Judge Dredd 1 (December 2015)

JudgeDredd_MC001_cvrJudge Dredd is a venerable British pop culture icon who’s only recently grabbed a toehold in American pop cultural consciousness. Doctor Who, another sci-fi icon as British as The East India Tea Company, has made far more progress towards American popularity. The two couldn’t be further apart in terms of personality, although the stewards behind both franchises have made worthy efforts over the decades to use the sci-fi genre as an exploratory tool for ideas and satire, in addition to being a platform for fantastical adventure. One entirely valid explanation for the disparity in popularity is that Dredd is an inimitable archetype while The Doctor is, superficially, more relatable to an audience despite his not being human. Dredd is both a hypermasculine power fantasy and self-reflexive critique of that fantasy’s fascist authoritarianism – not unlike the American film he inspired, Robocop, whose darkly humorous irony is also often lost on audiences taking the premise at face value.

Doctor Who, despite hefty volumes of back story across decades of adventures, is nonetheless what he appears to be: a nerd in a scarf. His cosplay won’t deplete your bank account, and his esoteric, extraterrestrial lack of communication skills are a gentle reassuring nod to the socially withdrawn. He is a genteel aspirational role model of science and justice, whereas Dredd is a living setup to rude and irreverent punchlines about how life in a dystopic future metropolis isn’t all that different from the present day.

The most significant cause of Doctor Who surpassing Judge Dredd in an American popularity contest, of course, is that today’s nerds have never been less likely to read a comic book. The BBC continues to produce Doctor Who shows. Dredd 3D tanked because 1995’s Judge Dredd was so bad that the stench lingered for almost 20 years. Word of mouth gave it enough of an American cult following that the character was no longer a joke, but short attention spans still dictate the consumption habits of geeks. If it’s not a TV series or movie franchise in 2015, it doesn’t exist. Witness the multitudes who’ve never read The Killing Joke blowing Heath Ledger’s mummified member, or the middle management drone who couldn’t tell you Judge Death from Judge Judy informing me that Dredd 3D “finally got it right.” I don’t expect people to pass some bullshit nerd test designed by the Eltingville Comic Book, Science-Fiction, Fantasy, Horror and Role-Playing Club before being allowed to have an opinion – but could everyone please stop pretending to be an informed longtime fan just to state that they enjoyed some recent movie or Netflix original series?

IDW, admirably, grabbed the post-Dredd surge of interest in the character with both fists, publishing Dredd artist collections, colorized reprints of classic stories like The Dark Judges and The Apocalpyse War, and most excitingly, a new regular title and various mini-series for the new American audience. The range of success has been inconsistent – Anderson, Psi-Division and Judge Dredd: Year One were forgettable, while Mega-City Two and Mars Attacks Judge Dredd were fun romps. The flagship series was a platform for selectively incorporating pieces of favorite storylines and characters, like Marvel’s “Ultimate” reboot, and maintained a fairy consistent level of quality across 30 issues from writer Duane Swierczynski and Nelson Daniel. Its only real shortcoming was the absence of variety in artists or writers that 2000 AD enjoyed; an unavoidable production difference between a weekly-produced strip and a monthly book.

When a series is relaunched, it’s sometimes hard to tell if the move is an act of desperation in the face of sluggish sales or affirmation in good faith of continued success – number one issues tend to sell well either way.

The all-new Judge Dredd 1 is a competently made, narratively risky point of entry for any new reader not already following IDW’s revival. It’s unclear if there’s meant to be continuity from the previous regular series (probably not) but it wouldn’t matter at the offset of this initial storyline anyways: Ulises Fariñas, the excellent illustrator of Mega-City Two and his co-writer Erick Freitas have gone all Crossed +100 on Dredd and flung him into the post-post-Apocalpse, a storyline entitled Mega-City Zero, where he finds himself at the moss covered remains of what might be the last Mega-Block on Earth. The concept is certainly intriguing, as is the business calculation that a casual fan of Dredd 3D will feel familiar enough with the character to begin investment in a story where he’s out of his element.

Or rather, it’s a refutation of what had to be a really underwhelming response to 2000 AD‘s own attempt to appeal to Dredd 3D fans directly.

The proposal is thoughtful insofar as Dredd 3D also stranded him without support from the Justice Department, though it also stands to reason that anyone picking up this comic in lieu of a Dredd 2 would want to see more of Mega-City One, rather than Dredd again bringing The Law to another block under control by a despotic ruler. Granted, the issue ends before any major antagonist is revealed, so it would be nice if the storyline isn’t as predictable as it seems. Anderson makes a pointless cameo at the beginning of the story, hopefully this tossed-off introduction isn’t solely so she can later save Dredd’s hash as she’s often done when Old Stony Face gets stranded in another time or dimension.

Plot aside, Fariñas & Freitas’ script has some nice contrast between Dredd’s by-the-book proceduralisms and the slang of the kid hoodlums he first encounters outside the perimeter of the lone Year Zero block. There are some world-building details in spite of the usual rules not applying – robot judges guard the block, humanoid animals are seen outside (the Mutant/mutie slur goes unuttered) and Dredd reviews the ammunition of his Lawgiver – as did Dredd 3D. I’m a little irritated that the trio of ragamuffin savages who are arrested by Dredd and thereby taken under his protection get almost as much of the spotlight as he does, in this new debut.

Dan McDaid’s art is less clean and precise than Nelson Daniel’s, which at least fits the grunginess of this particular story. The lack of detailing only really hurts peoples’ faces – it feels even sparser than Mega-City Two. His figure composition has a nice Mike McMahon-esque dynamism, including during the action sequences. Ryan Hill’s colors bring an appropriately lush earthiness to the outdoor meadows – I’d just like to know what their Mega-City One will look like.

The new Judge Dredd’s opening arc might not turn out to be the best initiation for new fans, but as Dredd adventures go, this one seems to have serviceable talent behind it.

CREDITS

Mega-City Zero: Part One, writers, Ulises Fariñas and Erick Freitas; artist, Dan McDaid; colorist, Ryan Hill, letterer, Chris Mowry; editor, Denton J. Tipton; publisher, IDW.

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s