Decades before the FIRST FEMALE EVER to write for Judge Dredd, the first female Judge appeared in the strip and blazed a trail for all of her sex. Her tremendous contribution to the story will never be forgotten and, wait, what did she do again? Oh, right, so her gender has nothing to do with it and it’s just down to the script rather than the contents of her underwear? Hmmmm. 
DATELINE:
August 2101 (Prog 127)
WHO’S RESPONSIBLE?:
John Wagner’s script is decent enough but the art by Brian Bolland lifts this from the mundane.
WHAT’S IT ALL ABOUT (IN ONE SENTENCE)?:
A weather malfunction brings fog to a sector of the city and results in a string of attacks.
WHO’S THAT IN THE HELMET?:
Judge Kelly, the first female Judge to appear in print is relegated to victim support while Dredd deals with the perps.
IT’S CULTURAL, INNIT?:
Sweeney Todd is a penny dreadful character from the 19th century.
Williams Burke and Hare were 19th century murderers operating out of Edinburgh.
The Hunchback of Notre Dame seems to be modelled on the Lon Chaney version and not the one currently occupying the White House.
The museum curator bears a passable resemblance to the great Boris Karloff.
CANON FODDER?:
One of the citizens remarks that the fog reminds her of the pea-soupers of old London. How would a 22nd Century citizen of Mega City 1 recall a phenomenon that existed in the 19th to mid 20th centuries in London? Hey, remember those smells that used to emanate from the sewers in 19th century Bangalore? No, me neither.
The names of the citizens (Carol and Doreen) are not in keeping with a futuristic feel and seem straight out of a 1970s drama.
Judge Kelly appears to be wearing her badge on the wrong side of her chest.
WHAT THE DROKK?:
How does a robot leave an infra-red trail for Dredd to trace?
Dredd seems to be very comics code authority friendly with a “What the heck?” being delivered.
Even given that they have basic programming to act as attractions, why would robots be programmed to kill, especially in a city that is significantly more complex than 19th century London.
WHAT’S THE ART LIKE?:
The art is absolutely gorgeous and once again Bolland pulls off some deft facial expressions. The use of shadow and shade here is absolutely sublime.
HOW MANY LINKS?:
Apart from the amazing art, the story is slim. Three links.
Everything Comes Back To 2000AD 