[comics] Tegan O’Neill reviews Nemesis the Warlock – The Definitive Edition Vol. 1 … ‘Kevin O’Neill was a distinctive and idiosyncratic presence on the page. His understanding of texture was acute like a nightmare: he was good at drawing flesh and metal both, and he could make both human meat and gleaming machinery seem positively putrid with illness. Nemesis is a tightly drawn strip, and the pictures are unerringly nauseating: vast towers of bone and tendon reaching into the sky, indistinguishable from the metallic armor of the Terminators, refulgent in their carapaces. It’s a universe of vast grotesquerie, from the torture pits in the deeps of the Termight empire to the alien lanes haunted by mature Blitzspears. The British mode of production meant that a single six-page Nemesis strip would have all that magic compressed into a series of half- and third-page splash panels, with heaps of didactic narration to carry the reader along the way. Both Mills and O’Neill get to have their say in the finished product here.’
[comics] “I’ve Had The Life That I Wanted When I Was 10 Years Old”: A Conversation with Dave Gibbons … Gibbon’s discusses his autobiography and much more. ‘I probably won’t say too much about it other than what is public knowledge, that there’s been talk of a Rogue Trooper movie. And again, I think there are so many characters in 2000 AD that would make wonderful big screen stories. I did actually as recently as last week get a little glimpse behind the curtains of that. And I’m very excited by what I saw there. So I’m very happy, because I like the people who are doing it. And I think they’re approaching it the right way.’
[comics] Ian Gibson, 1946-2023 … Comic artist Ian Gibson’s obituary from the Comics Journal. ‘Always an independent-minded artist, which got him into hot water with more than one publisher, Gibson treated Moore’s scripts with much less reverence than one is used to see, as detailed in Thrill-Power Overload: “I had already got into the habit of deconstructing a script and putting it back together in a way that would be visually more effective. I tended to take Alan’s verbose ramblings with a pinch of salt and do it my own way!” Originally planned for nine ‘books,’ only three were completed before Moore cut ties with 2000 AD over royalty and ownership disputes, never to return. It is a testimony to the sheer quality of these stories that the magazine, even when bought out by video game company Rebellion, resisted the temptation to continue Halo Jones with other creators.’
[comics] John Wagner and Alan Grant Interviewed in 1988 … I was very saddened to hear of Alan Grant’s passing last week – below is a funny story from him in the linked interview. ‘A freight company hired me to find out where a million and a quarter pounds missing from the books had gone, and I’d not got the slightest idea where it had gone and didn’t even know where to start looking. So I compromised by burning the books. By the time I’d finished they’d no idea what they had or what they didn’t have. The funniest thing about it was that when I eventually told them I couldn’t take it any more and I was leaving to go back to Scotland immediately because my granny had died or something, they said “That’s a great shame. You were doing so well we were going to give you our Heathrow account. There’s 5,000,000 pounds missing there.” And I was travelling home from Tilbury at night ripping up the books and throwing them out of the train window. IPC did eventually take me on for a partwork called “Birds of the World,” and I was there until it closed down after six months.’
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23 May 2022
[comics] Garth Ennis and Kevin O’Neill on Reviving the Infamous Kids Rule OK! for Battle Action Special … Wonderful interview, with lots of British 70s comics history from O’Neill. ‘I was often asked to change little small things in my artwork for ludicrous reasons later on. But the fallout from Action, which the Garth story is built around, was massive at the time because you cannot underestimate the power of the tabloid newspapers when they turned on comics. I believe Action was torn up on a BBC show called Nationwide with Frank Bough, who was disgraced years later for various misdemeanors, but he tore up a copy of Action on-screen as worthless trash. That was the atmosphere. I don’t think 2000 AD could have been canceled before it was launched because too much time and money had been spent developing it, but by God, it probably came close. And nobody knew what was happening.’
