John Wagner is a comics writer who was born in Pennsylvania in 1949 and moved to Scotland as a boy. Alongside Pat Mills, Wagner was responsible for revitalising British boys' comics in the 1970s, and has continued to be a leading light in British comics ever since. He is best known for his work on 2000 AD, for which he created Judge Dredd. He is noted for his taut, violent thrillers and his black humour. Among his pseudonyms are The best known are John Howard, T.B. Grover, Mike Stott, Keef Ripley, Rick Clark and Brian Skuter. (Wikipedia)
One of the most exalted stories in Dredd's long run, America ran in the new Judge Dredd Megazine back in 1991 and marked a cinematic sea-change in the way the character and his world had been portrayed before that point. Focusing on tragic childhood friends, Bennett Beeny and America Jara, it shows the fascistic Mega-City One from a citizen's eye view and introduces the pro-democracy terror group "Total War" into the canon. Dredd goes from anti-hero to straight-up oppressive antagonist here and the tonal whiplash going from The Day the Law Died to this is wild and shows not only the leaps and bounds that the great John Wagner had made in a decade, but how the medium itself had changed immeasurably over the 1980's. From darkly whacky weekly tales of action and derring-do to an existentially bleak tale of loss, grief and struggle tailor made for the graphic novel collected format.
Obviously there were significant steps this way in between and undoubtedly the foundations for this lay in Wagner & MacNeil's glorious and moving skysurf saga "Song of the Surfer" a few years previously - which saw the debut in its later parts of McNeil's beautiful intricate painted art. Beyond the story it's MacNeil that makes this a masterpiece - painted comics were very much the style at the time (there's even a Simon Bisley quote on the back) but the detail and the framing of the artwork in America is jaw-droppingly beautiful. Even incidental panels are gorgeous, never mind the iconic splash pages, any of which would make a glorious cover on their own.
The edition I have I managed to find in a charity shop, a first edition no less from 1991 - a slightly sad result of how woefully under-appreciated the form is in the UK - but if you'e ever tempted to leap into Dredd's world this is the way to start - the story where ol' Stoney Face is barely even featured and a persuasive example that the lead character was never really him all along but the city which he protects, he suppresses. "Justice has a price. The price is freedom."
A definite far cry from “Batman/Judge Dredd: Judgment on Gotham”. I described that book as fun because it was, but this story is as depressing as that was a blast to read. Both are excellent, but this one blows the other out of the water. These are the themes I like to see in Dredd, and I’ve heard this was always the most critically acclaimed story featuring the character. It’s a great tragedy, and it’s injected with politics that could shake anyone. No matter how you want to look at it, Judge Dredd is a fascist superhero. He’s an enjoyable character because we know he’s doing wrong, but this time around there’s nothing funny about him. For the first time here I’ve gotten to read Dredd’s own thoughts about what he’s doing. He’s not just a mindless law-giving machine, and he does have his own philosophy, no matter how, uh, “problematic” it really is. I don’t think I’ve seen this self-justification of authoritarianism so plainly in any media before, and yes, it was shocking. The whole story was intense, oppressive, and thought-provoking. I’ll be mulling it over in my head for a while, even though I know there are dozens of other books and movies that approach this topic with more subtlety. If subtlety is what you’re looking for, though, Judge Dredd is not for you. I’ll be binge reading some more of these comics soon, but I think this one will stick with me the longest. I’m still blown away. (Er, no pun intended).
I stand four-square for justice. I stand for discipline, good order and the rigid application of the law - and Grud help any limp-wrist liberals who say different.
The people, they know where I stand. They need rules to live by - I provide them. They break the rules, I break them. That's the way it works.
The people like it that way. They need to know where they stand.
This is a rather special charity shop find and a blast from the past. From 1991, this is classic Judge Dredd and one of the stories which stands the test of time.
Rather than being focused on Dredd, it follows the lives of two immigrant children, Bennett Beeny and America Jara. It chronicles their coming of age and their run ins with 'the Law' and how this affects their development into adults.
Like a lot of Judge Dredd, it is brutal and packs a punch. The only negative is that it is quite a short story which really deserved just a little more. 4 1/2 stars.
I'm a mean old Judge, my name is Dredd, do what you're told or i'll bust your head!
Don't talk of freedom, freedom is for fools, you'll do much better to obey these rules-
Bow down and knuckle under! You'll find I'm very fair! So long as you remember - Just plant your lips right there!
Simply the best Judge Dredd story ever written. Bennet Beeny singing America's song A.K.A. one of the most touching reflections on transgender people and the suffering they take upon themselves throught transitioning is as tearful as it gets. A total, complete comic Masterpiece. How the fuck John Wagner passed from penning this to the crappy History of Violence is a undecriphrable mistery that will never be unresolved.