah? Particularly when dealing with Gordon Rennie, who here writes about Judge Dredd and chums in Siberia. In “Gulag” Sibera is less than rewarding as a locale as it is just full of snow and bits of barbed wire, and the differences in the Sov Judges’ uniforms is minimal. It’s not worth the trip really. Rennie huffs and puffs about the stakes at, er, stake but I could never rid myself of the impression that it was all just a big fight over an empty shed in a snowy field. Charlie Adlard fails to ignite events, but everything he draws looks like what it’s supposed to be. I mean, it certainly wasn’t worth a butt of sack but it was OKAY!  

REGIME CHANGE Art by Inaki Miranda Written by Gordon Rennie Coloured by Eua de la Cruz Lettered by Tom Frame, Annie Parkhouse & Simon Bowland

JUDGE DREDD: REGIME CHANGE by Miranda, Rennie, del la Cruz, Frame, Parkhouse & Bowland

“Regime Change” is the second Rennie penned tale and had an equal impact on my memory as that one in the snow, what’s it called? The one with, uh, the snow and, uh...Anyway, Dredd goes to Ciudad Barranquilla (AKA Banana City) which spawls over most of Central America like a gaily coloured, city shaped metaphorical sombrero. Pretending to give a shit about missing cits Dredd and a multi-national  “peace keeping force” show up and nose about. Turns out though, in a twist that could only surprise a Daily Mail reader, that they are actually just there to depose the Judge Supremo and install someone more to M-C1’s liking. When the corpses of fourteen M-C1 citizens are found in a mass grave they have all the excuse they need. What shocking cynicism! The sheer gall of Gordon Rennie to even suggest to imply such a thing! It’s fine. It’s drawn by Inaki Miranda whose art I don’t like because everyone is drawn with a tiny wee head like Thrud The Barbarian, and it’s all just a bit too busy for me. One of the problems with comics is that you can come up against a style you just don’t like. It doesn’t mean it’s “bad”, it’s just not to your taste. Guess what? That’s right. So, “Regime Change” is OKAY!

JUDGE DREDD: REGIME CHANGE by Miranda, Rennie, del la Cruz, Frame, Parkhouse & Bowland

It was a bit dull that wasn’t it, a bit normal. Sometimes I’ll do that, sometimes I’ll just start on a craven apology for not having done these sooner. Because, yeah, I started writing up these Dredd partworks in 2015 and then…I stopped. A lot of that was down to apparently I like to make promises I can’t keep. That way I think I get to keep the guilt up. I’m still feeding off the guilt of not carrying on with the Planet of the Apes Weekly, but that was a lot of work to be fair, I kind of aimed to high on that one. Not doing the Dredds as well was too much guilt though. It was getting oppressive. Mind you, about two write-ups in, when I first started, it was pointed out to me that Douglas Wolk had written up every Judge Dredd strip ever so…I felt a bit like a spare prick at a wedding. If Gus van Sant had been halfway through making PSYCHO when someone told him this guy Fred Hitchcock had already had a go, I like to think he would have had the sense to stop. It’s about knowing your place, innit. Alas, that didn’t stop me feeling bad; yes, I felt bad, and I still feel bad because “Drac” in the comments was all gung-ho about following along from his Australian location. And I just pisseded off and left him or her hanging. That’s shabby behaviour. So, too late to make up for it, I’ve started again. I’m banging them out now but that won’t always be possible (because, life), but as slow as the flow may become I’ll carry on. Sometimes I’ll try and do a proper job and sometimes I’ll just amuse myself, depends. Personally I find it difficult to say much about Gordon Rennie, so it’s unfortunate that we have two of his storylines in this book. Bit of a mixed bag this book, to be fair the Rennie ones are part of a longer uberplot involving the machinations of an embittered Sov, so they lose out by being isolated here. BEYOND MEGA CITY ONE is a GOOD! Read overall, I guess.

NEXT TIME: I haven’t thought that far ahead. So surprises in store for us all!

BONUS: A NO DOUBT OUTDATED MAP OF THE WORLD OF JUDGE DREDD!

“SHUT THEM DOWN! SHUT THEM ALL DOWN!” COMICS! Sometimes He’s Such A Stick In The Mud He’s More Like Judge Ludd!

