Comics Creators

2000AD: The Galaxy's Greatest Comic Thread


He looks good! Okay, IVs and such - expected. Being a survivor and knowing many cancer patients I look for two things, skin tone and affect (how one physically expresses themselves). Carlos has that glow one gets after surgery, a sigh of relief from the body. And his expression speaks volumes. Here’s a patient who will get better, if he has anything to say about it!

Live long and prosper!


I wonder what he had done as he said on the Thrillcast he’s already had one lung removed. I suppose a transplant but I know jack shit really about the medical side.


Fuck. I didn’t realise he was ill again.

Glad to hear that he is on the mend though.

Thanks for sharing.


Congratulations to my predesessor (Rory) and my successor (Laura) on being appointed panel judges for this year’s 2000AD pitchfest. As happy as I am for them, it’s hard not to feel a little left behind, if I’m honest.

I contacted Matt Smith a few weeks ago asking how both Rory and Laura had managed to be commissioned for further work in the Prog before their winning stories had been published, and he said they pitched to him. As I mentioned before, at the time Matt signed off on my FS he said that he didn’t want me to pitch, and that my route was the slush pile (which I did exactly one year ago and heard nothing). Anyway, after he told me that they’d pitched to him, I did likewise. No response.

I’m thinking of putting a call out for artists to draw the six strips I pitched to Matt, and publish a one-off antholgy - 24 pages, black & white. Any thoughts?


Really sorry to hear this Drew.

Also really disappointed.

As I’ve said umpteen times your FS is the best I’ve read in years and without wanting to sound too much of a dick, there’s a few writers who have broke through recently who must have incriminating photos of Mr Smith or something. The specials have been particularly rotten in standard.

It’s hard as a reader to understand it so it must be even harder for you being someone who is putting a lot of time, effort and emotion into making something happen for you career wise.

I think self publishing, if you can afford it. Is the best route for you. I’d just bypass 2000ad altogether at this stage. I feel like Smith is good at pulling together established creators but not so good when it comes to discovering and establishing new ones.

Unless Ewing, Williams are going to come back from the US and focus more on their 2000ad work and the likes of Carroll and Worely up their output then the future for 2000ad is as bleak as it’s ever felt.

We are bordering on mid 90s levels of shite with some the recent issues of The Meg & the prog, the Armoured Gideon cameo ironically hammered that home for me. An era that should be erased and forgotten rather than brought into current continuity.

Personal opinion.


He’s surfing you. Old term, probably obsolete. In the ER from time to time we’d get a LOL in NAD. (Little old lady in no apparent distress.) Needed a social setting more than medical care, so we’d “surf” her over to Social Services and follow-up at a community center. On the other hand sometimes we’d get someone coming in that needed to go away. Smelled bad, was obnoxious, caused trouble in some way, just plain a bad fit. They got “turfed” to another facility, usually knowing they were expected to behave better. Medical version of “surf and turf”, obviously.

This guy wants you to go away. Not someone you might convince. Use your energy to produce elsewhere, make a name, and either that person comes to you asking to see that portfolio again; or you get to tell the story in public about somebody’s shitty behavior. Be around for a while, you start to accumulate such stories!


I guess this goes two ways. The very idea of an anthology suggests that we’re not all going to like everything every week, but I’m too often finding nothing at all of interest in the Prog. I think this may be because of the direction Matt’s deliberately heading editorially. I’m sure there’s an increasingly high proportion of fantasy/horror content, and a lot of repeating themes too - even within individual Progs.If this is the case, then my kitchen sink comedy shocks are no longer relevant (or they’re just badly written). It also means that I won’t renew my subscription until a new editor arrives.

I’m glad you said this, because that’s how it feels. I thought it might sound a little paranoid if I said it, though. As mentioned above, Matt might just find my content/style irrelevant, so I ought to go away. I think he’s wrong (obviously), and I believe the readership would like to see a little light amidst the dark.

I’ve a half-dozen each of Future Shocks, Time Twisters and Terror Tales (not that I was hoping for a gig or two), so if I can make anywhere near my money back on a Shocks comic, I’ll repeat for the others.