[comics] Creating the Judge Dredd by Brian Bolland Apex Edition: A How-to Guide for the Rash and Enthusiastic … David Roach on the difficult search for Brian Bolland’s 2000AD work for an artist’s edition book. ‘At first the page count was uncertain, as we weren’t sure how many pages it would be possible to find, but ideally it was going to be 96, rising to 144 or higher if possible, though at times that felt like a far-off dream. But what that meant was that we were aiming to include as much as 1/3 of his entire British output, which was quite a sobering thought. One complication in tracking down Brian’s pages was the haphazard way in which these early pages were disseminated among collectors. IPC, 2000 AD’s first publisher, had a blanket policy of not returning artwork, something which only changed in the ‘80s in the face of mounting pressure from its artists. In the intervening years, however, numerous pages were stolen from offices and storage warehouses, often turning up for sale in London comic shops, much to the artist’s frustration. As 2000 AD’s most popular artist, Brian’s art was particularly prized and most persistently stolen, and, to this day, certain strips, including his first Judge Death serial, have never surfaced again.’
[comics] Blocky Mania: The Perfection of Artist Mick McMahon … A nice overview and gallery of the art of Mick McMahon. ‘Few other artists have illustrated Judge Dredd, Tank Girl, Batman (in issues of the fondly-remembered Legends of the Dark Knight anthology series; McMahon has said that he drew it for the money, and he thinks it shows in the finished pages), and Sonic the Hedgehog, but McMahon’s run on the latter character is as important for a generation of readers as his Dredd was for their parents. He also got into design work for video games and toys, and started introducing digital tools into his process. McMahon never stopped moving forward, no matter what.’
[comics] 2000 AD Covers Uncovered – A legend returns: it’s Mick McMahon on Prog 2250 … Some comics process – how Mick McMahon creates a Judge Dredd cover for 2000AD. ‘The brief is Dredd in action, so pretty open-ended. My first move is to draw some Dredds and hope that one of them feels ‘right’. As I sketch on these first sheets I gradually start leaning towards the idea of a big Dredd filling the cover with a white background.’
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18 February 2021
[comics] The 2000 AD Thrill-Cast Lockdown Tapes Interviews Kevin O’Neill [Part 1 | Part 2] … A long interview with the renowned British comic artist.
[dredd] The Megazine That Never Was … The story of an unlaunched Judge Dredd comic from 1984. ‘Sadly, unlike the other stories from the Fortnightly dummy issue, Alan Moore and Mike Collins’ Badlander is a title that never saw publication. Marking the iconic Moore’s only work within the Judge Dredd universe, the strip was to tell the truth about what really happens to the Judges when they decide to go on “the Long Walk” — a piece of Dredd mythology where, instead of retiring, veteran Judges set off to provide justice and law in the radioactive wastelands of the Cursed Earth.’
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10 February 2020
[dredd] The Best Comics of the Decade (Are All Judge Dredd) … Some interesting analysis of the last ten years of Judge Dredd comics. ‘With seven pages per chapter there is never much time to overthink things. 2000AD remained the pinnacle of to-the-point presentation – never more than necessary, never less than what you want. These are procedural comics taken to its zenith. Henry Flint, John McCrea, Colin MacNeil, P.J. Holden and (of course) Carlos Ezquerra have all brought their own little touches to the world of the strip, always in service of the story. But, the reason Judge Dredd is the best comics of decade is more than that. It’s more than any single story or creator. It’s not about what it does, it’s about what it is. To me at least, Judge Dredd in the 2010’s is zeitgeist. It’s a story about one of the biggest moral questions in the West – can you be a good man in a bad system?’
[comics] Star Wars in 2000AD [Part 1 | Part 2] … Nostalgic look back at the influence of Star Wars on 2000AD. ‘The first mention of the movie appears in the letters page in prog 8 (16 Apr 1977). This would have been my first exposure to the title “Star Wars” – but I don’t remember it. Fun fact: prog 8 was the first issue to print readers’ letters.’
