Time to kick Monday’s ass! It’s here! It’s finally here! A year in the making: THE EPIC BOOTCAMP. How to get your story from ‘eh’ to ‘epic’ with a little help from me and my friends!
Phew. That was a little bit dramatic! Let’s take a step back! So, what is the Epic Bootcamp and how did it come about?
As many of you know, I am an editor and ghost-writer, as well as a novelist and fiction-author. I help writers get their novels polished, identify structural weaknesses, and sharpen their prose. My aim is always to teach writers techniques so that they can, in the future, go forward without my help.
However, editing manuscripts is VERY time-consuming. Especially 90-120,000 word epics (which are the kind of books I like to read). Because of how long it takes to fully master-edit a book like this, it therefore becomes really expensive for the writer to invest in editing (and I’m on the cheap side!). As I said, I try to teach them techniques so that they don’t need me in the future – to add as much value as possible. With each edit, I try to impart a few more of my tricks and techniques to help them reach a level where they have their own voice, and they feel they can handle narratives without that guidance.
However, many people, and especially us creatives it seems, don’t have access to financial resources for master-edits on their novel. As someone who knows what it’s like for the energy company to turn off the power, I knew I had to address this imbalance and help out the millions of low-income creatives out there, who have just as much of a right to upgrade their writing. So, I wracked my brains as to how I could best address this. How could I explain some of my techniques and narrative strategies, but not bankrupt myself in the process?
The answer is the Epic Bootcamp.
The Epic Bootcamp is my attempt to create something affordable for writers who want to improve their craft but can’t afford to work with me one-to-one. Although I would also highly recommend it for anyone looking to level-up their storytelling, even those who have worked with me before. It is an online training course divided intoseven modules. Each module covers a different aspect of storytelling from creating epic protagonists, learning from the past to help us write our stories now, to structure, endings, and more. Not only does each module have a 30-60 minute audio file of pre-scripted content, but also another 70 – 120 minute audio with a special guest interview (transcripts are available on request too for those who are hard of hearing). These include interviews with indie filmmakers, novelists, poets, psychologists, and more!
Specifically, the Epic Bootcamp is designed to help you tell “epic” stories. Not just your run-of-the-mill tale, but something that shakes your reader to the core and leaves your indelible mark on their soul forever. Am I qualified to help you do that? Well, I’ve studied epics for more than 14 years, but not only that, I’ve written 20+ books, many of which are considered epic in scale, scope, and feeling.
That reminds me, you’ll also get a FREE digital copy of my epic novel Nekyia as a proof-of-concept for the principles I teach!
Furthermore, anyone who signs up to my Epic Bootcamp will also get a free 1-month trial membership to Let’s Get Published, a writer’s mastermind group run by the awesome Christa Wojciechowski.
So, if you want to take your stories for ‘eh’ to ‘epic’, head on over to the Epic Bootcamp!
Last year, I ran a workshop where I talked about Gothic and Horror literature. This was called: “The Cathedral of the Deep: What Gothic Is and How To Write It”. I thought, given there was some interest in the topic, that it would be great to share some of the ideas I talked about in this seminar online. Now, while I have studied Gothic literature pretty extensively (and Horror is a kind of raison d’etre), I am by no means the sole expert on the subject, and there are many other academics, writers, and enthusiasts who have their own opinions on the matter. I do not purport to present the only way to understand and write Gothic here, this is merely my own approach to it. What I hope is that these methods and ideas can help you in producing your own work, whether it be a short story, poem, or even a video-game, script, or movie. The underlying concepts of Gothic are beyond one medium of expression.
WHAT YOU WILL NEED
This is not just a blog or opinion piece; I intend it more as a class. So, I’d recommend that you have a notebook and pen handy. Also, you might want to have Twitter open in another window. You can message me any questions as you read along: @josephwordsmith . I will try my best to get back to you as quickly as possible. I’m also going to dropping a lot of reading/viewing recommendations, so make sure you make a note of the things you want to check out. This class is going to be divided into two parts, due to the depth into which I plan to go. That’s pretty much it folks!