P.S. I’ve just read #2099, which includes a Future Shock. Like many recent Future Shocks, there was NO SHOCK! Just terror/horror.


2000ad prog 2097 - 2099

Great to see Millgate back for the cover of 2098. One of the handful of Bisley influenced artists and it’s nice to see he has retained that style. I’d like to see more of him, this time on interiors.

Dredd: Sons of Booth by TC Eglington and Staz Johnstone parts 3 to 5.
This grew on me by the end to an extent. It’s never a 5 issue story and taken in isolation, epsiode 1 and 4 are poor, with the latter not furthering the story any further from ep 3.
Overall it was solid enough and some of the dialogue in the 3rd part was pretty good.
I enjoyed how part 5 ties back to prog 86. Helps add to the tapestry that is the Dredd continuity, however Dredd leaving Linus out in the Cursed Earth seems uncharacteristically soft, I don’t agree that’s what he’s have done there for the sort of crimes that Linus was committing. I feel the writer has done it to leave it open for another story on future and I’m not sure leaving it open was worth Dredd acting that way

Survival Geeks is a total rip of off Tim Seeley’s brilliant Hack/Slash series. Even down to some of the stuff that happens within. They’ve not even tried to hit it with their ‘Slack n Hash’ title for the series.

I’m going to read The Order start to finish tomorrow.
Skipped Mechastopheles*
Grey Area tees things up nicely for the next series as we see exactly how deep the anti immigrant conspiracy runs.
Talk’s Cheap the future shock by Mark McCann and Adam Brown is ok, a bit of a weak idea but it’s written well enough.
I really like Adam Brown’s (what looks like) digitally painted art though. I wonder if he is any relation to Scotland’s Garry Brown.

I’m glad this run of issues is over. It’s been a really poor period for the comic this last 3 months and it takes its toll when you are reading 12 issues straight of mostly sub standard comics.

Short term I’m excited for prog 2100 and Meg 400, long term I’m concerned for the future of 2000ad and the direction Matt Smith appears to be taking things in.

There must be better young talent out there than the writers he is hanging his hat on. Half of them write like they’ve never read 2000ad in their life.


The Megazine - Prog 400

I’ve been looking forward to this for a while. It’s not that the line up is ridiculously stellar, it’s more down to who is not there than who is, although Wagner and Grant are a nice addition.

Going into the issue and the first concern is that the Wagner Dredd strip is a one off, so we could be back to mediocrity in the very next issue.
Anderson is also a one-shot and Kot on Waugh appears to be one issue only, so he’s not permanently taking over from McConnville’s bland efforts. So next issues line ups are not as strong as it appears.

Wagner and Flint

This is worth the money alone, as Wagner shows he has lost any of his passion, launching into a cutting, somewhat controversial attack on the Tories, privatisation, the financial sector, the corporate world, and the Royal family. Within 1 page I feel like I’m in comfortable territory. It’s a sharp blast of Wagner’s finest, blackest humour reserve.
Flint is brilliant as ever.
Only complaint is that this could actually have been a lot longer, there’s quite a lot squeezed into 10 pages, it could have easily provided enough material for 5 or 6 episodes of 200ad Dredd, amping up a mystery angle as Dredd investigates what they find in the contaminated pools.
Brilliant none the less.

By Abnett and Winslade
You know what to expect by now. This is probably the Megazine’s top strip over the last 2 years. This new story is up their in quality with the rest. Winslades detailed lines are astonishing. Impeccable storytelling and the way he depicts the rain lashing down is so atmospheric.
This is the calm during a storm which precedes the metaphorical storm that is incoming as the Marshall Lawson and the citizens of Lawless await the impending onslaught from Munce.
Abnett is probably in my top 10 writers at this stage. The guy brings me so much joy with his ability to tell compelling stories with excellent characters.

There’s a brilliant interview with the outspoken British comics legend, Alan Heben, which coincides with the release of the El Mestizo collection with Carlos Ezquerra. Interesting to note that Hebden is currently writing for Commando and has been for the last 30 years, having written over 300 stories for the pocket war comic.

