Comics Creators

2000AD: The Galaxy's Greatest Comic Thread


So damn sad. Truly the end of an era.

I don’t know how much of his work I have, has to be loads.


Have to post this bit from the Guardian obit:

In 2010, Ezquerra told fans on a 2000AD message board that he’d been diagnosed with stage three lung cancer and had had one of his lungs removed. “OK, one less lung but … who the hell needs two for drawing?” he wrote.


Gutted. Way back when, there was a time that I didn’t like his art. I hated that dotted line shite he used to do around his figures. It used to drive me crazy. Then, one day, and I’m not entirely sure why, but most likely during “Necropolis” or shortly thereafter, it just clicked for me. He quickly became one of my favourites after that, and I fondly look back on his older work with new found appreciation. I’ll miss his work tremendously.


A true legend in this industry. Irreplaceable. Met him at Glasgow Comic Con and such a nice guy.



I’m still struggling to come to terms with this and it’s from a completely and utterly selfish place.

This is going to sound ridiculous, but there’s a small handful of creators who I feel like they have had as much of an influence on my upbringing as any family member, and that’s John Wagner, Pat Mills, Alan Grant and Carlos Ezquerra.

I started reading 2000ad around 8, and I feel that my moral compass and low tolerance for what I personally see as bullshit comes from my Grandfather and the writing trio of Wagner, Mills and Grant and latterally from interviews and talking to them personally.
But it is Carlos images I remember most. You actually knew what kind of person Carlos was from how he drew and the characters he so obviously loved. In later years listening to Carlos talking and hearing a bit more about him, none of it was a surprise. It was already there on his pages, his soul laid out across decades on paper. And thankfully immortalised.

The Moses Incident is the one that has always been etched in my mind and in my heart, after all these years.
I cried reading that story as I kid. I went to bed thinking about it and was still reading the story in my sleep. I can actually recall the feelings even now, over 30 years later. But I can’t put them into words.
The emotion and weight of that story was all down to Carlos. The idea might have been Alan’s but the impact was down to the facial experessions within. I’ve not re-read it for years but I can remember it all, almost panel for panel in some places - the innocence and excitement of Moses as he runs to see the Stronts in action, the pain, anger and eventual pitied forgiveness of his mother, Johnny’s torment and crazed resolve to make right something that can never be made right in that way, Wulf’s concern for Johnny and acceptance that he’s not going to talk him round, even the evil look of Brood (Carlos telegraphing that this clearly isn’t going to end well) and the terrifying hollowed out look on Moses when he is resurrected

Other artists have came and went but Carlos has always been there, all the way through my life and as I’ve always read 2000ad it’s been there every week, Carlos being the ubiquitous visual presence of the comic.

When I was younger I wanted to be a comic book artist. I know we probably all did. Everyone I drew was influenced by Carlos art. Every vehicle was hovering off the ground, scratched and weathered.
Other kids were drawing Superman, I was drawing guys with shoulder pads holding big guns. As I got to my early teens nothing changed, the guns would get more detailed, the outfits would be more scuffed and worn down by the action packed adventures these characters had. The facial expressions were that of loneliness, introspection, stoicism and toughness. But I could never emulate his line style, I just couldn’t work it out.
But it was all inspired by Carlos.

I didn’t even know Jack Kirby was until I was in my 20s, nor did I care. That appreciation arrived much later, although it was only really an appreciation never a love.

I had Carlos. Now I don’t. And it makes me feel really sad.


Having read your post I don’t think there’s anything selfish about it. It’s a perfectly reasonable to be affected by a creators death when the same creator has had a huge impact on your life from formative years to adulthood.

I got into comics later in life so I don’t have the same childhood attachment but I’m sad for the same reason that I was sad when Bowie passed away - the thought that their body of work is now finite, that there’ll never be anything new from them ever again saddens me no end.


It is.

I felt somewhat prepared for this. Carlos said on a previous Thrillcast he’d had a lung removed and laughed it off with fans as a mild inconvenience while I was imagining how huge that would be. The thumbs up picture the other day that he’d got over everything rang alarm bells and I said as much at the time. It’s maybe a measure of his optimistic outlook on life which helped him produce so much great work.

I think another thing that makes Ezquerra a constant is his work never really changed, I know he was a pioneer using digital techniques but for 40+ years everything always looked unmistakably his. The crazy imagination on the mutants and freaks, the thick serrated outline. It was very constant and prepared or not this has hit me harder than most. We may have one more work that he did with Wagner and then no more.



Progs 2101 & 2102

Parts 2 and 3 of…

Dredd: The Small House, is just brilliant. Feel on tenterhooks reading it.

Brink: High Society, Kurtis is a plant in Downton Abbey on a spacestation. That simple. But so effective.
Abnett does what he’s been doing for years now turns up with another cracking yarn with characters who immediately grip you and a great concept. Helps that he pairs himself with good artists. Culber is so good at this sort of thing. This is the third series of Brink and they’ve all been very different except the tone, which is really consistent. I don’t know how Abnett does it.

Fiends of the Eastern Front, has seen Edington take a real classic approach in revisiting this series. Initial feelingwas that it hints at being a retread of the original, with a change of setting. And there’s merit in doing that because the original has aged. However, it does have its own surprises, it’s own beast - if you will and is very effective, including making very good use of each end panel/cliffhanger so far.
It’s a really well told, beautifully illustrated strip.

Skip Tracer, is the weakest of the current run. Although it’s not bad. It just lacks the emotional pull. I’m not really feeling the central character, or any of the characters for that matter, that makes it hard to engage and ultimately care.
The art is amazing though and it’s not a bad strip, it’s fine.

Kingdom: Alpha and Omega, being the latest in a now fairly long run for the series, moves things forward yet again. It’s noted that in a series that involves evolution, that Abnett continues to evolve the story and continually find more ideas to mine and take things forward in a way that is so good that it feels completely natural, as if it was always planned that way. This next stage with what he’s done with the Riders and the ticks…I just don’t know how he keeps coming up with these ideas.
This is a joy to read and it already feels really intense after only 3 episodes. The guy’s a genius. Although it wouldn’t be anywhere near as effective without Elson.

I’m in awe of how good the weekly is since this reboot, it’s fucking mile better than the last couple of months of issues.

This is modern 2000ad at its best, even without Mills and Wagner.


Ian Edginton is a much underrated writer. It’s a shame we don’t get more from him. Robbie Morrison too for that matter.


It’s weird, I really enjoyed most of Robbie Morrison’s work for 2000AD and the Meg that I’ve read, but his Wildstorm stuff never grabbed me.


I even only really enjoyed Dante from Morrison, felt the rest of his stuff has been pretty lacking

I must be the only person who doesn’t like Shakara, Shimura was ok, I didn’t like the Ventdetti thing at all and didn’t like his wildstorm stuff


I’d read his Wildstorm stuff before any of his 2000AD bits, so it could entirely be that they just seem better by comparison.


To be honest that’s the most amazing thing about very prolific writers. I often think I could maybe write a better script at times than some of their weakest efforts but could I do 7 or 8 of them a month for 30 years? No chance in hell. These guys have a unique talent, there’s no other medium I know of where an individual has to contribute so much story with so many ideas.


Bill Sienkiewicz posted this up on Twitter recently.


That’s fantastic.


Love that