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Rory McConville all the way! He's annoyingly good.
And yes, Geller's taglines and next progs carry a fair bit of weight, but not enough weight to make up for the Hit. I'll agree that the episode-to-episode thrills were decent, but the background plot made even less sense than G F-D's original.

There's just no way I can consider Thrill-Power Overload for this vote. An awesome piece of work for sure, but it's not comics, dammit. And when it comes to writing comics, Moore and Reppion win this fight with ease. Storm Warning in particular is excellent, and I think Black Shuck would've gone down better with a different artist, a Mike Dorey or a Dave Kendall, perhaps.

These face-offs are all surprisingly tough!
I think in this case I'm using negativity - there are a few Robinson tales that did little to nothing for me, whereas Gosnell always managed to raise a sardonic smile at least.
And I'll echo broodblik - Gosnell (and Ezquerra's) Stainless Steel Rat tales are arguably the best ever book-to-comic adaptations.

So yeah, my vote goes to Gosnell

 

Hogan, with an echo of everything TordelBack just said. He's an erudite fellow, that TordelBack.

A fascinating pair-up! I'm a fan of much of Mac-1's writing output, especially MACH Zero, and have been an anti-fan of quite a bit of Spencer's work - but I do admire the man's ideas.
Creep, Havn, the Returners all started really strong but just got stuck up their own arses by the end.
Harke and Burr I liked all the way through. I'll suggest that he's had a LOT of help from great artists, though.

Be that as it may, I'm inclined to vote for the man with the ideas, not the man who can write competent stories using other people's characters.

So yeah, Si Spencer for me.

Worley all the way.
I mean, Niemand's Dredd is genuinely great, but Worley has done his share of great Dredds, too (the Runner, anyone?) Plus I think we're all forgetting quite how insightful his movie reviews were in the Megazine.

(But really I'm voting for his lunatic outdoing of John Smith for graphic horror with Realm of the Damned.)

If I've still time to vote, I'm going STONE.

Diggle is clearly the more accomplished and dare I say it competent writer, but most of his 2000AD work was him practising, frankly - his US work is way better. Dave Stone has many irritating ticks but I can't deny that Armitage, Steel and even top dick Supervisor Judge Warner (and his bowl cut) have burned their ways into my brain in ways that Snow/Tiger and even Lenny Zero have not. And Diggle would never try anything as balls-out weird as Soul Sisters, even if it is legitimately a contender for worst-written strip ever.

Late to the party, as ever, but always excited for this kind of voting-based tourney!
Although I haven't updated my blog for nearly a year (oops), I have been updating the baseline stats I'm using.
For the record, the current list of the top 27 most-prolific contributing 2000AD/Megazine/associated tie-in comics and Specials are:

John Wagner
Alan Grant
Pat Mills
Dan Abnett
Gordon Rennie
Robbie Morrison
Ian Edginton
Gerry Finley-Day
John Smith
Rob Williams
Garth Ennis
Peter Milligan
Alan McKenzie
Mark Millar
Si Spurrier
Kek-W
Cat Sullivan (Droid Life has been going a long time, y'all)
Tom Tully
Grant Morrison
Michael Carroll
Alan Hebden
Al Ewing
Alan Moore
John Tomlinson
Steve Moore
Michael Fleisher (Go on Colin, pair him up against Mark Millar, pretty please, the world needs to know the most hated 2000AD writer of all time)
Arthur Wyatt

(With TC Eglington and Alec Worley doing their damndest to catch him)

He fully ticks the box of the great Dredd artists by filling up his panels with loads of details, be it architecture or lunatic citizenry.

I still get a kick out of trying to work out what, if anything, counts as satire in Big Dave. Was there a similar narrative somewhere out there in 1993 that basically did Big Dave but took itself seriously? I suppose Morrison and Millar maybe thought that this is what the Daily Mail + The Sun thought a true British hero should be like?
With that in mind that one cover and some of the pin-ups for Big Dave are both clever and funny. Wading through the actual episodes, not so much.

That said, I fear it's a better overall example of comics than BLAIR 1, which is definitely satire but equally definitely not funny.

Am loving Funt's wade through of the 90s. Bad comics make for good commentary!

Has it been remarked generally that Rob Williams' 'Titan/Enceladus' epic functions as a sort of apology for Inferno, as if to say 'look, there IS a way to tell a coherent revenge story about Titan judges'?

So with PJ at work on Dredd in the Prog and Meg at the same time, I'm noticing a subtle difference. I suppose it could be to do with the colourist, but for some reason I'm finding the Noam Chimpsky tell to be an extra treat on the eyes. There's something a bit more fluid and cartoony about it. Holden is always on the cartoonier end of 2000AD artists, but he seems to have stepped it up a notch here. Point is, his work on the Meg tale is the usual quality stuff, but on the Prog it's even better. Curious.

Is it just me?

I'm a bit behind, just caught up with the Skreemer episode. It's excellent, I could listen to James Peaty talk about Vertigo comics all day, he's an insightful chap. Milligan deserves way more recognition for his influence on making mainstream comics have some literary flair. Makes me wish I liked Skip Tracer more; at least Diamond Dogs turned out rather well and it's good to hear that's coming back.

My Moore/Redondo pick goes to Sunburn, which makes me laugh every time.
But my real answer is aFuture Shock whose name I can't recall. It's definitely Belardinelli art, I think in the 600s, and is about art and creation. Might be the one called Still Life? There's a two-panel sequence with a repeated abstract painting where the first one says "a masterpiece of originality" and the second says "Oh grout, not that one again." It's very meta, my kind of thing.

"I genuinely hesitated to leave it lying around for my children to read, and that's a sign that it's doing it right!"

Because of the red? I found plenty of things in other specials trickier from a young kids standpoint, due to their psychological elements.

Partly the red - My 10-year old daughter has now refused to watch all Spielberg movies after finding both Jaws and Ready Player One a bit too horror. But also Kids Rule and Hell Machine both have that proper subversive (in the original sense) of not trusting adults or people in authority generally, which is both scary for children and scary for adults if you imagine children embracing that message.