Comics

Interview: Kieran McKeown on One-Eyed Jacks – ‘Dirty Harry with an eye-patch’ meets MC-1’s top cop!

17th April 2023

The toughest cop in 70s New York meets the toughest lawman in 2145AD Mega-City One? Oh yes, it’s a cross-time caper with a difference that’s running right now in Judge Dredd Megazine – ‘One-Eyed Jacks’.

Written by Ken Niemand and with art from Ian Richardson on episode 1 (Megazine #452) and Kieran McKeown, it’s the team-up no-one saw happening, as Dredd gets a case that echoes through the centuries all the way back to the hard as nails NY cop, Jack McBane – who we last saw in the John Wagner and John Cooper created One-Eyed Jack in 1975’s Valiant comic.

We sat down to talk to artist Kieran McKeown, a relative newcomer to the pages of the Galaxy’s Greatest, about ‘One-Eyed Jacks‘, being a recent addition to Tharg’s art droid collection, and how a broken hip as a kid led to a lifelong love of 2000 AD, not to mention a career in comics!

Hello Kieran, let’s start by talking about ‘One-Eyed Jacks’, the Judge Dredd series that hits episode 4 in the new Megazine issue 455.

From the very beginning with the announcement of the series, it was a fascinating idea from Ken Niemand, bringing together Mega-City One and 70s New York City, with Judge Dredd and Jack McBane (One-Eyed Jack from classic Valiant/Battle Action Weekly comics of the 70s) investigating some deadly goings-on.

But the clever/cool thing about it, seems to me at least, is that it’s not your simple time travel thing. No, instead it’s an adventure taking place across both timelines, with the big bad guy the only one with the direct link. Dredd and McBane are simply having to run their cases in their own ways, knowing about the links but not having any contact with each other.

Well, that is until episode 3 when Dredd gets a message from the past from a Detective with a very familiar name who’s working undercover for McBane. (You want more on that – better get looking at Megazine issue 455 and part 4!)

Kieran McKeown: Yeah, I think you’ve nailed it there. I don’t actually know how it’s going to end myself. I only get the scripts about a month ahead of the reader. But as you say, it’s not your standard time travel stuff like ‘Life on Mars’ or ‘Back to the Future.’ Those I would say are more ‘Fish out of water’ stories. As far as I can tell, we’re not going to see Dredd in bell bottoms beating on hookers and pimps in Harlem. 

And just like that I really want to see Dredd in bell bottoms in Harlem.

KM: Instead this is about characters from two different timelines being inexorably drawn together in what I’m guessing will be a big climactic smash.

You came on board with episode two, taking over from Ian Richardson. What was the deal there? Was it something planned or a last-minute thing for you?

KM: I don’t know why Ian had to drop out. Yeah it was quite last minute. I was working on a book with Peter Milligan at the time for Aftershock. But there has been a bit of upheaval at Aftershock and the book had to be put on hold for a few months. So I had a gap in my work schedule for the first time in about four years. I threw myself on the mercy of the Mighty Tharg and he happened to have this opening to take over art duties on this Dredd/McBane crossover.   

Obviously, it’s a shame to lose Ian for this one but you’ve come onto it on fire, full of action and energy, as well as perfectly contrasting the two time periods involved.

KM: Thanks! 

What problems are there for an artist when you have to take over the visuals from another artist partway through the project?

KM: Hmmm…well I’ve done it quite a bit in my career and it hasn’t been too problematic. I can only draw the way I draw so I wasn’t really going to try to mimic Ian. As it happens, I think Ian and I are a pretty good match. But as with any other project, I just focus on doing the best work I can within the time allowed.   

It seems, to the outsider at least, to be one of those fun jobs to do given that there was way more visual variation involved with getting to draw both modern MC-1 and ’70s NYC. You filled the 70s scenes with all many of funky 70s clichés, really tapping into the whole Dirty Harry, Blaxploitation vibe there – was this something Ken was asking for in the script of something you added?

KM: Yeah, it was great. It wasn’t something Ken stressed per se but I just wanted to nail the ’70s look. When I’m working on a project in a particular genre, I try to consume a lot of visual media in that genre. It’s a way of keeping me motivated and inspired. 

My leisure time helps fuel the creative juices. So for this project, I’ve been watching a lot of movies and shows from the ’70s or based in the ’70s. French Connection, Dirty Harry, Taxi Driver, Mean Streets, In the Heat of the Night, The Warriors, Life on Mars and the David Simon series ‘The Deuce’. I love movies from that era anyway so it’s been fun.  

I’m not sure how young or old you are – did you have any knowledge of One-Eyed Jack from the original comics?

KM: No, it was before I was born. But he’s a cool character. Dirty Harry with an eye patch. 

We’re at episode four of ‘One-Eyed Jacks’ now, how many episodes can we expect?

KM: Two more I think. The turnaround time is a bit tight on this story so I’m actually only one chapter ahead of the publication schedule. 

So not really much chance to get you to spill the beans on what to expect in the last two episodes then!

KM: Ha, well as I mentioned I’m not too far ahead of the reader on this one. But what I will say is that it’s one of the best scripts I’ve worked on in my career to date.  