A (VERY, VERY) SELECTIVE HISTORY OF HORROR
Modern Horror has its roots in Gothic literature. While there are subtle differences, shaped by time and society, understanding classic Gothic literature, and how it works, can give us insight into how to write Horror that is a cut above the rest, that is more than cheap scares or gratuity and transcends into something cathartic and emotionally resonant. So, let us take a walk through a history of horror.
Horace Walpole’s The Castle of Otranto is widely regarded as the first Gothic-Horror novel, but the Gothic stretches back much farther. In the Elizabethan period, Shakespeare and Christopher Marlowe both wrote plays that can not only easily be classifiable as Gothic, but may even have been used as templates by subsequent writers for what Gothic is. First, let’s consider two of Shakespeare’s most well-known plays: Macbeth and Hamlet. Macbeth is the height of Gothic, with its bloody deeds, visions, ghosts, magic and atmosphere of terror. It remains one of the most concentrated examinations of evil ever written. Hamlet is perhaps less typically Gothic than Macbeth, but contains ghosts, religiosity, madness, and many other themes that are explored within a tense narrative that breeds unease in the audience. I would recommend you go to see either of these plays, so long as they are being put on by a good company. If you wish to see a truly Gothic cinematic adaptation of Macbeth, I recommend you watch the 1971 film version by Roman Polanski, in which the symbolic elements of the play are drawn out in staggeringly vivid ways.
Christopher Marlowe’s Doctor Faustus is perhaps less well known (despite “Faustian pact” being a common idiom), although in 2016 the Duke of York Theatre in London put on a sublime production of it starring Kit Harington which did something to revitalise interest in the play. This iconic work portrays a magician who makes a deal with the devil: his soul for 27 years of unlimited power. It is an extremely Gothic work, with its magical rituals, sexual undertones, metaphysical discourse, spirits, demons and religiosity. If you can find a good version of this play, I’d highly recommend it. The language is challenging, but once you get into it, this barrier will fall away.
These plays were written towards the end of the sixteenth / beginning of the seventeenth century, and remain some of the most celebrated plays in any language to this day. How is it that they remain so potent, even now? And why do we hold onto these plays, when many of their contemporaries are now being forgotten? One answer, I believe, is in the nature of Gothic, and Horror, itself. Horror is perhaps the only genre defined by an emotion. It’s about feeling, powerful emotional response, and of course strong emotional reactions stays with us.
I would be remiss not to mention the great Mary Shelley, whose Victorian novel Frankenstein has become a benchmark for Horror and Science Fiction writers throughout the world, and is Gothic through to its bones. Again, the success of Frankenstein is not in clever plotting or even in its Horror, because there are scarier books. No, its success is in the emotional resonance of the ending, and realising that we have misjudged the “monster” all along. Sympathy is an integral part of Horror. We must sympathise with Macbeth, to understand the gravity of his errors, to feel his terror as the walls close in. We must sympathise with both Victor Frankenstein, the tortured rebel creator, and his creation, “the monster”, in order to learn a profound lesson at the end of Frankenstein.
Emotion is the key. As a reader, you read a Horror book to be scared, or at least repulsed. As a Horror writer, you aim to write a book that will haunt your readers. Stephen King said: “First, I’ll try to make you feel terror. If I can’t I’ll make you feel horror. If I can’t do that I’ll gross you out. I’m not proud”. These words, in a way, show three key forms of Horror. The empathetic (terror), which means we experience the emotions of the protagonist as our own. The sympathetic (horror), which means we feel sorry for, can relate to the protagonist and their predicament. The gruesome (disgust), which means we feel revulsion or are “grossed out”. All three are valid, and can be intermixed at will.
THE FOUR KEY ELEMENTS OF GOTHIC WRITING
So, I have listed some things that define Macbeth, Hamlet and Doctor Faustus as Gothic texts. However, this is all a bit vague. I’m now going to narrow it down to the four key elements that define a text as Gothic, and how these “serve the beam”, to quote Stephen King once more. When you understand how each of these four elements work, and how they work in cohesion, you will be able to look at classic Gothic literature, such as Macbeth, Hamlet, Doctor Faustus, Frankenstein, Dracula, Jane Eyre or even modern Horror texts for that matter, and see how these elements have been used. What’s more, you’ll be able to use them yourself to create a Gothic piece. This is not to say that all the writers I have listed are thinking about the genre in this way, they probably don’t, but I believe there are mechanics beneath the surface that writers pick up subconsciously from years of study and internalisation.