In which I provide you with another cheerless slog through a volume of JUDGE DREDD THE MEGA COLLECTION. No charge! JUDGE DREDD by Doherty, Wagner and Parkhouse

Anyway, this… THE JUDGE DREDD MEGA COLLECTION REVIEW INDEX

MECHANISMO JUDGE DREDD MEGA COLLECTION VOLUME 24 Contents: Introduction by Matt Smith, Mechanismo, Mechanismo Returns, Body Count, S.A.M. and Safe Hands, cover gallery, Colin MacNeil interviewed by Michael Molcher Art by Colin MacNeil, Peter Doherty, Manuel Benet, Val Semeiks & Cliff Robinson, and Jock Written by John Wagner and Gordon Rennie Coloured by Chris Blythe Lettered by Annie Parkhouse and Tom Frame Originally published in Judge Dredd Megazine 2.12. – 2.17, 2.22 – 2.26, 2.37 -2.43, 2000AD progs 1374 and 1273 Hatchette/Rebellion, £6.99 UK (2014) (It’s £6.99 because it was the second issue which is always, in partworks, more expensive than the first issue, but less expensive than the third issue which is when the real price (£9.99) sets in.) Judge Dredd created by Carlos Ezquerra, John Wagner and Pat Mills

Cover by Colin MacNeil

I say, I say, I say, when is a comic book movie not a comic book movie? When it is Paul Verhoeven’s Robocop(1987): the best comic book movie ever(1). Yes, smarty pants, despite its not being a comic book movie. Yet, despite its having no direct single original comic book source it opts instead to indulge a cheekily blatant preference to plunder freely from many sources. Mainly though, it plunders from the best; its black humour, satirical edge, ultraviolence and taciturn (but sympathetic) central character all owing more than a little to Judge Dredd(2). In 1993 in the pages of Judge Dredd Megazine(3), no doubt having tired of waiting for acknowledgement or remuneration, John Wagner repaid the favour with Mechanismo; which is basically Judge Dredd vs. Robocop(s)(4). Due to the persistently apocalyptic nature of life in Mega City One Judges are getting a bit short in supply(5). Flying in the face of pretty much every piece of speculative fiction ever in which automata take on human tasks, Justice Department decide to bolster the Judges with automata. Better yet these are fiercely armed, heavily armoured automata with personalities based on Judge Joseph Dredd his own bad self. Dredd thinks this idea is less than ideal but he’s not Chief Judge. McGruder(6) is, so it’s her call. The Mechanismos get a test run and give Dredd a run for his money.

JUDGE DREDD by MacNeil, Wagner and Parkhouse

Surprising absolutely no one Dredd’s right, and things go wrong about 5 minutes after the droids’ boots hit the slab. People die, chaos puts on its dancing shoes and Dredd soon has to hunt a rogue droid imprinted with his own personality. Um, SPOILER! It’s okay, Mechanismo isn’t really about suspense; Mechanismo is a fleet footed blast of future-thrill action which reads better collected than it did when serialised. Initially these tales seemed a little lightweight for the amount of time it took for them to appear, but here they all are in one chunk and their upside becomes more apparent; what initially starts as a sassy riposte to a cinematic rip off (or homage) develops into something a little deeper(7). Playing Dredd off against his robotic doppelganger(s) is a neat trick since their distorted mirroring of Dredd’s appearance, speech and behaviour is amusing, and their embodiment of his personality unfettered by any humanity is revealing in itself. The Mechanismos aren’t Judge Dredd because they can’t ever be Judge Dredd as they aren’t human, and as little humanity as Dredd may have it’s what ultimately prevents him from becoming a monster. Or at least prevents him from becoming an inhuman monster. As monster’s go Judge Dredd’s a very human one, which is cold comfort but still some comfort. After all, where there’s humanity there’s hope(8).

JUDGE DREDD by Doherty, Wagner and Parkhouse

Trouble kicks off because the units overheat and start disobeying orders. Or more precisely, they follow orders too inflexibly and are soon executing people for witnessing crimes and not reporting them. Having laws is all well and dandy but justice is about a bit more than that, says the book full of exploding heads and robots that look like killer Metal Mickeys. Tellingly by the end of the trilogy Dredd himself has been forced to do the wrong thing, but for the right reasons. Wagner’s writing takes a misstep here at the last by uncharacteristically labouring what Dredd has done and what it means. However, it is a big step in Dredd’s development(9) so it’s easy to see why Wagner’s usual lightness of touch becomes a little heavier than usual. Pretty much the whole point of robots in stories is that they’ll go wrong(10), or teach us a very special lesson about the magic of human nature(11). Here Wagner gives us both; although because he is John Wagner his very special lesson is a bit less sparkly than most. What starts out as a fast and funny, sunnily lit action romp pivots via a transitionary dank sewer set middle section into a final darkly subdued echo of the initial premise. The cheerful Robocop-esque overkill of the first chapter invites laughter as citizens are slaughtered for ridiculous reasons, but by the final chapter the same jokes have ceased to be played for laughs as the more mordant and downbeat world of Dredd takes precedence over its derivative cinematic would-be usurper.

