![]() ![]() Then we’re back into darkness, with ‘Hard Day’s Night’ from Robbie Morrison, Patrick Goddard and Dylan Teague. It’s this sort of strange daftness that makes the world of Dredd such a wonderfully mixed bag, although you could always argue that Rennie wrote it with that end line in mind – “ It ain’t over until the fat guy explodes.” You also get those lighter moments, such as Gordon Rennie and Paul Marshall’s ‘A Night At The Opera ‘, playing out a farce of Dredd being ordered to represent the Justice Department at the (explosive) premiere of a new opera, Cal: Tragedy of a Tyrant. A Night at the Opera’ by Gordon Rennie and Paul Marshall It’s a sombre thing, with Wagner brilliantly questioning the fundamentals of justice. In just two parts, Wagner laid out a compelling courtroom drama, the defence counsel’s only hope of a case resting on showing that Orlok’s actions were merely as deadly as Dredd’s, comparing the Sin City poisonings with the destruction of East-Meg One. Cam Kennedy’s on superb form here as well, all wonderfully angular and striking. The opener, ‘ The Trial of Orlok ‘, gets us off to a cracking start, as you’d expect from John Wagner playing with the toybox from the Apocalypse War. ‘The Trial of Orlok’ – by John Wagner and Cam Kennedy In fact, there’s a real joy in simply celebrating the skills involved in Dredd’s shorter tales, something that’s always been a huge part of 2000 AD. There’s no real big ‘event’ storyline this time around, with the longest story coming with ‘Revenge of the Chief Judge’s Man ‘ at eight episodes, but that’s not to say there isn’t plenty to entertain. ![]() The Complete Case Files, reprinting Judge Dredd’s appearances in both 2000 AD and Judge Dredd Megazine, are now up to 2000 AD Progs #1336-1364 and Megazine #201-206, all from 2003, with plenty of great Dredd tales to get your teeth into. ![]()
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