The alien only able to say ‘Vark’ started life as Wagner and Grant joking about how characters on then relatively new soap opera Eastenders would swear, and O’Neill excels with his designs for slogan-plastered buildings and vehicles in ‘The Law According To Dredd’, in which Dredd meets his Cursed Earth counterpart.īrendan McCarthy had come a long way since his Dredd strips of 1979, but he works far better in colour. Do they play to his admirably grotesque art, or would he have transformed My Little Pony into something similar? O’Neill drawing a typically heroic Dredd rather than adapting him to his style was an interesting choice. ‘The Genie’ has Dredd at his grumpy best.Īll three of Kevin O’Neill’s Judge Dredd stories are here. Both stories feature an innocent caught in circumstances beyond their control, and while played for laughs they’d not work without also engendering sympathy. The hapless Sardini is tasked by a mob boss with stuffing some recently departed henchmen, but the judges are searching for the missing corpses. Cam Kennedy’s self-caricature in ‘The Art of Kenny Who’, undergoes demeaning treatment from all he encounters in Mega-City One, and Kennedy introduces a memorable character in ‘The Taxidermist’, later to be seen in his own graphic novel. In contrast to the previous three volumes, most of the longer stories are among the best. The greatest selection of artists to date in a Case File, sixteen in all (not counting contributions to the jam story), make this volume very much the good, the bad and the ugly. Sometimes the writing team of John Wagner and Alan Grant hit one out of the park, but far more often they’re coasting, and this on the stories finally credited under their own names rather than the T.B. The Judge Dredd material beginning this volume continues the return to form of Case Files 9, but thereafter it’s very patchy.
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