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kbrsuperstar's review
2.0
Maybe I'm just reaching a Dredd saturation point but this was definitely not my favorite of the five Case Files I've read so far. Still can't believe the way the Judge Child storyline ended and none of the other stories felt especially compelling.
thecommonswings's review
4.0
The book starts with the introduction of some of the most iconic characters in Dredd’s universe: the Angel gang and Judge Barbara Hershey. The book ends with another: Marlon “Chopper” Shakespeare. But the most interesting thing about these early stories is 1. Grant’s world building is getting more solid and thoughtful (The Apocalypse War basically starts in a throwaway pirate story) 2. Grant’s confidence in creating popular villains he’ll then happily kill off (with a now regretted exception, most of the Angel gang apart from Fink and Mean Machine are written off here) 3. He’s getting the best out of his writing collaborators but 4. The seeds of that collaboration’s demise is already apparent
We’re not quite onto Dredd questioning his role in the world or his world yet, but there are moments where you can see the older, more haunted Dredd looking back at earlier decisions he made when more convinced of his righteousness. The epilogue to the Judge Child saga (less a saga, more a collection of mad ideas with a vague thread to bring them together) feels like the sort of stories that within a few years Grant will use as a way of poking about the world of the Judges and the ride of the democracy movement. The series is beginning to show the introspective streak that leads to some of the richest stuff done with the character. Pivotal to this is the death of Judge Lopez, a throwaway moment that must be one of the most important moments plot moments in Dredd’s persona: it’s the first and really nagging doubt he’ll get about his actions and the series still uses it for this purpose
That’s why Dredd is such a fascinating character: an initially simple action comic about a super cop slowly mutates into a wild satire before focussing on the darker side of an ostensibly heroic figure basically being a fascist and then, obviously with more than several exceptions, showing that heroic figure as something far more interesting than merely flawed: a questioning, doubt filled fascist super cop well into his seventies and still not entirely sure why he does what he does. Dredd must eventually be facing death within the next few years so the series still has fascinating things to explore, stuff that few superhero comics ever get to poke through. That’s quite an achievement
And my final thought is linked to that last point: we have settled in this era on several iconic Dredd artists - Ron Smith, Mike McMahon, Brian Bolland, Steve Dillon. With perhaps an exception for the last two, they are all deeply, peculiarly and utterly British in their art style. McMahon and Smith particularly are using art that would simply never fit in an American comic of the period (or before). They’re more European and eccentric and unique... I think we often forget how strange Dredd often looks compared to some of the American comics and here that world view is really snapping into visual focus. It’s really under appreciated how much that unique artistry has allowed for the longevity of the comic and it’s characters
We’re not quite onto Dredd questioning his role in the world or his world yet, but there are moments where you can see the older, more haunted Dredd looking back at earlier decisions he made when more convinced of his righteousness. The epilogue to the Judge Child saga (less a saga, more a collection of mad ideas with a vague thread to bring them together) feels like the sort of stories that within a few years Grant will use as a way of poking about the world of the Judges and the ride of the democracy movement. The series is beginning to show the introspective streak that leads to some of the richest stuff done with the character. Pivotal to this is the death of Judge Lopez, a throwaway moment that must be one of the most important moments plot moments in Dredd’s persona: it’s the first and really nagging doubt he’ll get about his actions and the series still uses it for this purpose
That’s why Dredd is such a fascinating character: an initially simple action comic about a super cop slowly mutates into a wild satire before focussing on the darker side of an ostensibly heroic figure basically being a fascist and then, obviously with more than several exceptions, showing that heroic figure as something far more interesting than merely flawed: a questioning, doubt filled fascist super cop well into his seventies and still not entirely sure why he does what he does. Dredd must eventually be facing death within the next few years so the series still has fascinating things to explore, stuff that few superhero comics ever get to poke through. That’s quite an achievement
And my final thought is linked to that last point: we have settled in this era on several iconic Dredd artists - Ron Smith, Mike McMahon, Brian Bolland, Steve Dillon. With perhaps an exception for the last two, they are all deeply, peculiarly and utterly British in their art style. McMahon and Smith particularly are using art that would simply never fit in an American comic of the period (or before). They’re more European and eccentric and unique... I think we often forget how strange Dredd often looks compared to some of the American comics and here that world view is really snapping into visual focus. It’s really under appreciated how much that unique artistry has allowed for the longevity of the comic and it’s characters
scornweed's review
adventurous
dark
funny
fast-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? No
4.0
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