Review by Frank Plowright

The Complete Case Files 48 presents a time when things aren’t going well for Dredd, although there’s little hint of that as the volume opens. Complete Case Files 47 saw the election of a new Chief Judge not liked by Dredd, who’s made his feelings clear. The result is exile to the Cursed Earth a third of the way through this volume.

Dredd begins, though, in Mega-City One with early work from Al Ewing, which initially just seems to pastiche the John Wagner/Alan Grant collaborations, but eventually takes an original direction with the worst of Mega-City One let loose elsewhere. Karl Richardson (sample art left) is a developing artist whose influences are apparent, and who could have toned down the gore. Ewing and Paul Marshall later provide a clever tale split into past and present.

The pre-Cursed Earth material features two highlights from Wagner. Colin Wilson draws ‘Psycho Block’, creating a dark, claustrophobic atmosphere for corruption within a psychiatric hospital. ‘Old Wounds’, superbly drawn by Peter Doherty, is a tense sting operation to capture a gangster and is notable for a brilliantly bleak ending.

Subsequent material has previously been collected. Most of this content occupies Essential Judge Dredd: Tour of Duty Book Two, with the final stories spilling over into Book Three. Dredd’s spell in the Cursed Earth continues into Complete Case Files 49.

Dredd is posted to a remote outpost in the Cursed Earth to oversee construction of a township being constructed to house mutants due to be evicted from Mega-City One. The stories switch between what’s happening there and Mega-City One. That’s predominantly the gradual transfer of power from ailing Chief Judge Francisco to his deputy Sinfeld, while in the Cursed Earth Dredd comes to realise why the solution won’t work. Colin MacNeil’s polish might not seem the ideal choice for the grubby environment, but his art rises to the occasion.

By the time the mutants arrive at the resettlement area Mike Collins is artist (sample art right) over a series of episodic tales exploring the new situation and world. Collins isn’t a distinctive stylist, but his storytelling is impeccable and there’s far more detail to his pages than in those drawn by many other artists. Wagner provides solid action without ever greatly extending himself, although he’s setting up what’s to come with Dredd’s suspicions about Sinfeld.

Strips written by Gordon Rennie and Robbie Morrison close the 2000AD material. Rennie’s idea of Dredd tracking a dragon is fine, but even distractingly good art from Cliff Robinson can’t disguise a plot stretched too far. Jon Haward illustrates Morrison’s story about a woman able to induce unfettered lust, which is a brief comedy throwback.

Morrison also begins the material first serialised in The Judge Dredd Megazine, with Kev Walker illustrating the return of an old villain before two brief contributions from Ewing finish the volume. Patrick Goddard draws Dredd intervening in a hanging in what’s a straightforward Western, but better is John Higgins illustrating a clever new year story.

Much of Complete Case Files 48 is a solid collection that entertains, but little startles.