Dean Koontz said many faults in a writer could be forgiven if they could “weave a warp and weft of mood”. Gothic is about atmosphere: how do we feel stepping into the haunted castle, or walking through the woods alone, or seeing the seductive vampire? One technique for creating mood is sense. Most writers focus only on one, vision, so they spend hours laboriously describing their scenes, as though their novel/story were a transcript of a movie. Think deeper. What are the sounds, smells, sensations?
This works in two ways:
The first location described in Macbeth is Macbeth’s imposing fortress home which sits upon a high hill overlooking a forest: “This castle hath a pleasant seat”. You can immediately see parallels with the later novel The Castle of Otranto, where the setting of the ‘castle’, and its labyrinthine mazes, becomes symbolic of the labyrinthine mind of Lord Manfred and his schemes. In Dracula, the first quarter of the novel is set in Dracula’s keep, and we even return there at the end. Dracula also has another castle in London which becomes his base of operations.
Most Gothic literature is structured in elegant and baroque ways. For example, in Frankenstein, we have the ‘framed narrative’ device, going deeper and deeper into the story through different lenses. In Dracula, we have the epistolary device, the story told through various letters. A fabulous modern Horror story that uses ‘architecture’ in a compelling way is ‘The Woman in the Hill’ by Tamsyn Muir, a short story recently re-published in Best of Horror 2016. This used an epistolary device to create a sense of verisimilitude.
You maybe asking ‘what is verisimilitude?’
Think about the plethora of recent Horror films using the ‘found footage’ trope. This is the cinematic equivalent of a letter, because the story is being posed as authentic and coming from one authentic source. These kinds of structures have evolved in one sense from the early Gothic ‘epistolary’ novels, but also have remained bizarrely consistent for hundreds of years. Walpole’s novel The Castle of Ortranto was released, posing as a real translation of an Italian manuscript found in a crypt. Only later did he reveal the truth. This is Gothic verisimilitude. The supposition of believability. Narrative architecture in Gothic literature can be used to create this sense of believability in order to draw your reader deeper into the maze of your story.
The title of this seminar: The Cathedral of the Deep, comes from the video-game Dark Souls, which is created by Japanese game-developer Hidetaka Miyazaki. The Cathedral of the Deep is a location the player can explore which is said to house the remains of the god-eating monster Aldlich, Lord of the Deep, who’s actually a kind of viscus sludge. The Cathedral itself is full of gorgeous paintings, golden braziers, candles, statues, gargoyles (some of which come alive and attack you), undead, maggot-ridden creatures that thrash in pools of blood, and also, invading spirits from other worlds, ghosts, and a fanatical cult of archbishops. Miyazaki is clearly a big fan of the Gothic – he revealed in an interview he read many English Gothic and Fantasy writers in his youth, though he struggled to translate them – and the worlds he creates are based on Western Gothic and medieval traditions, even if they do have a Japanese twist to them.
Here architecture is reflected in the artistic game and level design, as well as the elliptical storytelling. “The Cathedral of the Deep” is, I believe, a perfect encapsulation of the Gothic. TheCathedral represents architecture, structure, design, trappings, style. TheDeep represents deeper meanings, what’s buried beneath, desires, emotions. Bear these two concepts in mind when you begin to write your Gothic fiction. What is the external architecture of your piece? Are you writing it as a letter, or a journal, or is it rather that the setting is baroque and magnificent? Then, what are the underlying emotions? Often the degraded emotions of Gothic protagonists contrast with the splendour of their surroundings.
All Gothic literature is spiritual in some way, or else, extensively utilises the mythos and trappings of religion. This is linked to the architecture. Often, the Gothic uses religious structures as key focal points: cathedrals, churches, holy ground, or, metaphorically, internal religious structures of belief and faith.
This also includes deeper themes and questions of reality: who are we, where do we come from, what is reality?
A modern fantasy novel such as City of the Iron Fish (Simon Ings) captures this perfectly, where we go into the nature of existence by exploring this mysterious city, which slowly comes unravelled. When the hero tries to leave this city in the story, he eventually reaches a liminal barrier in the desert where everything fades into stick drawings – including the hero himself. This is a terrifyingly meta/fourth-wall breaking moment that reflects Gothic ideas.