JUDGE DREDD by Benet, Wagner and Frame

As ever these strips appeared over a lengthy period of time and the creative teams are (Wagner aside) discrete. Sensibly, visual choppiness over the course of the trilogy is kept to a minimum by assigning each chapter to a particular artist. MacNeil chooses to paint the opener, Mechanismo, in a bleached out style awash with bright sunshine, like it’s perpetually high noon (of course - because there’s a showdown!) Everything has a lovely warm quality - even the smears of colour that were once people’s heads. (12) Signalling the shift in tone Peter Doherty’s Mechanismo Returns is a far darker affair, due to its night time and underground settings. Doherty has an oddly hesitant line, and the resultant tentativeness is an odd fit for the blunt world of Dredd. Also, his people look like they’ve been dead for six months; it’s an odd look all round. I like it, but it’s odd. Not unpleasant, just different(13). In comparison to MacNeil & Doherty Benet’s art on Body Count seems simultaneously both "European" and old fashioned; like a throwback to a 1970s Heavy Metal, or a coloured-in cousin of Casanovas’ work on Dredd (remember Max Normal?) I mean, Benet’s art is fine, it does the job but it can’t help but look a little stuffy and archaic after Doherty and MacNeil’s comparatively brisk and frisky stuff.

JUDGE DREDD by Semeiks & Robinson, Wagner, Blythe and Frame

The book is filled out by a pair of tales falling within the unspoken remit of “robots gone wrong”. In S.A.M. Wagner writes a caustic take on bureaucratic pettifoggery which ostensibly involves Judge Dredd having to outwit a talking bomb, but is given satirical bite via its roots in the plight faced by an increasing number of folk in the real world. The ostensibly bizarre pairing of North American stalwart Semeiks’ pencils with the Bolland-lite inks of Robinson makes for a pleasing goofy result. Robbie Morrison’s Safe Hands is an example of the punchline approach to a Dredd strip and is weak in a probably-had-it-on-file-for-emergencies way. It’s still worth a look because it’s drawn by Jock. And that’s pretty much it. Plenty of Thrill-Power in this volume so Judge Kane’s verdict is a solid GOOD!

They can replace us all with robots but they’ll never replace – COMICS!!!

(1) Yeah, yeah, thinking about it now, Dobermann (1997), Sin City (2005) and Ghost World (2001) are close contenders, and, yeah, sure, you probably have your own favourite but I can’t read your mind, pal, so Robocop wins today (and mostly because I can’t be bothered to do a new opening).

(2) Oh, I’m sure there’s a quote somewhere about how no one involved in the movie had ever heard of Judge Dredd. But still and all, still and all…

(3) The actual issue numbers are up there. That’s one sexy time that is, copying that stuff out. I only do this so I can copy issue numbers out, don’t tell everyone! It’s my Secret Garden!

(4) It’s so obvious I kind of regret taking up all that space building up to such a non-revelation. The first chapter is upfront about it and has a bit of fun directly referring to the Mechanismo as both “the future of law enforcement” and “Robo Judge”. In the second chapter Wagner pokes fun at his own movie allusions with a character declaring “Number 5’s alive!” - the tag line to Short Circuit (1986); a quite different movie from Robocop. No, I haven’t seen Short Circuit; I was 16, why the blue blazes would I be watching a Steve Guttenberg comedy about a tiny robot. I was watching tawdry horror nonsense, probably involving Barbara Crampton screaming. And they let me breed.

(5) This takes place just after NECROPOLIS which had the Dark Judges take over Mega City One with predictably hilarious consequences.

(6) McGruder is a particularly confusing character when encountered in isolated stories. She’s of a distinctly mannish aspect and is functionally nuts, quite often referring to herself in the plural, and prone to paranoid fancies. Originally a Judge who took the Long Walk she returned to the City during NECROPOLIS and was hugely influential in overthrowing the Dark Judges. She means well but her eroding sanity is starting to take its toll. This a sensible footnote. You might want to frame it.

(7) But not that deep. It kind of introduces themes , characters and events which lead into the mega-epic WILDERLANDS which occurs beyond the covers of this book.

(8) You have to believe stuff like that if you have kids, otherwise you go nuts.

(9) Judge Dredd’s that rare character in comics whose character does indeed develop. He also ages and one day he will die. I doubt if he’d want flowers so send the money to a kid’s charity. It’s what he’d want.

(10) See Robocop. Although Robocop goes wrong by regaining his humanity which is right, this is still against his programming so it is also wrong. Look, just go with it.

(11) See Short Circuit. Probably, anyway. Because, no, I don’t know what lesson everyone is supposed to take away from Short Circuit. Like I say I was busy watching From Beyond or something erudite like that. We covered that earlier. Don’t you read these? I have other things to do, you know. I’m not sat around imbibing peeled grapes from servile hands while deigning occasionally to set some words down about Judge Dredd. This country’s turning to shit over here under the Tories, this is not a good time to be conscious and…sorry, 再见了!

(12) In the interview at the back of the book MacNeil explicitly acknowledges this luminous approach, but I’d just like to stress I’d already written about that bit before I’d read his interview. So I’m not stealing his words, I’m saying I was right. That was a pleasant surprise because I’m simply awful on colours.

(13) I’m pretty sure this is the same Peter Doherty who facilitates the excellent colouring on so many of Geoff Darrow’s grotesquely flamboyant creations. I could be wrong, I often am; it’s what keeps me modest.

(14) There is no fourteenth footnote. Go home.

JUDGE DREDD by MacNeil, Wagner and Parkhouse

"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!!!