There’s also interviews with 5 of the Megazines previous editors, which is fascinating, even if one or two of them were arseholes.
The interview with Steve McManus is a reminder of just how strong the Megazine was with him editing, and Wagner and Grant acting as consultants. Possibly the single strongest issue of any 2000ad publication.

Contrast this to the era where David Bishop takes over, which should forever act as a cautionary tale. No matter how nice a guy he comes across now, revisionism should never be allowed to erase just what a disaster he was as an editor and how he treated some of the greatest creators in the history of UK comics.

Speaking of whom, the Dave Bishop interview consists of him slightly overplaying his role in discovering creators who I think really produced their first work elsewhere.
He mentions Robbie Morrison as one of the ‘success stories’ of the Comic - which is simply not true. Shimura was mostly notable for Quitely’s art, the series itself was not particlaurly good. His work for the Megazine was not up to the standard of his Dante series.
Dave Stone, who Bishop cites as as not getting the ‘credit he deserves’ was a one of the 90s stalwarts who I’ve never really missed seeing, along with Armitage - which was a series that failed to grab me, aside from Sean Phillips brilliant art.
The Armitage legacy itself seems to get better the further away everyone gets from reading it. No matter how much Bishop tried to protest otherwise. Perhaps I’m being too harsh, it’s been a long time since I read it and I would like to dig these old issues out again and see if my memory serves me correct or maybe my older self has more appreciation for some of the strips that bored me at the time.
Ormston is a tremendous artist, but let’s not forget his art was the only good thing about Harke and Burr.
John Smith was already working for Crisis and 2000ad and I’m almost certain that Sean Phillips was working at Crisis as well.
Don’t get me wrong it wasnt all bad, Swimming in Blood was published under Bishop’s tenure as were some other decent series, but there was a lot of rubbish stuff too and it gradually got worse until Diggle took over. Who I’ve also heard bad things about in terms of how he dealt with older creators, but I do seem to remember the Megazine improving under him.
I would need to credit Bishop with a lot of good artists however. This was maybe his forte over writers or good stories.

Blunt II
Eglington & Cook sees the return of a series that I didn’t care for first time around, but a writer and artist that I’m not over keen on.
The series opens with an interesting philiopshical monologue on mankind’s relationship to the environment around us, in relation to our relatively short time in existence.
This was actually ok, albiet confusing, it would have been better if I could work out who is who, there’s 3 or more different groups or factions involved here and names mentioned that I don’t feel we were ever introduced to. For example, who is Boyd?
If we are expected to remember this from a series that ran about 2 years ago that’s just a poor job by the editor not picking up on this.

Devlin Waugh: Call Me By Thy Name
By Ales Kot and Mike Downing
I was hoping for an improvement on the previous 2 series. And we did get it, but not without some complaints.
Kot gets the dialogue a bit closer to what I’d expect for the character although he plays up the camp side a few notches and I think the massive green dildo at the start, although amusing, was further in tone than Smith would normally take things.

So initially I’m thinking there’s an uncharacteristic mistake from Simon Bolland on the lettering, where he mixes the placement of a boxed response to a question with the placement of a word balloon, which puzzled me until I remembered what had been asked in the previous panel. Again, I thought this was something I’d expect to be picked up in editorial then fixed before releasing for print.
And then I realised that there’s dialogue that takes place in the car then dialogue that Waugh is speaking when he’s on his on own in an adandoned factory. Only the small panels that are used for the conversation in the car are the same size as the one Waugh is in the factory in at the start and well yes this is another example of Ales Kot not understanding the basics of comic books narrative structure or sequential storytelling.
Here, read this and see what I’m talking about

When you make the reader feel like they have a fucking brain tumour while trying to read your comic then it’s time to chuck it or go back to fucking writing school, smart arse.

Once I calmed down and read it for the 3rd time it was actually really good. There’s some cracking lines, my favourite being ‘Darling, I am the Filth’ which is genius.
Basically Devlin Waugh has become a camp, x-rated carry on John Constantine now and if that’s the direction Matt Smith wants to take him in then who am I to argue. However this wouldn’t be out of place in The Viz. Binding a demon to a magical dildo pretty much sealing that.
Maybe John Smith will return one day.
Also on the plus side, Mike Downing has found what appears to be an increasingly looser art style, which is still great, even if he’s dropped the Arthur Ranson influenced precision lines for Joe Kubertesque thicker, looser inks - his art is still superb and I think it’s letting him balance 2000ad work with his work on Vertigo books. Good to see him getting lots of work, because he’s brilliant.