[comics] Fascist Spain meets British punk: the subversive genius of Judge Dredd … Remembering Carlos Ezquerra – who sadly died earlier this week. ‘Dredd looks like no other comic character before or since. His design makes no practical sense. It has no symmetry or logic to it. No one at the time thought it would work. “Fucking hell,” his co-creator John Wagner said when he first saw the designs. “He looks like a Spanish pirate.” But somehow, for reasons no one can quite articulate, it is perfect. Ezquerra’s art exploded off the page. It was dynamic and gritty, and yet always unfussy, practical and full of economic storytelling. His thick slabs of ridged inks and expressive characters are embedded in the brains of countless readers.’
12. Smallish panel. Close-up of Judge Curtis’ boots. They are about eight inches above the ground and kicking wildly. Maybe we can see a hint of a tentacle, wrapped around his leg just below the knee… BOX: …HE DOESN’T MAKE IT! CURTIS: EEEEEYAARRRGHH… SOUND F.X.: SNAPP!! (Possibly the “SNAPP” could be arranged to fit across the scream, cutting it off sharply.)
[comics] Kevin O’Neill on the early days of 2000AD … ‘My memory of 2000AD in those days is just white paint, paste-up, altering stuff, copying and enlarging stuff and getting as good a lettering job as we could get, because sometimes that covered deficiencies. It was totally like a Frankenstein operation at times. If we ran out of time, we’d get Jack Potter to letter it because he’d do a great lettering job, big display lettering and stuff. That elevated material a little bit. It was like trying to bodge a thing into submission, really. 2000 AD was still finding its feet, it was still sort of similar to Action minus something in some departments, but going off in other directions. It got up its own head of steam, eventually… ‘
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Back when IPC execs were tossing around ideas for the title of the new comic, Pat Mills vividly remembers the then publisher John Sanders coming up with the futuristic name. “I said to John: ‘What happens when we reach the year 2000? What will we call it then?’” Mills laughs. “He said to me, ‘Don’t worry, Pat. If it lasts three or four years we’ll count ourselves lucky.’”
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20 September 2016
[comics] Dredding Every Minute of It … profiling Judge Dredd – Arthur Wyatt back at the career of Mega-City One’s greatest Lawman… ‘The far-future setting served Judge Dredd and 2000 AD well over the years, acting as a springboard for all kinds of science fiction-themed stories and building up a menagerie of aliens, mutants, psychics and visitors from other times and dimensions, which all somehow managed to be integrated seamlessly and have a distinctive Judge Dredd spin to them. This magpie tendency even extended across genres: When Dredd wanders beyond the borders of Mega-City One into the vast wasteland of the Cursed Earth, the stories become futuristic Westerns. The genre shifts again to Horror with the introduction of Judge Death, Dredd’s twisted mirror image from another dimension, where life itself has been declared a crime. The one constant is Dredd. Imbued with an unlimited reserve of stoicism and not much given to change himself, Dredd is a perfect foil for the chaotic ever-changing world around him.’
[comics] How we made 2000 AD … Pat Mills and Kevin O’Neill on creating 2000AD … Kevin O’Neill: ‘That anti-authoritarian streak is part of the British character: it ran through Dennis the Menace and all the Beano stuff. Judge Dredd was never meant to be serious: the idea of shooting jaywalkers is just very, very funny. I loved the story about the oxygen board on the moon cutting off people’s supply if they didn’t pay their bills. We had to tone things down quite heavily. On the day the first issue went to press, we were whiting out blood and tidying up severed limbs. It was an out-of-control section of the building. NME, who were often in trouble as well, were just a couple of floors above. Our neighbours Buster hated us because we were having fun and swearing. I didn’t think 2000 AD would last a year.’
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16 September 2015
[comics] 25 Years of Judge Dredd: The Megazine … ‘The Megazine might have been all Dredd and his world all the time to start with, but there was plenty of breakthroughs behind the scenes. The first issue sold more than 50,000 copies, triggering a royalty payment to all the creators featured in it – that had never happened before on a Fleetway title. There was a satirical magazine inside the issue, the Mega-City Times, created via desktop publishing – a first back when titles were still put together with glue and scalpels.’
