Judge Dredd: the Complete America

by John Wagner and Colin MacNeil, published by Rebellion

Judge Dredd: the iron man of future law and for the last thirty years pretty much the biggest British comics character around. We love him, even though writer Alan Grant has noted that basically he’s ‘a fascist bastard’. John Wagner; one of 2000 AD’s original crew and still esteemed by most of us as a giant of British comics writing; no-one does Dredd like Wagner and in America he gets to spin a tale where Dredd and the Judges are the villains, not the heroes but the violent, repressive regime crushing hopes of freedom and liberty in the Big Meg, maintaining order through fear.

(it all starts so promisingly, a new child born to immigrants in the Land of the Free, America enters the world, Bennett is already there alongside her)

The story is told in flashback by Bennett Beeny, now a rich and famous entertainer but still deeply, utterly in love with the beautiful, passionate America. Bennet was there right at her birth. A joyous occassion as immigrant parents feel themselves blessed by the birth of a beautiful daughter and their good fortune in coming to the Land of the Free, naming her in honour of the liberties and opportunities of the New World. Wagner subtly foreshadows the coming storm, however, when America’s father gets his line wrong, “America, America, God shed hee’s grief on thee”. A neighbour corrects him “that’s ‘grace’, Mr Jara”; a happy occassion but clouds on the horizon, because this is no longer the Land of the Free, it’s Mega City One and democracy is a crime.

As young school student named America asks her history teacher about the old American motto of Life, Liberty and the Pursuit of Happiness. where’s liberty gone, she demands, who around here looks happy? America is fiery, most of her classmates merely sigh, content to go with the party line and not care, her teacher offers no explanation or sense of hope either: “At least we’re still alive, America, one out of three’s not bad.” It’s not enough for America. A fire burns inside her, a yearning for freedom and democracy. As she grows older and goes off to college she seems to the ever-yearning Bennett to be moving further and further from him; he’s so in love with her but knows she will never love him the same way, although he is her closest friend. He loves her passion but fears where it may take her.

He is right to fear – this is a world where the believers in personal freedom and democracy are prepared to commit dreadful acts of violent terrorism against an overwhelmingly powerful authority. Bennett grows to be a famous celebrity, wealthy and adored across the city but still single – no other woman can fill the void for him, only America. When he goes to pick up a slabwalker for impersonal sexual relief he’s shocked to find the prostitute he approaches is a heavily made up America. Thinking she’s fallen on hard times he asks why she didn’t come to him for help before doing this. But its not what it looks like – its a setup and when Judges come to arrest the alleged slabwalker her democracy activist comrades spring an ambush, gunning down the law officers in cold blood. One of them rounds on the dumbstruck Bennett – he’s a witness and before America can stop him he shoots Benny and they leave him for dead.

Bennett survives although his throat is ruined by the bullet and it ends his career. Realising without being able to talk the Judges can’t use their Birdie lie detector on him he slowly types out his replies to their questions when he comes to in a hospital. Despite being shot by her friends he love America so much he can’t sell her out to the Judges and lies, saying he never got a clear look at faces; he covers for her, despite all she’s done. When she approaches him later she knows he didn’t do it to protect her cause but because he loves her. For a brief moment long unrequited love blossoms into romance; Bennett has the only thing he’s ever wanted, America. America, tired of living on the run, looking over her shoulder, falls into the arms of the one person she knows loves her for being her, not for her cause.

For a fragment of time both are happy and Bennett tells her to stay, that even in the totalitarian regime of the Judges its still possible to make your own happiness. He knows she won’t stay even as he asks her, she won’t take the easy option. He knows it will end in blood. America simply can’t ignore the wrongness in her world like so many do.  It brings us to an inevitable conclusion, of violent death before an ancient symbol of the liberty she loves and her land has lost. But there’s a further twist at the end and if you haven’t read it then I won’t spoil it here.

(going up against the Judges there could only be one, inevitable outcome, as America is gunned down in front of the Statue of Liberty; yes, the clutching the flag may be almost a cliché but by god its so powerful after the preceding events; script by Wagner, art by MacNeil, (c) Rebellion)

Wagner eschews easy black and white, them and us morality to mix it up; the Judges are indeed violent dictators, as content to scare small children as beat up hardened criminals, but they’re also all that keeps Mega City together, while America and her comrades may have right on their side but they’re willing to commit bloody murder to achieve their aims. Add in glorious, painted comics artwork – some of Colin MacNeil’s finest, in my opinion – the doomed, heartfelt romance, the fierce determination to fight for a cause, the moral quagmire that can lead you into, and you have a powerful incendiary work. It blew me away the first time I read it – can that really be almost 20 years ago now? Re-reading its modern collection, The Complete America (which includes the much later sequels, which are interesting, especially when read directly after the original, but never approach its raw ferocity) its more powerful than ever.

