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2000AD: The Galaxy's Greatest Comic Thread


#1741

What’s that Bobby?

Do they review every issue of 2000ad or something?


#1742

Yep. Two Americans take a months worth of progs and do a read/recap/review.

It’s a good listen if nothing else than to be reminded of all the early stories from the prog. Above that though the two guys are genuinely into it and one of them was completely new to 2000ad before starting their massive quest.


#1743

Ah…do they get it?


#1744


#1745

Pretty much all of the strips they get. The UK adverts not so much!


#1746

Please tell me this is for real!!!


#1747

It’s his verified account Chris. Yeah! :crazy_face:

https://roguetrooper.com/en/


#1748

Stalag 666 - I remember reading somewhere that a disgruntled fan once sent writer Tony Lee a parcel of shit as they were so unhappy with this story. Nothing can condone that sort of behaviour but to be honest the story is pretty naff. It’s essentially a poor man’s take on The Great Escape except instead of escaping from Nazis, the p.o.w.s are evading humanoid snakes…who happen dress like Nazis. It’s cliched throughout and has fairly substandard John Davis-Hunt art.

Necrophim - Lee’s next long running series is about fallen angels and a battle for Hell. The prologue is the strongest of the trilogy as it is fairly straightforward and introduces some intriguing characters but subsequent parts get a tad too twisty for twisty’s sake. Lee Carter’s black and white greytone art is a perfect fit and although the whole thing goes a bit long I thought it was okay.

Cradlegrave - John Smith is a genius and I often think he’s on par with Morrison for wacky ideas. There is less wacky here and more horror. Alongside a spot on script, there is a real sense of dread and a brilliantly suffocating claustrophobic atmosphere. However, even though there is a definite display of craft from both Smith and artists Bagwell, for me, and I know I’ll be in a minority here, the ending really lets it down. Or should I say the lack of a fully explained ending. Unfortunately whatever the media, I’m someone who doesn’t like to have to think too much and I like to be spoon fed story resolutions. This open ended ending just didn’t work for me. Edit - It’s now been several days since this reread and I’m warmed to it more.

Zombo - Loved this when it came out in the prog. Now having done a reread of the entire series (well, I say entire series as there is actually more planned) I’ve soured on it somewhat. It’s definitely a book that reads better in weekly instalments opposed to binge reading. What could be better than a wise cracking zombie who wears nothing other than a pair of pants? The problem is that it’s just too haphazard in approach. There are some seemingly connected but perhaps not connected sub plots and characters that seem to not be relevant to anything. Flint’s art is obviously great throughout and although Ewing does produce some great moments of dialogue I’m downgrading this from great to good/above average.


#1749

To be fair, there’s plenty of reasons to send Famous Writer Tony Lee a parcel of shit.


#1750

Oh Yes!


#1751

Cradlegrave is for me one of the best series of 2000ADs rich 41 years of thrill power.

I thought it was remarkable how they managed to achieve that atmosphere so well in a comic. It always made me feel really unsettled. It’s a bit of genius and this is why it really upsets me that Smith seems to have been unceremoniously turfed.


#1752

progs 2090 & 2091

I don’t know who Matt Ferguson is, but I’ll remember the name.
I love his cover to 2090, loads of atmosphere and feels right for the tone of a future law strip. Colour palate used here is amazing, various scales of blue to create this fantastic image on a wet night on the streets of mega city.


The cover to 2091 from Harrison is too busy for my tastes - not so much the composition which is great, but the rendering of it. It reduces the impact that would have been achieved if it was bit more streamlined and clear.

mcconville and carter’s Dredd commuter pain appeals to something that most readers will be able to relate to with the public transport system being shit.
This is one of the writers better efforts, with good dialogue, even if the story is pretty slight and doesn’t really go anywhere.
Carter’s colouring is a bit muted, as is often the case with him and his lines can be different to pick out. He must spend so much time drawing this stuff that it doesn’t make sense to cover it up with murky, depressing colours. There’s a scene in particular that although you can guess what happened it’s really difficult to see how it transpired in the panels.

Bit of a special treat in the next Dredd, a better class of criminal, part 1 which sees Leonardo Manco on art, back after his Rogue Trooper issue about a year ago. Or at least it should be. His action scenes are a bit of a mess, really difficult to work out what is going on and McConville’s script is totally unengaging.
I don’t actually know what I just read something about weapons or superpowers, I don’t care enough to read any more of it.

the order has completely clicked with me now. I hated the first couple series and found it impenetrable, then I enjoyed the 3rd. This 4th series is probably my favourite thing in the current prog. It’s feels so rich with detail. I think world building is Kek-W’s big talent. Both this and Deadworld have really distinguished, fleshed out worlds with their own nuances and atmospheres. It helps though that he’s managed to work with Burns and Kendall on these strips.
I think when this is all done and read together it could end up being something pretty special. I feel there’s a long game he’s playing but he divides into distinct chapters very well, really similar to Pat Mills. I’d like to go back and read the first two volumes and see how it all hangs together.

There’s two Terror Tales, The Ticket written by Paul Tobin, which has fantastic art from the continually evolving and improving Dan Cornwall, but reads like a joke told really badly by someone who struggles to tell jokes the closer and closer they get to the punchline. Honestly, you need to read this to believe it how downhill it goes.
And then there’s Quilli written by Laura Bailey, beautiful greyscale art from David Hitchcock. This one is a bit overwritten, and rough round the edges, but Bailey has shown here she can tell a story and keep the reader engrossed. So, while I didn’t enjoy the ending, I did enjoy the journey and i was hooked enough to care what the few panels would reveal. Definitely one of the better Terror Tales/Future Shocks of recent years.