Modern cinema uses religion too. Alien, apparently a simple survival tale, is steeped in religious questions. There is evidence of a master-race that creates both the human race and the xenomorphs – therefore exploring the origin of our species. The more recent films, whilst not a patch on the original (for lack of mood I’d wager), go into the questions of what constitutes humanity, intelligence, love, connection, morality and much more through the character of David (played by Michael Fassbender). In addition, the xenomorphs’ home planet is presented as a cipher for Hell itself.
Madness is also linked to religion in the Gothic, because madness was, in the past, suggested to represent a deeper connection to God. For, how could God’s will and power be understood by a sane person? So, madness, and how it de-constructs the architecture of normal life, is a common theme of the Gothic. The novels of Christa Wojciechowski explore madness and perception in extremely Gothic ways, and are well worth reading.
You might ask the question: ‘Could a Gothic novel be written without religious elements?’ I hate to be prescriptive, so my final answer is ‘Maybe’. However, I’d argue it would be almost impossible. The novel, Hidden People, attempted to do this quite ambitious, but sadly, for me, it was not quite successful.
Last but not least. The language of Gothic literature is often elevated and poetic. Frequently, throughout the history of Gothic literature, poetry and prose are blended. Think of Horace Walpole’s sonnet introducing The Castle of Otranto, the works of Edgar Allan Poe (Fall of the House of Usher in particular), the poetry of Percy Shelley, Byron (the poem ‘Darkness’ perhaps the most Gothic poem ever written), and, of course, Shakespeare and Marlowe’s plays. There’s a sense of richness and beauty to the language essential to contrast and juxtapose with the horror. If you want a modern example, the short stories and novels of Richard Thomas, in particular something like Tribulations, perfectly strikes a balance between Horror and beauty.
The acronym for these elements is M.A.R.L. and the way I remember it is: Marlborough Reds, the cigarette brand. It’s easy to remember because ‘red’ is a key Gothic colour: red is the colour of desire, blood, and red and black are the colours of death. The red lips of the seductor, the red eyes of the vampire. Red is also the colour of sexually transmitted diseases: red spots on the genitals, face or hands. Sexually transmitted diseases are another key Gothic theme (Dracula is arguably an allegory of about STDs), because they imply the taboo, transgression. Transgression ties in with religion as one of the four key elements of Gothic.
Now, we’re going to do some practical work to exercise our creative muscles and see how we can use this theoretical knowledge. Pick your favourite Horror film, story, book, whatever. Write down the four key elements as headings, and then, beneath those headings, list all the elements that fit into these categories. Some elements may even fall into more than one. For example, the creepy setting of a graveyard (which evokes mood) also has a specific layout, which becomes plot-integral later, therefore this graveyard is also part of the architecture of the piece. This example is from Stephen King’s story “Graveyard Shift” if you hadn’t guessed already! Try to write a few of these, see what elements really appeal to you, and think about how you might subvert their usage for your own tales.
Thank you so much for coming this far. I hope that this class has been of use to you. We’ve now reached the end of Part 1, where we’ve closely examined “What Gothic Is”. In the next class, we will look in more depth at “How To Write It”. Specifically, in Part 2, we will cover: writing a five act structure synopsis for our story, writing a compelling opening, writing a first paragraph, and more!
If you feel that you have benefited from today’s class, then please check out my KoFi page, where you can donate $3 to “buy me a coffee” to help me keep producing free resources like this. Do not feel pressure to do so, but small contributions can go a long way for creators like me.
Time and again, I keep returning to 2000AD’s Dark Judges. There’s something about them which is innately magical, and I don’t just mean their supernatural powers. They seem to have a life off the page. I find myself thinking about them, dreaming about them, and seeing parallel versions, alternate realities where they are darker, or sillier, more human or less. Like all the greatest villains, they actually don’t have that much ‘screen-time’. Darth Vader is only on screen for 12 minutes in A New Hope, yet in those minutes he left an indelible mark on our culture, so much so that the latter films Empire Strikes Back and Return of the Jedi featured more and more of him, and the prequels were entirely dedicated to his back-story. Whilst this latter move was perhaps inadvisable, it goes to show the sheer impact that villains have on us, especially when they tap into some deep psychological meaning, when they become symbolic. Vader, of course, was the ultimate Freudian archetype of the ‘Dark Father’, the shadowy patriarch looming over the promising child, who must be overcome so that the child can be free.
