But those possibilities mostly get lost: the Tweak sequence is as hamhanded a commentary on the U.S.'s legacy of slavery as anyone could devise, and at some point Mills seems to have decided "screw it, I haven't written about dinosaurs eating people in weeks." (To be fair: this stuff was written for eleven-year-old British boys, not aging American aesthetes.) There's a hint of that in some chapters-the moment we get out of the Meg, we're instantly in a town called Deliverance, McMahon's image for "General Blood 'n' Nuts" is fantastic, and Wagner's lost "Burger Wars" sequence gets at Americans' ridiculous obsession with brand identities a little bit. So the "road trip across the country" format should yield lots of opportunities for satirizing bits of America that the feature can't get to when it's got a (mega-)urban setting. That brings up the big lost opportunity in "The Cursed Earth." Judge Dredd, as I tend to tell people I'm trying to describe it to, is (among other things) a smart, vicious satire of American culture by British people.
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