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The team behind the well-received Judge Dredd fan film Judge Minty is turning its cameras to another long-running 2000AD comic strip, John Wagner and Carlos Ezquerra’s Strontium Dog.
“It was a chance meeting with John at a convention that got the ball rolling,” co-director Steve Green said in a statement. “After seeing Minty, John mentioned that we should do Strontium Dog next. It was only a passing comment, but we took it as a ‘direct commandment’ and began work the next day.”
The British sci-fi anthology 2000AD was one of the first publishers to offer digital comics, and it ofers readers a choice: They can buy single issues and graphic novels within their iOS and Android apps or as direct downloads from their web store.
The advantage to the latter has always been that direct downloads are free of digital rights management (DRM) — they are simply files that can be freely moved from device to device — while comics purchased within the apps can only be read within the apps. Each way of buying comics has its advantages; the apps allow the user to store comics in the cloud and keep them organized in a single place on their tablet or computer, while PDF and CBZ files come with no strings attached.
Robo-Hunter will follow Judge Death as the second 1/12th-scale collectible figure in 3A Toys’ new 2000AD line.
Based on the cigar-smoking, renegade robot-tracking bounty hunter introduced in 1978 by John Wagner and Ian Gibson, the Sam Slade figure is equipped with a blaster, his Robo-meter Cutie and his Cuban cigar bot Stogie.
Fandom | Rob Salkowitz writes about the controversy over this year’s Hugo Awards nominations and the “Sad Puppies” slate, and how skirmishes such as this are further fueled by the media: “The net effect of this, as observed by commentator Ezra Klein, is the politicization of just about everything, dragging a lot of randomly hostile and belligerent people into conflicts that don’t really concern them, but in whose outcome they have been persuaded they have a stake. Media outlets profit, but fan culture, which at its best unites people from all demographics across the political spectrum in their enthusiasm for creative works and community, is the victim.” [ICv2]
To promote the Wednesday debut of Judge Dredd: The Mega Collection — themed hardcover editions released every two weeks — publisher 2000 AD is using an appropriately mega-sized approach: a 20-second television commercial set to air on multiple channels across the United Kingdom. You can watch it below.
Beginning with Issue 1: “America,” the 1990-92 serial by John Wagner and Colin MacNeil, Judge Dredd: The Mega Collection gathers the definitive stories and creators from the strip’s 38-year history, arranged thematically and “in an order chosen by the experts at Rebellion to give new and old readers alike a coherent and immersive reading experience.”
Ahead of the beginning of preorders on Wednesday, 3A Toys has released additional details about its Judge Death 1/12th-scale figure, the first in the company’s 2000AD line.
Based on the twisted version of Judge Dredd created by John Wagner, Alan Grant and Brian Bolland, the fully posable figure stands 6.6 inches tall, and features a tailored mock-leather outfit.
Judge Death is available for preorder beginning Wednesday at Bambaland, where the $60 price includes international shipping.
This will not be a post about how Saga is awesome. I’ve written 30 of those already. No thrilling over Lying Cat here, no desperation for the next issue, none of my hopes to see The Will return to action or for [SPOILER] to [SPOILER] and [SPOILER SPOILER SPOILER].
Nor will I lose my cool over the fact that, right now, my bookshelf contains two excellent and weird and hilarious China Mieville (China Mieville!)-penned trades of Dial H, complete with blink-and-you’ll-miss-‘em anti-MPAA digs. Or that Neil Gaiman, in the – yikes — almost two decades since I picked up my first Sandman trade, has evolved from Sensational Comic Book Writer Neil Gaiman to MechaGaiman, Devourer of Worlds, Savior of Publishing and Champion of Art. Or that Genevieve Valentine is writing Catwoman!
I won’t flip out about The Wicked + The Divine or Chew or either Marvel, Ms. or Captain.
Initially teased in June with the familiar phrase “The crime is life, the sentence is death,” the figure now has a price and a preorder date — $60, beginning Jan. 14 — along with the promise, “Death Isssss Coming!”
Creators | Isabel Greenberg has announced she’s working on a “sort-of” sequel to The Encyclopedia of Early Earth, her British Comic Award-winning debut graphic novel. She also posted her new comic Dreadful Wind and Rain, which is being published as a limited edition by Gosh! Comics, and will be included in her follow-up to Early Earth. [Isabel Greenberg, via Digital Spy]
Manga | Yen Press associate editor and letterer Abigail Blackman talks about her job: “I see that the editor has a twofold obligation – to the original creator and to the reader. I think everyone in the process has to be most careful of not imposing his or her own sensibilities onto the material. I and Yen feel very strongly about preserving the meaning and intent of the original and making sure it translates clearly to the reader. It’s so easy for a rewriter to get carried away with his or her own voice, or for a letterer to get too cutesy with the fonts and placing emphasis.” [Organization Anti-Social Geniuses]
Judge Dredd has crossed paths with Batman, Predator, the Xenomorph, Lobo and even Mars Attacks!, yet somehow Mega-City One’s finest has never run into the Man of Steel. But while Andy Diggle admits he doesn’t envision that changing anytime soon, the writer has an idea that may have fans pining for the heyday of the intercompany crossover.
