You know Dredd. Big, beefy, never
takes off the helmet. Kind of a jerk, isn’t he? Why do we like him again?
Maybe you know him from the
excellent 2012 movie starring Karl Urban or the less-good 1995 feature film
where Sylvester Stallone played him. Or it could be you’re either a fan of the
long-running comics series from 2000 A.D. or the character’s crossovers with
Batman.
Chances are, most of the stories
you’ve seen him in happened in Mega-City One, the sprawling super-metropolis
that’s made up of most of the United States’ Eastern seaboard after a
disastrous nuclear war. But this week, we’ll get to see what Los Angeles looks
like in Dredd’s messed-up sci-fi futurescape in Judge
Dredd: Mega-City Two. The series—written by Douglas Wolk, drawn by Ulises
Farinas and colored by Ryan Hill—transplants Joe Dredd out west as part of an
exchange program. Things are
different out there.
I talked with Wolk—a critic who’s
been kind enough to talk about comics on Kotaku
before—about Dredd and this relatively unseen slice of his world.
Kotaku: I had this thought
while watching Dredd [the 2012 movie]:
why should we root for Dredd as a character? A letter-of-the-law future cop
who’s all about upholding a horrific status quo. Why’s he a hero? Because,
really, he’s a dick.
Douglas Wolk: He is a dick! One thing I find fascinating
about him is that on a small scale, he is heroic: he protects those who need
protecting, he does the things somebody has to do but that most people aren’t
willing to do, he’s unutterably brave and uninterested in personal gain, etc.
But he’s also a monster, and there’s no getting around that; the system he
represents is totally broken, and only preferable as an alternative to what
there would be without it.
Kotaku: Yeah,
he shores up a society of last resort.
Douglas Wolk: So the interesting Dredd adversaries tend to
fall into one of two categories: Judge Death, Ma-Ma, etc., who are distinctly
worse alternatives to the Judges, or characters like Chopper, who just happen
to be on the wrong side of the law. But there’s a case to be made that Dredd
isn’t the hero of a lot of his stories, he’s the catalyst—the most interesting
part is the setting and the culture. Dredd himself is nearly a cipher—he’s
really sealed off and has almost no self-awareness or self-questioning impulses.
(So, when he has them, they’re incredibly effective dramatically).
Kotaku:You’re setting
this series in the fucked-future equivalent of LA. Now, LA is a ripe target for
satire. What were the things you forced yourself to steer clear of for being
too easy? What did you aim at, for not being dissed the way they should?
Douglas Wolk: Hah! The problem with trying to not be too
on-the-nose is that what’s obvious to me may not be to someone else—I think I
tried to make things more complicated when I found myself going that way. It’s
really easy to mock fake tans and plastic surgery, but maybe more fun for me to
try to look at it as pressure for everyone to be “beautiful” in a certain
prescribed way all the time.
That said, it’s kind of hard to go wrong with jokes about L.A.
traffic—that’s the central fact of living in that city. But on the other hand
there’s a lot of stuff in the second issue, especially, about e.g. the fine-art
economy of Southern California; I have no idea how much of that even gets through
and how much of it is just detail I snuck in there to amuse myself. Meanwhile
Ulises Farinas is doing these incredible Akira pastiches and stuff… But I
did make a big list of “distinctive things about L.A.” and kept coming up with
interesting ways to mutate them that could serve the story.
Douglas Wolk: I mean, it’s a city that’s totally focused on
creating and sustaining images. That’s something that’s also in direct
opposition to Dredd as a character: he’s all about facts on the ground and
stripping away illusion.
Kotaku:You’re a comics
critic and historian. How did that help you and hurt you in writing a character
that you know so well?Douglas Wolk: One thing Ulises and I wanted to do was make a Judge
Dredd comic that was specifically American in its look and feel—that
unmistakably belonged to the same universe, but also didn’t read like any story
before it. He’s one of the cartoonists who are on the vanguard of what’s going
on in the States right now, I think—the people who’ve absorbed at least as
much from outside mainstream American comics as from inside it and are
channeling that power and inventiveness into straight-up full-color action
pamphlet comics. It’s been really fun to have a sense of what Ulises (and Ryan
Hill, the incredible colorist we’re working with) can do that this series
hasn’t done before.
Evan Narcisse: Speaking of feeling American, it seems like the
interpretations of Dredd vary from the U.S. and the U.K. His appearances in
American-created comics—like the crossovers with Batman—have focused on the
gun-wielding badass aspect and less on the satirical aspects of his world. Do
you think Americans fundamentally misunderstand the character?
Douglas Wolk: Well, the four crossovers with Batman were all
written by John Wagner and Alan Grant, who wrote Dredd’s 2000 AD series together for many years—but, for the most part,
they were effectively Batman stories with some of Dredd’s cast in them! But
yeah, I think it’s totally reasonable to do “gun-wielding badass” stories with
Dredd, since that’s what he is too.
The biggest misunderstanding for Americans in thinking about Dredd
is seeing him primarily through the lens of the 1995 Stallone movie, which…
was arguably sorta-OK as a *movie* (Ulises is a big fan of it), but I think
badly distorted what was interesting about its source material. Maybe a
secondary effect of the way Dredd’s been presented in the States is that
readers can see a handful of very frequently reprinted early stories (“Judge
Death,” “The Cursed Earth,” etc.) as the real thing and everything after that
as a continuation of the same franchise. As an analogy, it’s like thinking
Doctor Who was all “Day of the Daleks” and “The Ambassadors of Death.”
