Review by Karl Verhoven

Marlon ‘Chopper’ Shakespeare winning Supersurf 7 against all the odds was a pivotal moment in Judge Dredd history, as someone not only sticking two fingers up to the authority of the Judges, but getting away with it. Chopper’s name lives on as a hero, so much so that skysurfers are being invited to auditions for a movie about Chopper’s exploits. Among the hopefuls is Zane Perks, whose been surfing almost since birth. His father also took part in Supersurf 7, but is now a depressed alcoholic.

John Wagner and Colin MacNeil have revisited Chopper’s exploits before, that found in the flawed Surf’s Up collection, so while they’re both top of the line creators, expectations might be qualified. “We’re ringing the changes, kid. Who wants repeats?” a film producer says when a surfer points out the plot doesn’t follow actual events, a self-aware Wagner giving his own comment, and he duly proceeds to ring those changes. It’s a third of the way through before the key element of the set-up is revealed, and it’s also a variation on a plot that Wagner’s used previously for Chopper, but he doesn’t take it down the same route.

The changes are immediately apparent in MacNeil’s art, very different from before, now produced in colour, but only just, and far removed from the bright tones MacNeil’s used in the past. He constructs a spiky shape-led environment, people often barely visible through the heavy shadow on their faces. In other circumstances this could be considered idle, but it’s consistent with a cheerless look, and MacNeil certainly puts major effort in elsewhere. The steel and concrete characterising his version of an oppressive city is consistently striking.

Rather than bring back a middle-aged Chopper for one more go round, the purpose of Surfer seems to be constructing a viable youthful successor. The first of two stories certainly reinforces skill and technique, and both hang a gloomy atmosphere over Zane, pinning him down as the well meaning underdog unable to claw his way loose of the pressures he’s under. The only exception to that mood is the sparkling comedy opening the second story, with Wagner enjoying a courtroom sequence.

The first story’s good, but the second is Wagner and MacNeil on top form, constructing a trap that’s pulling tighter and tighter with no escape. The ending’s in keeping with the tone throughout, with even Zane knowing what’s coming. A depressing delight.