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


Dredd 401

Dredd: Quaranteens

Mcconville & Langley

This was excellent. A lot of it is down to the atmosphere from the Langley art, but there was a feeling of hopelessness early on that reminded me a little of the Night Surf short story in Stephen King’s Night Shift, albeit on a smaller scale obviously, as Night Surf is tied to The Stand.

It was a brilliantly paced, done in one story set in a school where there has just been an incident. Decent idea which was completely enhanced by the execution of it. Almost a perfect Dredd. This is Mcconville’s finest hour so far. It made me stop and think about some of the awkward friendships I had in school and what it was like to be that age, slightly rebellious with little concern for the consequences. Loved it.

lawless: ashes to ashes part 2

Abnett & Winslade

Lawless has entered the sphere now where it’s got to be considered one of the 2000ad stable’s greatest ever strips.

Abnett and Winslade have built a town from the ground up, with a bunch of really great, and I have to say fairly non cliched characters. Even Hetch and Brotherly are an intrinsic part of the series, gradually sewn into the series and their scene in the opening 2 pages, with predictions of the devastation to potentially come, is a wonderful writing technique used by Abnett to emphasise the scale and possible consequences of this storyline.

The fear in the their faces as the rain is lashing down, and even looks of resignation in their eyes is a master class from Winslade in what body language and facial expressions can bring to the storytelling in a book. Abnett doesn’t half work with some amazing artists.

In fact…here…just look at this

He then goes on to use Brotherly to describe the events taking place, which is an interesting way to present an episode which otherwise could have just been all action.

Storm Warning: Over My Dead Body part 2

Moore, Reppion & broxton

More fantastic art from the under celebrated Jimmy Broxton. He captures the atmosphere wonderfully. I love the way that he depicts the spirits of the dead in the hospital. There’s so much going on in the backgrounds of these pages, between the background characters going about their day, the graffiti on the walls, the neon lights flashing, busy streets with headlights flaring, rain streaming down and into puddles on the roads - it all leads to really good atmosphere.

This is one of the best things I’ve read from Leah Moore and john reppion; the overall idea is a good one and it’s very much presented like a classic Alan Grant Anderson strip. A lot easier to follow than their usual scripts.

The Misty & Scream feature had loads of good interviews, in time for the Halloween special that recently came out.

blunt II part 2

TC Eglington & Boo Cook

No idea what is going on here. Part down to script part down to art.

Boo cook copping out of doing backgrounds means there is no sense of place at all, he’s substituting colours for actual drawing. It’s hard to work out who characters are or what faction they belong to. The storytelling is poor.

I didn’t enjoy the first series and I’m starting to remember why. This is the lowpoint of the issue.

dark judges story forget what it’s called

Hine & percival

I’m still enjoying this but 2nd episode in and the difference in calibrate between Wagner and Hine has started to show now unfortunately. However the Percival art is amazing and it’s still a tense affair. It would probably be difficult for any writer to take over from Wagner on a strip.

Overall this has become a quality comic again, the art for all the strips is fantastic and there’s only 1 clunker in Blunt.


Stories being reprinted:

Judge Dredd: Bank Raid
Script: John Wagner and Pat Mills
Artist: Carlos Ezquerra
The original ‘first’ Dredd story that wasn’t published in 2000 AD

Judge Dredd: Halloween
Script: John Wagner
Art: Carlos Ezquerra
Letters: Tom Frame
Originally published in Judge Dredd Annual 1984

Strontium Dog: Incident on Zeta
Script: Alan Grant & Carlos Ezquerra
Art: Carlos Ezquerra
Letters: Gordon Robson
Originally published in 2000 AD Prog 573

Future Shock: A Close Encounter of the Fatal Kind
Script: Alan Grant
Artist: Carlos Ezquerra
Letters: Pete Knight
Originally published in 2000 AD Prog 102

Judge Dredd: By Private Contract
Script: John Wagner
Artist: Carlos Ezquerra
Letters: Annie Parkhouse
Originally published in 2000 AD Prog 2000 (2016)

What if… Max Bubba Hadn’t Killed Wulf?
Writer: Alan Grant
Artist: Carlos Ezquerra
Letters: Ellie De Ville
Originally published in 2000 AD Prog 1772

Tharg the Mighty: This is Your Life
Artist: Carlos Ezquerra
Letters: Jack Potter
Originally published in 2000 AD Prog 155