Quote of the month: “I’d recommend to anybody working on their relationship that they should try embarking on a sixteen-year elaborate pornography together. I think they’ll find it works wonders.” Alan Moore
Cover: Cliff Robinson draws Dredd, Armitage and new character Tempest. Workmanlike and always a crowd pleaser, it is nonetheless nothing we haven’t seen before.
Strips: Judge Dredd, Armitage, Tempest, Bob the Galactic Bum (reprint)
Features: Interrogation (interview with Alan Grant), Dredd Files (summary of Dredd strips from days of yore), New Comics (Alan Moore and Melinda Gebbie’s The Lost Girls), New Movies, Dreddlines (letters)
I’ve been reviewing 2000AD every week here for a while now, so why not the monthly Judge Dredd Megazine? Well, the short answer to that is that I often don’t read all of it. The Megazine has always been less consistent than 2000AD and some of the strips contained within it have been very weak indeed. I remember reading an interview with Alan Grant in the 90s when he confidently predicted that 2000AD would merge into the Megazine before the decade was out; so much for that theory.
Why has it always been the weaker of the two titles? Partly it is because it has always had a very confused identity. Various editors have sought to rebrand it as either the JUDGE DREDD Megazine or the Judge Dredd MEGAZINE. The former implies a comic focussed on Judge Dredd and his world, which has meant that most of the strips over the past 18 years have been about a Judge in another country or setting (A Samurai Judge! A grumpy Inspector Morse-type Judge! A Wally Squad Judge [lots of Wally Squad Judges in fact]!) or a direct spin-off from the Dredd strip itself (Anderson, Hershey, DeMarco, Mean Machine, Chopper… you name it).
The latter implies something more generic. For a period in the early noughties this meant a series of strips that were related to Dredd in the sense that they were noirish, focussed on crime and/or filled with black humour. This lead to strips ranging from The Bendatti Vendetta
through to Xtnct (by Doctor Who/Human Nature scribe Paul Cornell).
More recently though, this has implied taking a more magazine-ish approach to the comic, leading up to the current vogue to make the publication its own fanzine. This has had mixed success. Some of the articles have been stronger than others and occasionally they have dominated to the extent that it resembles a magazine about British comics, complete with free fannish content, with a monthly Dredd strip included as an afterthought.
The other big problem it has faced is its monthly format. While in the US, monthly, single-strip comics continue to thrive (if thrive is the right word for it), in the UK we have tended to opt for weekly anthology titles (a gross simplification if ever there was one since 2000AD, Beano and *ahem* Dandy Xtreme are the only ones left!). Once again, the Megazine has flitted between the two extremes. Monthly comics are tough to follow, especially the wilder ones such as Pat Mills and John Hicklenton’s recent Blood of Satanus III (which was sadly not worth the wait when I finally got around to reading it in one go last month) and while most successful 2000AD strips tend to be between 10 and 15 parts long, such length is an impossible task for a monthly strip.
Sadly, going fortnightly didn’t seem to help the comic either, as it was in the mid-nineties. While that enabled it to develop a stable of ongoing strips and helped develop a number of careers including Robbie Morrison, Frank Quitely and Gordon Rennie, much of its content was at best rushed and a worst downright rubbish. The then-fad for sub-Bisley painted artwork didn’t exactly help either.
Nonetheless, it certainly has its moments and has launched the careers of several top flight artists and writers. The fact that it has survived at all is pretty remarkable given that for a good year in the late nineties it only had 16 pages of original material in it every month.
As of this issue, the Megazine has had a relaunch and yet another reboot (although a less extreme one than some of its predecessors). Gone are the indy backup strips (an opportunity for upcoming artists to show their wares; a bunch of free material for the magazine); back is the cheap US reprint material.
But I’m getting ahead of myself. Here commenceth the review:
Spoilers… Continue reading Meg Review: 266