John Tomlinson’s interview comes across as very humble and regretful that his stint was so short. He takes lterally no credit for any of the series that were published during his short time in the hot seat.

There’s another fantastic interrogation, this time with the legendary Ian Gibson which is pretty no holds barred. Although I don’t feel it really emphasises how much great work he did, it kinda ends on a low note.

Storm Warning
By Leah Moore/John Reppion and Jimmy Broxton.
I’ve struggled to get into Moore\Reppion stories in the past but this was a great opening chapter. Really good idea really well executed in a nicely paced, straight forward manner. This one was a pleasant surprise.

Andy Diggle’s time as editor is a lot shorter than I thought it was. I seem to remember an uptick in quality when he appeared, but perhaps this was on 2000ad. His greatest legacy is introducing the creator interviews to the Meg, which is still one of my favourite components to this day.

The new Dark Judges story follows on direct from Dominion. This time with David Hine taking over from Wagner, who turned down writing another. It’s essentially a vehicle for Nick Percival’s art.
It’s actually a classic horror set up, this time Rosco, a survivor from the previous installment is trying to stop the Dark Judges reaching Earth.
It’s a nicely told classic horror set up, and whilst I don’t think it is going to blow us away, that was quite a promising opening epsiode.

Matt Smith, rightly gets a lot of credit for this glory era of 2000ad - however the job Alan Barnes did almost gets lost in that. He put the comic back on track. This interview highlights what a great job he did in fixing what Bishop had done over the years and he made a lot of smart decisions.

anderson by Grant and Miranda is a celebration of Cass’s 40th year on the streets, delivered in a humourous and action packed manner. I’m sad to see that it’s not an ongoing.

This means next issue’s line up is effectively Dredd (a lottery these days), Brink, Storm Warning, Dark Judges and Lawless - providing we don’t get Wyatt, McConville or Eglington on Dredd I’m hoping For a sharp uptick in quality to what we’ve been exposed to recently.

This was £8 but it took me hours to read and overall was a good package. I’d recommend it if any of you are on the fence.


I signed up to a digital subscription to the Meg, I honestly haven’t read it for over 2 decades but it was cheap (US$43 for 15 issues including the double sizes #400).

My views are mostly the same as yours.

Dredd - Wagner and Flint, of course it’s good.

Lawless - I had to Google the backstory having no knowledge, enjoyed and it looks good.

Dave Bishop interview, I think you are being a little harsh, the way I read it he admitted he was taking from Crisis and Revolver.

Blunt - I like the idea nice enough, agree I was rather confused by some of the characters but not that much to spoil it.

The Devlin Waugh panels were terribly confusing in the car and a mistake, but the story was good, I believe Kot is a massive fan of the character and asked them if he could do it.

Storm Warning - rather agree on Moore Reppion previous stuff but this was good setup.

Dark Judges - I really liked this and I have not liked the one in 2000ad which I think is messy in every part of its execution, confusing story and muddy ugly art. This looks set to be tense, a rather Alien type concept where out heroine has to survive for 6 months.

Anderson - yeah just what you said, although she never looks 60 or whatever she is meant to be in the art.


Aye I’ve edited some of my comment on Bishop, it was pretty harsh.


I mean I don’t disagree that when I was reading 2000ad under his control it was rubbish and I dropped it, he was a terrible editor but I just don’t think he claimed that he discovered all those guys, just that he used newer creators because McManus asked him to as they were cannibalising the 2000ad staff.


New artist on Defoe - Stewart Moore.

Shame we’re not getting more Colin Macneil but glad of more Defoe nevertheless.


Brilliant, thanks for sharing, Bruce

Defoe is superb, glad to read that it’s coming back. This new guy has some big shoes to fill after Gallagher and McNeill, but Mills has the best eye for an artist in the business, so I trust this is going to work out well.