You came to the attention of Tharg for the first time with the Thought Bubble artist search in 2016. Now, although you didn’t win that year, you were a finalist.

KM: 2016… wow time flies. Yeah, that’s right.  Looking back on my TB entry now, the pages hurt my eyes. While I was gutted at the time, I can clearly see now I wasn’t ready. Unfortunately, that insight only comes with time away from your work. 

When you’re drawing, it’s hard to see the wood for the trees. I think it’s some kind of perceptual trick that your brain plays on you when you draw. Your brain fixes the drawing for you in your head…but only in your head!  It’s only when you look back at your work 6 months to a year later that the mistakes really jump out at you!  

Was that your first major dipping into comics?

KM: Well, I had actually drawn a short story in a Transformers comic for Titan a few years previously.  But again, that work was so horrible, I’d rather not talk about it! 

Oh dear, poor Kieran, you know what’s coming next, don’t you? Yep, here’s a little something from that Transformers story – issue 15, 2008. No matter how old, no matter how obscure, the Internet can always dredge up your early work!

Of course, looking at what you’ve had published since 2016, you’ve forged a great career with work for DC Comics, Dark Horse, and IDW.

KM: My bank balance says otherwise! But thanks. Ah yeah, I’ve worked pretty steadily since breaking in around 2018 if memory serves. I started out at Dark Horse working on Halo and then Aliens. Halo was a baptism of fire but I really enjoyed the Aliens series. Then I worked quite a bit for DC Comics on Wonder Woman, Crime Syndicate, Batwoman, Task Force Z and the War of Earth 3 crossover event. This was interspersed with gigs at IDW, Aftershock and back at Dark Horse on some video game properties. Along the way I got nominated for an Eisner for Best Newcomer.  I didn’t win that either- there’s a pattern emerging! Ha! 

<Passes box of tissues to artist sobbing with self-doubt and self-flagellation.>

KM: But I’ve had lots of editors and writers who have been very supportive of me along the way. Spencer & Konner at Dark Horse. Andy Schmidt, my writer on Crime Syndicate. Brian Cunningham, formerly of DC and now at Aftershock. Peter Milligan and of course, the Mighty Tharg!   

Looking back over Progs and Megazines, was it really only with the recent Prog 2300 that you first got Tharg to publish your art?

KM: Yep that’s right.

That was the Meat Arena strip with Karl Stock in the special zombie crossover event reimagining Judgement Day.

KM: Yeah, Karl wrote a great wee script.  I’d love to revisit the Meat Arena world at some point.  

Since then, you’ve started in the Megazine with ‘One-Eyed Jacks’ and also had the one off Dredd, the rather brilliant Taking Doors, again with Ken Niemand, for the 46th anniversary Prog 2320.

KM: Yeah, it’s been great. Another great script. Having worked with longer form storytelling in US comics for years, it was really cool working on these short 5-6 page stories. It was really something to see how Karl and Ken are able to write a complete and compelling story in just 5-6 pages. It seems like a really useful writing exercise and probably explains why so many legendary writers started out at 2000 AD.

So, going back to that first 2000 AD strip – what did it mean to you when Tharg got in touch after the obvious disappointment of the TB contest?

KM: Ah it was awesome. If memory serves, Tharg did approach me previously about doing a Future Shock or two. But unfortunately at that time, my schedule just didn’t permit me. But I always wanted to work at 2000 AD at some point.

Coming off a lot of superhero stuff, it was really nice to be given the opportunity to work in the 2000 AD sandbox.    

Ah, that makes sense now – I was going to ask you how you bypassed the usual entry point into 2000 AD, with Tharg making art droids pay their dues on Future Shocks et al before getting a chance to handle Dredd. But it makes sense now you’ve said that – obviously Tharg had seen enough of your work at the other companies to see that you’d be a good fit for the Prog.

KM: Yeah, I suppose it is. I really don’t know. I try not to second guess the Mighty One or look a gift Quaxxan in the mouth. I think maybe because I had gotten a bit of experience in US comics I was allowed to jump the queue a bit. I do think I’m quite a good stylistic fit for Dredd. And it might simply be that. But 2000 AD have lots of awesome talent and certified legends drawing in their books, so it is a huge honour.     

Were you a 2000 AD fan from an early age or did you come to the Galaxy’s Greatest later on in life?

KM: Yeah, for sure. I can remember my first exposure to 2000 AD quite vividly. I broke my hip when I was young. So I had to spend a week or two in a hospital- and for a young hyperactive kid that was a peculiar kind of torture. Anyway, my Dad brought me two comics he had picked up in the hospital newsagent. They were 2000 AD reprints in American-sized formats. One was Judge Dredd: The Day the Law Died. And the other was an ABC Warriors book with art by Simon Bisley. Those books blew my tiny mind. I was probably too young to even be reading them. But  I must have re-read those books about 5 times apiece during my hospital stay. 

A tip of the hat here to your dad! Krill Tro Thargo! And you’re right, those are two great entry points to set you off on a lifetime of Thrill Power.