The Dark Judges are a vision of the Four Horsemen of the apocalypse, a version of them, that seems undeniable. They are radical philosophers who have realised the ultimate truth of the universe: all crime is committed by the living, therefore life itself must be a crime. They are heralds of the end-times, dimension-killing fanatics, tasked with a holy mission to bring all existence to its end. They herald from the Deadworld, a dimension once like our own, now expunged of all life. But they are not just poor imitations of the horsemen. There is something unique about them. Perhaps it is their aesthetic; there’s something of the punk rock-band about them, with their skin-tight trousers, chains, black leathers, gothic regalia, and medieval helmets. Perhaps it is their wise-cracking – the stupid puns that contrast the very real horror of what it would be like to face such monstrous, psychotic, and immortal beings. I think it also has to do with the fact they are cops – that effectively the greatest threat to the universe, the thing which will destroy us all, is a team of over-zealous police-officers. With a little bit of voodoo thrown in too, of course.
It is all these things and more which makes the Dark Judges fascinating. The iconic hissing speech, which is almost parody; the twisted reasoning behind their actions (it’s a logical train of thought, isn’t it?); and the immense powers they wield, which are never quite enough to stop Judges Dredd and Anderson from defeating them. They have featured in some incredible stories, over the years, written and illustrated by some amazing writers and artists – and the stories are still coming – so, I want to look back at some of my favourite moments from across this rich history, and share with you some of my thoughts on what make these stories and panels so brilliant, in terms of symbolism, character, colour, and narrative. Let’s begin with Necropolis.
Published in 1990, this 26-part epic tells the story of Death’s sisters: Nausea and Phobia, the two witches of the Deadworld who made him into the ‘super-fiend’, and their attempt to turn Mega City One into a necropolis, a city of the dead. The Judges do not, surprisingly, feature that much in this mind-blowing and disturbing tale, and in fact it is Judge Mortis who gets the most panel-time. But, at the very end of the story, as good begins to turn the tide and fight back, finally defeating the sisters and the other three Judges, there is an incredible scene with Judge Death, a moment of Macbethian grandeur as he realises the sum of his failings and decides to end all on his own terms. Here is the iconic series of panels:
John Wagner’s writing here is extraordinary. We see Death gripped by despair, the very emotion which has pervaded the graphic novel from its first panel. After witnessing countless broad-stroke scenes of mass suicide, slaughter, and utter moral degradation, we are now, bizarrely, made to feel this despair intimately, sympathetically, through the villain himself. In this moment, the telescopic narrative suddenly zooms in, focusing its lens on one character alone. What beautiful irony this is, on a near Shakespearean level, that it is in Death we feel pain and despair most vividly. The panel work, too, is illuminating. Carlos Ezquerra captures perfectly the sudden fear as Death casts himself from the precipice – “Necropolis no more” – and the sense of profound emptiness as he spins down into the depths of Mega City One. In a way, Carlos echoes Turner here, for Turner’s famous The Fall of Anarchy c. 1825-1830 (more popularly known as Death on a pale horse) depicts Death lying, dead, on his pale steed. Death has been defeated. Death is dead. In Necropolis, Death commits suicide, a deeply symbolic, perhaps even Christian metaphor. Death is overcome in the literal sense. There is no more end of life in the story once Judge Death is gone.
The colour work for Necropolis is, in general, quite profound. Unlike later 2000AD output, which had near photorealistic artwork, this simpler artstyle leant itself to more limited pallets. Hence, there are eerie contrasts and transitions throughout the story. The start of Necropolis is almost entirely rendered in greens and purples, often bleeding together into unpleasant necrotic hues. Here, at the end, we end in reds, yellows and whites. Notice too how, as Death falls, the colour hue lightens steadily, like blood draining from a corpse.
