O'Rork was a private eye in the Sydney-Melbourne Conurb, or "Oz" as it is better known in Judge Dredd's world. He apparently emigrated from another city-state, possibly Mega-City Two, because Oz is one of the few cities to tolerate private detectives. The strip was considered unsuccessful and quietly shelved.

This was a widely-frowned upon effort dealing with a tough gunman in the future being forced to compete in another "deadliest man alive" shootout competition. There was a standard Tharg promise of a return, later countered by a Tharg promise that it wasn't going to. Showtime optioned this series for a TV movie, but the option expired and nothing ever came of it.

The creators of this series successfully introduced an entire continent's worth of stories and characters to the Dredd universe, but these have rarely been revisited. There had, by the mid-nineties, already been more than one series with a heroic lead judge introduced alongside his city-state just in time to match wits with a terrible force bent on the city's destruction.

A decade before Low Life, the Megazine offered this series about a Wally Squad judge. Unfortunately, John Hicklenton, whose artwork on Nemesis some years previously had been controversial enough on its own, seemed to go completely off the rails with some thunderously bizarre artwork which went beyond "challenging" and into the realms of "downright confrontational." The gauntlet thus thrown, most readers found the strip impenetrable.

This anthology umbrella of one-shots and shorts debuted in 2002. The stories are not miles removed from the old Time Twisters and feature some change to established history.

A two-page feature for Shaky Kane, later to illustrate Soul Sisters for the Megazine, to contribute some surreal, stream-of-consciousness, Kirby-inspired noodling.

This is an anthology series in which various unfortunate citizens meet grisly and horrible fates during the bleak days of "Necropolis," the 1990 Judge Dredd adventure in which the Dark Judges sieze control of the city for several weeks. It's apparently meant to evoke EC horror strips from the 1950s, but it's instead a humorless and nasty little series, and "Creeping Things" gets my vote for the worst thing to ever see print in the Meg. To be avoided.

"Bermuda Triangle" stories were all the rage in the 1970s. This one suggested it was a gateway to an ugly planet with warring tribes of survivors, hostile aliens and dangerous plants. It sort of suffers from not having a really decent lead hero, but the unpredictable situation and anyone-can-die-next nature of the script make for a fun, pulpy read.

Very much an oddity for its time in that it was less concerned with establishing a new character as it was telling a bizarre story, this involves a secret American military base, into which an Eastern Airlines pilot makes an emergency crash-landing. He wakes two days later in Ohio, accused of killing a pair of policemen in Colorado. Very much underrated and forgotten, this is overdue for reappraisal.

A two-parter about a timid psi on the moon getting involved with gangsters. Jarringly, Dorey designs the moon colony with lots of typical 2000 AD future-styles, but Earth is populated by present-day fashions and standard New York short-sleeved cops with modern guns.

Pulp Sci-Fi was an umbrella title used for one-shots for about two years. The emphasis in these strips is away from the Earth-based true conspiracy weirdness of Vector 13 and on space opera and silliness. Tharg hinted that the wonderful Shutdown Man of prog 1128 might be seen again, but he never returned.

Purgatory is set on the prison planet of Titan from Dredd's universe and features characters and incidents that lead into the Dredd story "Inferno" that begins in prog 842. Judge Grice, the villain of the piece, is the first of many Millar characters marked by an absurd immunity to bullets.

The introductory series in 2000 AD's short-lived sister book, Revolver, this was a psychedelic, time-jumping biography of Jimi Hendrix. It's self-indulgent beyond words, but effective in its own simple way. The appearance of "Selim Sivad" as a spiritual guardian for young Hendrix was certainly an unexpected one.

Here’s a good example of a potentially good series doomed by apparent editorial indifference. Pussyfoot 5 is very loosely a spin-off from Devlin Waugh (one of the characters was introduced in that strip’s “Sirius Rising” epic), but feels nothing like Devlin. Instead, it’s an all-action romp with some interesting characters, an all-female team of troubleshooters in the employ of the Vatican. You’d think a “Charlie’s Angels in space” would be a sure-fire sell, but neither of its two stories were paired with really suitable artists, and the strip just wasn’t around enough to make an impact. Pussyfoot 5 would be a workable success if given a 13-week window for four shorter strips from a variety of artists more suited to drawing women, weird aliens and spaceships. Given Rebellion’s desire for more exploitable properties, it’s baffling that Pussyfoot 5 doesn’t show up more often than Sinister Dexter.