KM: When I got out of hospital, I started buying 2000 AD at my local newsagent every Sunday after Mass. 

So, Earthly religion immediately followed by the cult of Tharg, eh?

KM: I kept that going for a few years. While I got into American comics shortly after, I still kept up reading 2000 AD.  Firstly because 2000 AD was the only comic they sold in my local newsagent and secondly 2000 AD was just different to American comics – a bit more subversive & brutal.      

So – what is your process? Are you working analog or digital these days?

KM: I work digitally. I used to work completely analog. However, I made the switch after working on Wonder Woman a few years back. That book pretty much broke me physically. It wasn’t an especially difficult book in terms of the artistic demands but the deadline was very tight. 

After I delivered that book, I was so physically drained, I couldn’t work for about a fortnight. So I said to myself ‘never again’ and thereafter I switched to 100% digital workflow. Digital saves me on average 60 mins a day. 60 more minutes I can spend with my family or attend to basic hygiene! 

You do lose out on the original art income stream, but because I’m still looking to establish myself, my original art sales probably wouldn’t be very much anyway. It’s something I may look at down the line if I manage to garner a decent level of interest in my original artwork. But for me, right now, the trade‑off is worth it – especially as I have a young daughter.       

Can you take us through your process from first ideas through to finished artwork?

KM: Well as I mentioned a big part of my process is constantly feeding my artistic muse. Every day, I try to consume visual imagery that I find both inspiring and relevant to the project I’m working on. So as I said, for this project I’ve been watching a lot of 70s era movies and shows. 

Stephen Kings wrote that: “If you want to be a writer, you must do two things above all others: read a lot and write a lot… reading is the creative center of a writer’s life… you cannot hope to sweep someone else away by the force of your writing until it has been done to you.” 

For an artist, I think looking at great imagery- whether in a movie, a comic book or on social media – is the creative centre of their life.

A couple of old standards now to round things off – what are your influences on your art?

KM: Well, I consider Cam Kennedy the best comic artist of all time. There have probably been bigger names in comics – but in terms of a level reached, Kennedy was the best. He really brought a fine art sensibility to his art. His 2000 AD work is great but he really hit his peak on Light & Darkness War & Star Wars: Dark Empire. I just love the art in those books- the harmony of composition and the striking use of light and dark. I look at those pages the way I look at a painting in an art gallery. I’d love to inject more of his style in my stuff but I just haven’t found a way to reverse-engineer what makes his stuff so great. There’s levels to this game! 

I also love Mike McMahon’s highly stylized work on 2000 AD. The boldness of the shapes and the lines. I wish I had that courage. His work actually feels so fresh and modern – which is a sign of a great artist.  

Other than that, the guys I really like include Eduardo Risso, Mike Mignola, Goran Parlov – and then you have the modern guys like Sean Murphy, Stuart Immonen, Dan Mora, Daniel Warren Johnson etc. I also really admire my fellow Irish artists – in particular Declan Shalvey & John McCrea. There really are some incredible artists working in comics today. I really think the talent at the top level is as good as we’ve ever had in this industry.  

What 2000 AD strips/character would you absolutely love to be given a chance with?

KM: The League of Fatties! Seriously though, I really love Dredd and it’s been an honour to work on UK’s most iconic comic book creation. So if Tharg keeps offering me Dredd gigs I’ll happily take them. 

Hey, why not a League of Fatties solo strip – ‘The Day The Diet Died!’ ‘The Donut War!’ ‘Piefecta!’ – oh the punning fun you could have there!

KM: Other than Dredd though, I’d really like to do Rogue Trooper. Oh and of course, being Irish, I’d love to draw Slaine. He’s such a cool character. Those Simon Bisley Slaine images have been seared into my brain since I was a kid. 

Finally Kieron, something we always like to do, what’s coming up for you in the near, or not so near, future, whether that’s for Tharg, our Lord and Master, bow down before him etc etc, or elsewhere?

KM: Tharg is as inscrutable as he is wise so I await his further command!  In the near term, I have to wrap up the series for Aftershock Comics in the US.  The book is called Satellite of Love. Again, it’s dystopian sci fi… but it really speaks to a lot of stuff going on in the world and culture today. The book is written by Peter Milligan, 2000 AD alumnus and bona fide comic book legend.  It’s quite reminiscent of Peter’s X-Statix book in many respects.  But I’d for sure love to work for the Mighty One again real soon. I love the 2000 AD universe.    

A huge thank you to Kieran for taking the time to chat with us here. You can find his art adorning the pages of the current Judge Dredd strip in the Megazine, One‑Eyed Jacks, right now. The storyline began in Megazine issue 452 and it’s a huge bit of 70s crossover fun with Ken Niemand, Ian Richardson, and Kieran, bringing together two perfect hard-men characters as Dredd and McBane, One-Eyed Jack, team up (sort of) across time!  

You can find Kieran online at his Instagram.

And now, as a bonus, here’s a little look at the original John Wagner and John Cooper One-Eyed Jack strip from Valiant comic in 1975 – available as a collection from the 2000 AD web shop!