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19 February 2015
[comics] Nick Abadzis remembers Brett Ewins who sadly died this week … ‘Brett Ewins and Steve Dillon gave me my start in comics as a creator. I’d worked for Marvel UK and Fleetway before I worked for Deadline, but it was Brett and Steve who looked at my portfolio and saw some potential there and gave me a chance as a cartoonist. Brett found a loose, lanky stick man I’d hidden at the back of all the other drawings and asked if the character had a name. He didn’t, but the two of them read the two-page strip and laughed. I can still hear Brett saying, “Yeah, we’ll have this. Can you give us two or three pages of this every month?” They paid fifty quid a page. Later, the name Hugo Tate attached itself to the character, and Brett and Steve gave me more pages as the strip became more popular.’
[comics] Interviews: learning your A, B, Cs … Pat Mills discusses the A. B. C. Warriors … ‘ I think the ABCs is a rare story that endows machines with personality. This has always seemed an obvious thing to do. To treat them like superheroes but in a more rewarding way. They are a metaphor for working class heroes.’
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…one particular title from the late 1980s made headlines earlier this year. Rebellion, the publisher of 2000AD, announced it was planning to reprint Zenith, Morrison’s subversive superhero strip. Shallow, sarcastic and frequently used as a way for Morrison to criticise the Conservative party, the hero’s five-year run in 2000AD ended in 1992. Zenith has been out of print ever since, due to a legal dispute over who owns the rights. So Rebellion’s announcement of a £100 preorder-only hardback complete collection raised rather a lot of eyebrows, with Morrison unable to comment. But, choosing his words carefully, the writer is now able to talk a little about what’s happening.
“Well, it’s very simple,” he begins with a wince. “We, uh, we spent five grand on lawyers’ fees. They sent [Rebellion] letters. We were very keen to discuss it and we’ve never heard back from them. All I can say is that we tried to get into a discussion with them and they just didn’t reply. I don’t know what to do at this stage.”
[comics] MAD MENTAL CRAZY! The True Life of the Fabulous Zenith Part 1 | Part 2 | Part 3 … a three-part history of the British super-hero Zenith and a look at the murky legal situation regarding ownership of the character … ‘2000 AD maintain that they own the rights while Grant Morrison contends that they do not have the paperwork to prove that. This is not an argument that Morrison had at the time of initial publication, rather one he put forward in later years in greater understanding of the situation, so early interviews with the writer at the time are not entirely illuminating. There are however other pieces of the jigsaw that help build a larger picture. 2000 AD maintain that they have never sought creator owned work and the implication was always that comics were created on a work for hire basis. However, they also operated without contracts in many cases before the early ’90s, and under UK law a creation belongs to the creator until the rights are signed away – regardless of publication or payment.’
[comics] Dave Sim On Creating A Judge Dredd Cover … ‘I originally thought, “Well, Dredd has easily the most complicated costume of any costumed character, so there’s no way I will be able to do that costume accurately in these tiny little spaces.” I was going to do the drawings twice up and have the IDW production department reduce them and place them. “Dave Sim work-made-for-hire cover: some assembly required”. But then it came time and I thought, “Hell, if Brian Bolland can do it, I can do it.” So there I was with a fresh Hunt 102 and my magnifying glass.’
[comics] Top 10 best Judge Dredd comic-book stories … Discussing the ‘America’ storyline: ‘Judge Dredd’s own Dark Knight Returns, All-Star Superman and Kingdom Come, all wrapped up tight in a blood-splattered Star Spangled Banner.’
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2 December 2011
[comics] 2000AD – Dummy Issue Promo … fascinating look at a 1976 mock-up of the first issue of 2000AD. Looks very much like they were planning a sci-fi version of Action.
[comics] Tugging Your Coat … Mike McMahon’s got a blog! … ‘I love Joe Pineapples, a real pleasure to draw. Wonderful piece of character design by Kev O’Neill.’