Fall of Deadworld screams towards its conclusion. This has just got better and better. Like The Order I need to read it really slowly to follow what is going on, but as I’d felt Deadworld was going off the rails, Kek & Kendall have really pulled it back with some aplomb.
There’s a scene with Fear in epsiode 10 which I love. I’d love to own this page so if any of you have an idea of how I could buy it from Dave Kendall id be really greatful. There’s a classic five panel sequence which is so effective. Its a pity the bottom panel is a separate scene, I feel KeK-W made a big mistake there, in not just devoting the page to those 5 panels and increasing the size of them a bit to fill it. Still, it’s brilliant.

And finally, Grey Area returns which is always a welcome sight. And as always, Harrison’s art is a bit of a nightmare to follow but it’s so damn good to look at, that I can just about get on with it. There’s a bit of Chris Bachelo thing goes on with him. The art disrupts the flow but a smart writer plays to the strength of the artist and Abnett seems to let Harrison run amok, the result being some of the most stylistic and strikingly original art in contemporary comics. But he’s kinda earned that right.


#1753

How did this even get past the editor? It’s rare you read a story and feel a sense of embarrassment but this was one. You have to have a sense of logic to any story, even a joke, in one panel we see this bus travel at incredible speeds, enter other dimensions and then it’s being caught by a police car.

When Death was previously given points on his licence did they not notice he had a skull for a face and ask further questions? Why does putting two bottles of beer on the side change the deal? They would breathalyse him and it would come out clear so her bargain is useless and makes no sense. Why was she being taken to hell anyway? Was she meant to have died before the start or Death is just randomly picking up people for no reason, if he’s scared of a speeding ticket then surely she could just tell the police he was kidnapping her and have him charged.

Absolute nonsense.

The art was good though.


#1754

Glad I’m not alone in this


#1755

I hope there’s been enough positivity in the previous post to balance out my moans because I have some more coming.

I’ve bought the Megazine since it’s first issue and I’m so close to giving up on it right now that it’s going to take a big turnaround with issue 400 to pull me back in.

There’s too many underpar strips and writers filling it just now. Issue 398 is worse than anything from the dreaded 90s era and the problem is, it’s nothing new.

When you stick a mediocre Dredd (sorry Messers Carroll and Higgins, but this is not anywhere close to either of your best work) alongside a facsimile of a Devlin Waugh strip, a joke of Si Spencer series that feels like it was bought just to fill pages, alongside a Chopper story that’s basically a self indulgence project for McCarthy with a script that barely tells a story, then top it off with a computer game tie in that no cunt has heard of, which is basically an advert for a game Rebellion have coming out in a month - then you are at risk at really pissing the readers off.

This comic ain’t cheap and if the future of it is a magazine filled with the likes of Beeby, mcconville, Wyatt, Di campi and Elington then I’ve no interest in sticking around to pay £6 for a training ground for writers who have shown little or no improvement in what is now years that they’ve been published in some form or another in 2000ad.

I barely read any of this through I was so scunnered with it.The only reason I’ll have to keep buying if this is what we are being subjected to, is for completionsist reasons, although I don’t feel there’s much legs left in it if that’s the case because I can’t imagine who is enjoying this shit.

Too many comics and not enough time and I’m not a charity.

And if the Anderson story in 400 is written by Beeby and not Alan Grant, they can just fuck right off.


#1756

I worry that Smith has lost the plot.

He’s got an article in the meg on how to write future shocks, the contributers to which have barely written an above average strip between them.


#1757

I do worry he’s stretched. Compiling 2000ad is by all accounts quite a job, dealing with multiple stories and creators and fitting it all together with a strict weekly schedule (it can’t ever turn up late like a lot of US books).

I know he’s covered both jobs for a while but it used to be split and maybe the energy of youth can take you so far.


#1758

You are more positive than I am. I’m afraid I still see many problems with Kek-W’s writing. He introduces enormous numbers of characters in his stories and to be frank that means I never care about any of them if I can even remember who they are meant to be. The Order is more understandable than previous editions but it flits here and there, we are in one place, then on a ship and then we need to murder John Adams and then that’s dumped by the next episode. He seriously needs Smith to be a Jim Shooter style editor and whack it all into shape as the ideas are often great.

I also think David Hitchcock’s work was not up to professional standard art. It may be a taste thing but it looked like fan art.

On top of that the much lauded art in Deadworld escapes me and I find to be a call back to the muddy and messy post Bisley painter era. It has no tension in this climax as we know how it all turns out, everyone dies apart from the 4 Dark Judges and the sisters.

To counter that I will say the ‘Poshtube’ Dredd story was phenomenal, the best for ages, I loved everything about it. Weston’s cover a couple of weeks back was extraordinarily good. The rest of the strips have been fine.

I think the Tooth needs a bit more Pat Mills on 2 stories a prog and not Kek-W with the next switch of stories. Which is why I’m not generally negative, the book always works in cycles and great stuff is always around the corner.


#1759

Wasn’t sure whether to put this in the toys thread, but it seems to make more sense here. Warlord Games have a Strontium Dog minuatures game out:

https://www.warlordgames.com/strontium-dog/

I’ve not seen the game, but I’ve bought a ton of WW2 miniatures and vehicles from Warlord Games and they’re all top quality.

Here’s an unboxing video for the game:


#1760

I’m still holding out hope for an ABC Warriors game.