3 comments on “Prog 1900 Review – Orlok

  1. “Maybe it was just me but did this seem to have a touch of the movie about it? Even the armoured Judge Post has a hint of the grit and grime of the 2012 film”

    The next episode describes Dredd fighting to “bring order to the chaos”, so I think we can safely say that’s what Wagner’s up to here.

    Wagner’s done the same in the past, taking what he finds useful from other versions of the character. Origins, for example, adopts the Eustace forename for Fargo from Andy Helfer’s short-lived DC series (although not the characterisation or motivation of that version). Carlos still draws the handlebars of the lawmaster like those in the 1995 film, and he adopted the wee kiss-curl helmet detail for a while too.

    You could see the industrial squalor as a retcon bringing the comic MC1 in line with the gigantic council housing scheme aesthetic of the 2012 film, but the stratification of rich and poor in the same building can also be read as a rationalisation of the way Mick McMahon used to draw swimming pools and spacious arboretums atop his blocks, while the stories were about how hellish life was for the unemployed folk crammed into tiny cell-like apartments.

    • As seen in stories like The Falucci Tape and Back on the Streets, Cam Kennedy filled his utilitarian city-block hallways with assorted stains, leakages, graffitied walls and els -Alex Ronald’s later stuff was especially grey and filthy- but can’t blame prog 1900 marking itself as a jump-on point for new readers with John Wagner purposely drawing all the common elements between the film and source in one story – even harking back to the sadly all too short prototype Megazine soap-opera, The Blockers, from the 1988 Mega-Special.

  2. This cross pollination can only be a good thing with the original creators giving the film and comics their seal of approval/nod and bringing it into their sphere.

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