…he decided to finish the battle on his own terms. Even when we went to Dignitas,” Lavis recalls, “it was, ‘I’m pulling the pin on the hand grenade. I’m murdering MS. It’s not murdering me.’”
[comics] Respect Due: former 2000AD editor Steve MacManus … ‘Writers like Wagner, Mills, Grant and Alan Moore blossomed. New scribes such as Grant Morrison and Peter Milligan emerged. Great artists like Gibbons, Gibson, Bolland and McMahon did some of their finest work in this period on 2000AD. Amazing new talents like Simon Bisley, Glenn Fabry and Steve Dillon were nurtured in the comic.’
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“As an alien superbeing. I have little time for the primitive biological urge you lesser evolved beings call sex.” – Tharg the MightySun Sep 26 17:09:31 via web2000AD Daily Quote 2000ADailyQuote
[comics] The Complete D.R. & Quinch … a review of one of Alan Moore’s early works from 2000AD … ‘It’d be hard today to convey the level and nature of the excitement readers felt in 1984 when a fresh new talent – an author – blew into the company town, overhauling a run-of-the-mill commercial comic, revitalizing it completely and, in the process, making it utterly his own. Who was this guy? Where had he learned to write like that?’
[comics] Watching the Watchman – St Albans comics legend Dave Gibbons interviewed … ‘I bumped into a friend of mine called Mick McMahon, who lived in Colney Heath, at the station at St Albans and he had this artwork under his arm. It turned out to be the first Judge Dredd job, and he said it was this new comic being done at IPC called 2000AD…’
[comics] Kevin O’Neill Interview [Part One | Part Two | Part Three | Part Four | Part Five] … huge interview covering O’Neill’s 40 year career in comics … ‘What Robocop did by beating Judge Dredd to the screen was it stole the best of Judge Dredd, and when they made the Dredd movie, they were then worried about being compared with Robocop! So they took out all the black humor and all the satire, and their emasculated movie was almost a Judge Dredd movie, but not quite. Robocop was a more energetic movie. We did hear there were piles of 2000 ADs in the production offices. That does kind of show, doesn’t it?’ [via Metafilter]
[comics] Grant Goggans On 2000 AD … ‘Andy Diggle famously described 2000 AD, at its best, as delivering you shot glasses of rocket fuel. You may not like every episode of every tale, but all five episodes each week should try and knock you on your backside with excellent characters in fast-moving, over-the-top stories. Nothing else in comics can give you that thrill, and it’s the highwire, anything-goes weekly nature that makes reading 2000 AD so fun.’
[comics] All The Joy I See Through These Architect’s Eyes … comic artist D’Israeli looks at Mega-City One through the art of various artists who have visualised it over the years … On Carlos Ezquerra: ‘Though his Judge Dredd pilot strip was never published, the last page (a full-page view across the city) was used as a back-cover of Prog 3. I remember seeing this aged about eleven and it absolutely blew my mind. The sense of scale, the strangeness of the designs, the feeling of the future as a gritty, exotic place formed by unguessable processes, all of this generated an excitement I’ve rarely felt from comics or any other medium. Along with Italian Massimo Bellardinelli, Ezquerra dragged 2000AD away from the comfortable visual tropes of the 1950’s and, importantly, gave it a signature visual style that distinguished it from the blocky, industrial designs of the recently-released Star Wars. That one page set a visual and imaginative standard for later creators to aspire to; ironically, as a leftover page from a rejected strip, it may be the most important piece of work Ezquerra ever did, and in its influence it may make him one of the most important artists in British comics in the last 30 years.’
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24 September 2008
[comics] Concordance: 2000 AD … a glossary from the Galaxy’s Greatest Comic … ‘Earthlettes – similar to Earthlets, but applied to females only. This caused a furore on the letters page and eventually was deprecated in favour of the now gender-neutral term “earthlets”, though now “Terrans” seems to be in vogue.’