One of the hallmarks of good storytelling is that the writer’s work retains relevance to the changing ages. Wagner’s moving, disturbing script is, if anything, even more relevant to our post 9-11 world than it was when it first appeared. In a world where Western, democratic governments have spied on citizens without judicial approval, restricted rights and freedoms, where policemen routinely use anti-terrorist powers to harass photographers in public places, people are held for periods without charge or trial and legitimate protestors on the street are struck by police batons – all ‘for our protection’ – its a very different experience re-reading America now. What was, like 1984 before it, a warning, now seems sadly prophetic. Its a story of personal responsibility for the state of the world around us and how easily the rights that were earned for us in blood can be removed if too many are content to simply sit back and do nothing, but also of the morality of using violent, evil acts to aid a just cause – can violence ever really be justified? Can good ever come out of bad? And over and under it all a doomed romance. Its simply one of the best Dredd stories ever penned and MacNeil’s glorious painted artwork elevates it to a whole new realm of perfection. A British classic that should be on your shelf.

“Screen size. Largest anticipated screen size I’ve seen mentioned is around 10″ – this is just a little smaller than a US comic, and, combined with really hi resolution screen will keep US comics readable, 2000ad – not so much. We’ll either have to see chopped up art, some form of on screen loupe for reading content, or zoom in/zoom out reading – none of which are perfect, but, at with a bit of luck, the entire 2000AD back catalogue could be available on a single device”

(fabulous cover art to 2000 AD Prog 1669 – the brilliant Stickelback rendered by the equally brilliant D’Israeli)

I don’t completely agree with PJ – “almost overnight it will completely reinvent the comics industry ” stikes me as rather too bold a claim; we’ve had increasing numbers and varieties of digital comics for some time now and they most certainly have changed things and will continue to do so increasingly, but they haven’t reinvented the industry and certainly not overnight (even people who grab illegal free scanned digital versions on pirate sites hasn’t changed everything because a lot of those folks probably never buy paper comics anyway). But that said its not an area that can be ignored, of course and no publisher can afford not to be thinking of these potential new markets. But again I have to say I don’t see it reinventing the industry, rather supplementing and complimenting it. For starters there’s cost – even if publishers make comics available digitally fairly cheap the reader still has to purchase the actual tech, which isn’t exactly a few pounds like a comic its hundreds of pounds; its not an impulse buy for most folks/ Then there’s running costs of mobile broadband contracts; the Iphone has been very successfully marketed and these don’t seem to have been barriers to it, but then again, popular though it is, how many are there in use compared to the number of actual cell phone users? And is it really more comfortable and convenient to read a paper comic or a tablet on the move, in the park, on the train? No.

And heavy comics buyers, like heavy book buyers, want the physical object not only to read – reading being a tactile as well as cognitive experience – but for their shelves. Physical copies which can’t suddenly be removed from your device as has happened with some ebooks and music tracks for any number of reasons. The tablet will no doubt become an additional platform and outlet for comics as smart phones have – especially handy for small presses who struggle to get print copies of comics into stores or even through distributors and make little on them even if they do – but again I think the idea that they will reinvent the industry is over ambitious. Its unlikely anyone will be buying these devices just for reading (even devices which are made simply for that purpose, like ebook readers, are still expensive compared to a book), rather, like some gaming machines, they have them for other reasons and find the comics to be a fun and handy app to add to the device, which is great and does add more potential outlets for comics distribution but compared to the number of book and comics readers that’s still only a fraction. Perhaps when some of the tech that’s been discussed recently in science journals, with flexible, thin films carrying print and images -, effectively smart paper – is available and almost as cheap (and in the case of periodicals, disposable) then it will actually largely replaceactual  paper, at least for some titles (probably periodicals, journals, papers and weekly or monthly comics), but an expensive device isn’t going to do that.

Before anyone thinks I am tech-bashing I should point out I love my gadgets – I’ve been online since 1991 and had a computer since 1980. I have read books and comics on screen, from short strips to full graphic novels and digital proofs of entire novels (a handy way for a small press to show work for potential review without the costs of printing proofs and posting them out) and while I found it okay as an experience, I can’t say I particularly cared for it and it wouldn’t be my choice for more than a few short strips like some web serials or short prose stories – for anything more, give me Mr Gutenberg’s remarkable printing moveable type on that other wonderful technology that did really reinvent things, paper. My quibbles aside though, PJ still brings up some good points and its kicked off a discussion on the forums with more people expressing opinions pro and contrary and, as I said, while it may not reinvent the wheel it does add another spoke and anyone who read, writes, draws or publishes has to consider it.

(Dredd and Rico on the cover of 2000 AD Prog 1664, by the one and only Carlos Ezquerra, (c) Rebellion)

“2000AD Review: The readership believes that he’s a surprisingly difficult character to pitch correctly. What would your advice be to a writer taking on a Dredd story with regards to getting his character right?

Wagner: Avoid the more absurd elements of Dredd’s world, they’re too easy to get wrong. Don’t simply retell my stories, write your own. I’ve been pounding the streets of Mega-City One for 30 years but there are still crimes I haven’t thought of, angles I’ve missed – new perspectives to be explored. But I’m perhaps too close to the character to be the best advisor. You should address the question to Al Ewing and Gordon Rennie, both of whom seem to understand what makes Dredd work yet still manage to give us their own take on it. Ask them how they approached it.” John Wagner advises on new writers and artists thinking on trying to pitch a Dredd story to Tharg.