“An object falls from space and crashes towards Mega-City One. The anti-missile lasers can’t seem to vaporize the thing, and it hits the ground and demolishes a fortunately uninhabited area of ground,” Diggle tells CBR News in an interview about the release of Predator vs. Judge Dredd vs. Aliens: Incubus and Other Stories. “Turn the page. Cue close-up of tech Judges in radiation gear looking down into this crater. Superman is lying at the bottom of it. He’s basically been blasted into a parallel dimension by a device created by Lex Luthor, which has partly depowered Superman.
“He’s not as super as he used to be, partly also because of all the pollution in the atmosphere of Dredd’s world. It’s called the death belt, this layer of pollution and junk thrown up in the upper atmosphere by nuclear war. It cuts out the sun’s rays, which depower Superman a bit. Dredd is not going to like having an illegal alien running around in his city. Superman is not going to be very keen on this fascist version of justice. It’s no longer truth, justice and the American way, because it’s no longer America: It’s Mega-City One, creep!”
And that’s only the beginning, he assures. Although he has the story plotted out, it seems unlikely DC Comics will be in crossover mode in the near future. But if that changes? Diggle would “absolutely” be up for it.
(Commissioned Dredd art by Kevin Levell)
The inaugural campaign in 2013 helped to drive the film up the Blu-ray and DVD charts, generating publicity in the process, and this year organizers are seeking to do it again: The want fans on Wednesday to buy Dredd again, watch it with friends, talk about it online (using the hagshtag “DayofDredd, of course) — whatever they can to draw attention to the film. That includes signing 2000AD’s official petition.
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Despite the continued optimism of star Karl Urban, a sequel to the 2012 film Dredd would seem like a longshot. Still, in the past couple of years plenty of fans have been a case for a return to Mega-City One, box-office receipts be damned.
However, none of those arguments has been as convincing — or as moving — as “Dredd: The Musical,” the latest video from Legolambs. With its refrain of “It’s time to make Dredd II,” the rousing anthem is performed by Urban and Sylvester Stallone (or close enough), who belt out lyrics like, “We’re well behind the schedule, we should be on Part 3. There are follow-ups for Iron Man and Thor, so why not me?”
If this doesn’t win over studio executives, then nothing will.
Although U.S. publishers occasionally experiment with weekly series — DC Comics, for examples, will soon have three on its plate, with Batman Eternal, New 52: Futures End and Earth 2: Worlds End — comic books in North America traditionally have been released on a monthly schedule. It’s been that way for decades.
However, today sees the conclusion of weekly miniseries that not only make you reconsider that tradition, but also leads you to wonder whether the story’s impact would have been lessened by monthly release.
Created by writers Marc Bernardin and Adam Freeman and artist Afua Richardson, the five-issue Genius was published weekly throughout August by Top Cow Productions (the final two installments went on sale this morning). This break from the tradition allowed the story to build a momentum that would have been missed had it unfolded over the course of five months.
Mondo has announced the complete lineup for the inaugural MondoCon, the Sept. 20-21 event in Austin, Texas, celebrating film, music, art and toys. And it turns out the participation of artists Geof Darrow, Francesco Francavilla, Jock, Mike Mignola and Bernie Wrightson is only the tip of the comics presence.
There’s the world premiere of Future Shock! The Story of 2000AD, a documentary celebrating 35 years of the influential comics anthology (watch the trailer below); a “Designing Movies” panel, with Darrow, Jock, Mignola, Wrightson and others discussing their film work; and “Geof Darrow’s Shaolin Cowboy,” which includes a presentation of eight minutes of never-before-seen animation from an uproduced adaptation of his comic.
Brass Sun, by Ian Edginton and INJ Culbard, is a hero’s journey set in a special kind of universe: an orrery, a model of the solar system, created eons ago by a blind clockmaker who set it up so that the different worlds would coexist in peace, giving each one a piece of the key that keeps it moving.
Over the years, power has shifted among the different worlds, and now the universe is starting to wind down, icing up at its extremities. It’s up to Wren, a 12-year-old girl whose grandfather was executed by the quasi-religious authorities for the heresy of speaking about the problem, to locate the missing pieces of the key and reboot the universe. Her quest takes her through a series of adventures in vividly imagined worlds, connected by the brass arms of the giant orrery.
The story originally appeared in the pages of the British weekly 2000AD, but Rebellion/2000AD is re-releasing it as a monthly miniseries for the U.S. market, beginning next week. We spoke with Edginton about the story, and were also provided with a preview of the first issue.