There is also a kind of intertextual joke in these panels. Death’s masterpiece is “incomplete”, and we too feel a sense that more was supposed to happen, that maybe this time the Dark Judges were supposed to win. After all, Judge Dredd, the alleged hero of the story, doesn’t appear until about halfway through. And Judge McGruder even remarks to the great Dredd: “You look like Judge Death” – as though their roles have been reversed. It’s as if we’re supposed to be rooting for the Dark Judges in some warped way. That, perhaps, is the magic I referred to earlier. The Dark Judges are, against all sane reasoning, likeable.
In 1998, we saw the culmination of several Judge Dredd-Batman crossover comics. The reviews of these were mixed, but I personally loved the work Alan Grant and John Wagner did during this time, particularly their collaboration on Die Laughing. Die Laughing was a zany gore-fest, with panels by Glenn Fabry so photo-real you could also smell the blood dripping from them. In contrast to these exceedingly visceral and dark panels, the Joker’s goofy humour – he becomes the Fifth Dark Judge and can explode heads by laughing – and the familiar wise-cracking of the Dark Judges is ramped up a notch.
There has always been an element of dark hilarity about Death. When, for example, in Boyhood of a Super-fiend, he describes his father as the most psychotic, sadistic, twisted individual… [pause]… a dentist! He mocks Judge Dredd for his doggedness, his sheer mono-dimensional incorruptibility. The slurred serpentine speech, and the odd politeness: “Greettinggsssss” go some way towards this as well. That grin of too-many-teeth, beneath the visored helmet, it is almost an acknowledgement of his own absurdity. Unlike the other Dark Judges, Fear, Mortis, and Fire, who take themselves seriously, Death recognises his own ridiculousness. And he sure enjoys “dispensing justice”, as he terms it. In a way, Judge Death and the Joker are two sides of the same coin, though Death is more of a religious zealot, and the Joker a court jester; seeing them together is interesting and challenging, and as a result, in parts of Die Laughing, we see a slightly different Judge Death. We see an over-confident one. But perhaps with good reason:
Feast your eyes on this double-page masterpiece! If ever there were call to re-use the title of Pieter Bruegel’s 16th century oil work, The Triumph of Death, is it here. Death emerges from the roil of blood and flesh, impaling two “sinneerrsss” with his iconic claws. In Necropolis we witnessed him at his most humane, recognising defeat. Here, he is utterly victorious, Death at his very Death-est. Like Hieronymous Bosche and Bruegel, Glenn Fabry captures the epic scale and minuatiae of hell-scapes. The religious influences are more than appropriate, for Death is not only a symbol of death, but also of Satan. Outcast from a kind of heavenly state – at one with the law and order of the world – for taking his philosophy too far, he now dispenses justice on the unrighteous. The setting of the hedonist’s Pleasure Dome for the action of Die Laughing was utterly inspired, for it represented his spiritual role, as well as also giving us, as readers, a grim sense of schadenfreude – a satisfaction in seeing others punished for misdeeds. Again, in a weird way, the writers align us with the Dark Judges. They are misunderstood anti-heroes, not really villains.
THE FALL OF DEADWORLD (BOOK I)
Last year, 2017, we were treated to the first instalment of a new series by Kek-W and Dave Kendall: The Fall of Deadworld. This epic story will tell of how the Dark Judges came to conquer Deadworld and eventually enter the universe of Mega City One. What’s clear is that these two understand the Dark Judges, their fragility as well as their power, at a bone-deep level. Dave Kendall’s Goya-inspired panelling is possibly some of the most haunting and iconic yet produced by 2000AD. It really is magnificent to behold, capturing the profound weirdness of these almost-human characters with abyssal intensity. Even the “ordinary” people in Deadworld seem a bit off, as though they’ve started to go gangrene but haven’t realised it yet. There’s a rot behind it all, and as you read this tome, you can feel it taking hold of you too. There’s more than a healthy dose of Lovecraft in there, but it never overshadows the true heart of the story, the unique feeling which is the Dark Judges and 2000AD.
Kek-W has masterfully drawn on Stephen King for inspiration with the narrative; the anti-hero, Judge Fairfax, Judge Death’s favourite to become his fourth disciple, must protect the Child, a girl who dreams of being a Judge, who is prophesied to defeat Death. This new dimension to the story is electric, and both characters are ones who you deeply root for. More than any other Judge story, The Fall of Deadworld feels like true epic-fantasy. The setting of ancient Deadworld, where all the technology seems slightly outmoded against Mega City One’s (though still sci-fi) – facilitates this. Deadworld seems, too, to have much more potential than Earth for psychic occurrence, magic, and the supernatural. Here, the four Dark Judges are not the only fiends to contend with. There are other dark forces at work, and these new terrors add a delightful freshness to the story.