Really interesting to read what Mills has to say about Fay Dalton, whose art I loved and his failure to get her work on 2000ad. I don’t understand it. She’s so talented. Even more so relative to the all female sci fi special from a few months ago.


Prog 2100

I’m rather pleased to report that Tharg seems to have gotten the filler out the road in the past couple of months to set us up nicely for the Autumn jumping on issue, which is thankfully full of top creators doing their thing again, although sadly no Mills.

Also rather pleased to report that we have a good writer back on
Dredd as Rob Williams and Henry Flint kick off a new story, The Small House

They’ve done well to keep this one quiet. There’s a big 10 part epic starting this issue which ties together Rob’s previous, fanastic stories and featuring a few well kent characters. There’s an interview with Williams and Flint that goes into this in more detail that I enjoyed as much as the strip itself it also explains why Ben Wilshere doesn’t finish the Durham Red story from a few issues back - he must have got moved onto the Roy of the Rovers and didn’t have time to finish Red.

Just as I was starting to get pissed off, Tharg has pulled me back in again. Exciting as fuck.

Brink: High Society Abnett and Culbard.
Brink is one of the progs best modern series.
The first series of Brink was very good. The second series was great. I have high hopes for the 3rd.

Skip Tracer: Legion Peaty and Colin McNeil
Peaty has been getting access to some top art Droids, first Marshall, now the fantastic and legendary 2000ad stalwart McNeill, who has tinkered with his art style just a little in terms of reducing the blacks I think for this series to roll seamlessly off the last, so the artist change is not jarring.
The first series must have went down very well with Tharg for him to have commissioned a second so quickly. The first series was solid enough, if unspectacular.
This first chapter is a little by numbers, not much happening, but it’s an easy and pleasant enough read to kick things off.

Anderson: Death’s Dark Angels Alan Grant & Jake Lynch
Another Anderson one-shot from Grant this month. The story is enjoyable enough to read, but it’s forgettable. It has the feel of some of the classic Dredd’s from the mid 80s. You can see his influences clearly, but Lynch is continuing to progress as a very good 2000ad artist. I hope he keeps getting work.

Sinister Dexter from Abnett and Yeowell acts as a one shot bridge between the last story and the upcoming one in 2 months time. Quite a clever idea actually as it keeps things fresh in the mind in between the gap.

Fiends of the Eastern Front by Edington and Taylor is an unexpected but welcome return of the strip. Taylor is incredibly underrated as an artist and his mix of inks and pencils is stunning here, particularly the pages set in the snow.
Beautiful artwork, delicately coloured.

Finally, Kingdom: Alpha & Omega is the latest book in the terrific series by Abnett and Elson. Lots going on here as Gene, Leezee & pause crash land on an earth which has seen further evolution of Them and Ticks, with the Masters on their trail. All wonderfully rendered by Richard Elson’s clean lines, a blend of Alan Davis and Dave Gibbons but bizarrely without anywhere near the fanfare or recognition - the mind boggles.

The quality of this prog is of the highest standard. In writing but in particular, art. The fact that Elson, McNeill, Taylor & Flint are working for 2000ad makes me grateful that the big two are often fucking clueless when it comes to breaking out of the comfort zones of their rather safe and often boring house styles. These 4 are as good as anyone drawing comics today. Aesthetically brilliant but with storytelling sensibilities that only years of honing the craftsmanship and passion for the medium can achieve.

Great package.


Nothing in the list I’m perticularly interested in reading but I like the fact Rebellion are obviously interested in preserving British comics history.




Words can’t do justice to the man’s influence or achievements.


I’m not surprised as I know his previous treatment was pretty serious. I am deeply saddened though we won’t see any more the work of a guy I grew up with. He’s kind of been ever present for with his incredible imagination and expressive characters, the first issue I read of 2000ad had him on art duties with Dredd at the end of the Apocalypse War.

I know he had a strip in the works with John Wagner, I hope he was able to complete it so we can get one last story from a master craftsman.


Oh no. I’m so gutted. I can’t believe this. This is terrible news.