Yep, its our favourite foul-mouthed sewer droid, Ro-Jaws!!! Back in 2000 AD Prog 1667 and just dig that Clint Langley cover art. (art by Clint Langley, (c) Rebellion)

FPI: Can you pick three comics/webcomics/graphic novels which you especially enjoyed over the last twelve months and tell us why you singled them out?

David: Kick-Ass by Mark Millar – best MM project I’ve ever read.

Lilly MacKenzie by Simon Fraser – cracking web comic that makes clever use of the medium’s limitations, turning them into a virtue.

Cradlegrave by John Smith and Ed Bagwell [serialised in 2000AD] – comic serial of the year, utterly ****ing brilliant.

FPI: Can you pick three books which you especially enjoyed over the last twelve months and tell us why you singled them out?

David: The City & The City by China Mieville – stunning fusion of genres in a gripping yarn.

Get Her Off the Pitch by Lynne Truss – female journo’s account of entering male-dominated world of sports journalism.

Embroideries by Marjane Satrapi – graphic novel by Persepolis creator, been out a while – I picked it up by chance and loved every page.

FPI: Can you pick three TV shows and/or movies which you especially enjoyed over the last twelve months and tell us why you singled them out?

David: The Street – heartfelt, sometimes heart-rending, often hilarious.

Torchwood – mini-series screened over five nights, totally compelling storytelling.

Friday Night Lights – buried on an ITV digital channel, this is one of the best dramas anywhere. Glorious.

FPI: How did 2009 go for you as a creator? Are you happy with the way you got your work out this year?

David: I’ve been focusing on writing for TV drama since the end of 2007, and that started to pay off this year. Got my first script commission from the BBC, was among the finalists for the highly regarded Red Planet Prize [run by Life On Mars co-creator Tony Jordan] and had a short film script in the finals of an international screenwriting contest too.

Haven’t done much comics work as a consequence, but I’m still writing for the Phantom, with stories published in Sweden, Norway, Italy, Australia and several other countries this year. Plus my big history of 2000AD, Thrill Power Overload, sold out the hardback first edition and was re-issued in a dinky new paperback edition.

Got to write for the Daleks in a Doctor Who audio drama, Enemy of the Daleks, available via download or on CD from Big Finish Productions. Also wrote a Judge Dredd talking book for Big Finish, called Stranger Than Truth.

FPI: What can we look forward to from you in 2010?

My first ever TV drama will be broadcast on BBC1 in February, an episode of the medical series Doctors. Everything else is covered by non-disclosure agreements or still awaiting decisions.

FPI: Anyone you think is a name we should be watching out for next year?

David: I’m a part-time lecturer on a new creative writing MA at Edinburgh Napier University, where the focus is on popular genres [like science fiction, fantasy and crime] and commercial storytelling media [screenwriting, computer games, graphic novels]. Our first cohort won’t graduate until autumn 2010, but there’s some talented writers in there who’ll make a name for themselves in the years to come…

FPI: And one final, special question – since its not only the end of the year approaching but also the end of the decade, is there any comics work you’d especially pick out as one of the best you’ve read this decade?

David: Cradlegrave in 2000AD – blindingly good.

(next week’s 2000 AD Christmas prog, art by Greg Staples, (c) Rebellion. Do you think the Mean Machine piece says “ah’m goin’ up ta four on ya”?)

(some of Arthur’s gorgeous artwork as Cass’s idealised spirit form crosses into the astral plane in Judge Anderson: Shamballa, (c) Rebellion)

The seriously cool Sinister Dexter cover for Prog 1665 of the Galaxy’s Greatest Comic, by Neil Roberts and (c) Rebellion. Over on his Skinny Elbows blog Neil’s posted up his approach to his latest cover work for the mighty Tharg, from sketches and reference photos (complete with toy guns!) to a nice big version of this finished cover which should be on shelves this week.

(Dredd on the cover of 2000 AD Prog 1659, art by Neil Roberts, (c) Rebellion)

“It’s interesting to me that lots of the people I consider at the cutting edge of comics (people into experimentation with the form – like warren ellis) have started to refer to comics as ‘artifacts’ – ie actual non-digital things. I see two things in the future:

1) Digital comics, almost all marvel / dc / 2000AD / small press (which will be distinct from marvel / dc / 2000AD only in as much as the creators will probably never had anything in physical print) You could argue that many of those people doing webcomics now are actually getting a bigger readership than Marvel /DC/Whoever, but, because they’re all digital we think of them as small press.

2) ‘Artifacts’ – like the big absolute collections, these will be premier books – I’d still like the big dredd collections, etc, or collected works, but I’d be happy to buy 2000AD and the Meg digitially, picking up collections along the way. (I’d even pay! though not the current barmy pricing of £1.89 or so for the digital 2000ad, not when the actual print copy is roughly the same – the meg digital price, on the other hand, is a bargain)” (via PJ’s Twitter)