The Judges themselves seem to be stronger in their home-turf. Judge Fear, in particular, reclaims some of his lost face (pun intended) from being punched out by Dredd so often in the 80s. But more than that, the characters feel as rich and deep as they were always meant to be. At times, especially towards the latter end of the spectrum post-Wagner, the Judges had increasingly felt shallow, resorting to one-liners, comic relief, and often being dealt with in laughably easy ways. Now, they are back on form and one feels that this is finally it, this is the story where the bad guys get to win. And it ain’t gunna be a picnic, that’s for sure. We can be pretty sure that Deadworld will fall from what we’ve been told in so many other tales. And hell, it’s in the damn title. Of course, their victory may not be as absolute or sweet as we imagine, and I’m sure there are plenty of surprises in store. Book I of this series was full of many fascinating and unexpected subversions, new angles on old characters and ideas. Sometimes, it can be a joy to experience new hands on the wheel of your favourite car. This is one of those times.
I won’t show too much of The Fall of Deadworld, because I honestly think you must go out and get it yourself. It doesn’t matter if it’s your first foray into the Dark Judges, you’ll still get a huge kick. If anything, you might get a little more of a kick than a veteran, because you’ll see them for the first time in their full majesty. But I will talk a little about these two panels featuring Sydney De’Ath, AKA Judge Death before his full transformation, because they encapsulate his character to a tee.
Cruelty is something Sydney understands all too well from his terrifying childhood. As a Judge, of course, he has been conditioned to believe it is “admirable”, but what’s brilliant here, and completely in tune with his psychology, is that he would seek to rise above it – to use it for “good”, or his own version of it. The artwork reflects his inner complexity, with the ragged lines – suggesting he is old beyond his years – and the sunken eyes, as though he is withdrawing from humanity. The stark contrast (there is your Goya styling) between the pitch-dark backdrop and his pallid skin-tone makes it all the more unsettling. There is no crazy loon smile here. Not yet. He has not yet become the “fiend” in the literal sense.
Here, we see the beginnings of the grin, the dark hilarity that makes Judge Death so interesting and iconic. And it is notable it comes at the exact moment that Sydney pulls the trigger, the exact moment he ends a life. As well, the punchline, that the ‘e’ in his name (De’Ath) is actually silent, his humour emerging, like the first droplets from a cracked faucet. I almost cracked a grin myself when I saw this panel.
So, we begin a new journey into the dark heart of the apocalyptic judges, and I, for one, am very glad. The greatest myths are told and re-told, with many different hands and writers attempting to render them. In olden days, before copyright and the pervasive sense of ownership, writers shared much more readily. There were many versions of the same stories, all being told simultaneously. This is sometimes linked to the “oral tradition”, but really, it goes deeper than that. People intuitively knew that heroes, monsters, villains, narrative, did not belong to any one person. It belonged to the collective unconscious. The originator, whoever that might be, had found a way of tapping into the dream-language of the soul, into the root of things. We do this sometimes, often by mistake or seeming accident. We dream a dream. We sleepwalk into a discovery. We allow the raw tainted imagination of the cosmos to pour through some kinetic gateway into our consciousness. And some of these images and words are iconic, so much so they become archetypal, ever-speaking, and the Dark Judges are certainly in that category. Whilst they may not be as well known as, say, The Avengers or Justice League, they are in a league of their own for those who know of them. And growing. Even the Incredible Hulk cannot stand against Death itself in the long run. He might “smash” and break him, over and over, but the Dark Judge and his colleagues will keep crawling back, hisses frothing at those bulbous Mick Jagger lips, a smile showing tarnished teeth.
The real triumph of Death is not that he will win, but that the stories of his defeat will be told forever.
If you enjoyed this blog, why not follow me on Twitter @josephwordsmith? I offer writing advice, editing services, and tell stories of inter-dimensional horror. As always, thanks so much for stopping by! お幸せに!