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Shirts based on comics characters isn’t anything new, but Judge Dredd and 2000AD publisher Rebellion recently partnered with the U.K. T-shirt boutique Last Exit to Nowhere to produce this amazing-looking design. Although it’s based on the film iteration of Dredd rather than the comic itself, it’s still a shirt well worth owning — even with the additional expense of shipping outside the United Kingdom.
We’ve featured street art by the collective EndoftheLine before (this post from July 2012 included murals in the styles of French maestros Moebius and McBess), but it’s recently posted images of some impressive new projects, again making it abundantly clear how much the group is influenced by comics.
Last week EndoftheLine unveiled a piece in London’s Hoxton district celebrating 30 years of 2000AD‘s “Slaine” with this spot-on tribute to the work of Simon Bisley, painted by founder Jim Vision.
I’m very fond of the output of artist David Roach. The Welshman has been an on-off contributor to 2000AD since 1988, as well as regularly working as an inker on the strip features in Doctor Who Magazine. I don’t remember him working much recently in the United States, where he regularly turned up at DC and Dark Horse both as a penciler and inker. He comes from a family of academics, and has been developing a parallel career of late as something of a comic book and illustration historian.
Roach regularly uses his Facebook page as an art blog, showcasing artists of all stripes, just as likely to be a fine artist as a comic illustrator, as well as occasionally featuring art from his own collection. This week he has been displaying scans from what he calls “surely the rarest collectible in the comics history.”
Today 2000AD debuted all 20 volumes of the Judge Dredd: The Complete Case Files series on its iOS app, making three decades’ worth of stories available for download on iPad, iPhone and iPod Touch. A 21st volume will be published next month, with subsequent tomes to follow.
Retailing for $13.99 (£9.99), The Complete Case Files feature work from the likes of John Wagner, Grant Morrison, Garth Ennis, Dave Gibbons, Mark Millar, Brian Bolland, Carlos Ezquerra, Mick McMahon, Alan Grant, John Smith, Brendan McCarthy and Garry Leach.
You can see a selection of pages below.
The proposed “day of action” for the “Make a Dredd Sequel” campaign turns out to be a rather cleverly planned piece of corporate synergy. The date, Sept, 17, is of course a New Comics Day, and the day 2000AD Prog 1850 (as anticipated by ROBOT 6’s Brigid Alverson in this week’s Cheat Sheet), and Judge Dredd Megazine #340 are released. Both comics are optimized for new readers, featuring high-profile new series and contributors.
These new series include a Dredd strip based upon the movie continuity (as previewed here last week), and “Ordinary,” a creator-owned strip by the critically acclaimed team of Rob Williams and D’Israeli (again, previewed here last week); the press release from the publisher Rebellion flags the recent high-profile gigs for all the talent involved, such as “Damnation Station” being written by Mighty Avengers‘ Al Ewing.
Welcome to “Cheat Sheet,” ROBOT 6′s guide to the week ahead. It’s only Monday, but our contributors have their eyes on Wednesday releases, ranging from John Wagner and Arthur Ranson’s Button Man: Get Harry Ex to a new jumping-on point for 2000AD to … well, it’s not exactly a comic book but it does involve two comics creators.
To see what we’re looking forward to this week, just keep reading.
Next week sees the release of Judge Dredd Megazine #340, featuring the debut of “Ordinary,” a creator-owned strip by writer Rob Williams and artist D’Israeli, the creative team behind the acclaimed 2000AD strip “Low Life,: I’ve been a big fan of both their work for quite a while now — in Williams’ case, since his first published work, the great Cla$$war, in 2002; in the case of D’Israeli, scarily enough, it’s been since his “Timulo'”strip ran in Deadline in the late 1980s. I managed to grab a word with Williams about the new series, and he happily obliged, and sent along a veritable mountain of preview art to boot.
Robot 6: So Rob, the last ordinary man in a world of the super-powered, eh? But what’s Ordinary really about?
Rob Williams: I’m a little wary of frightening people off by talking about themes. “Ordinary” is filled with spectacle, big-Hollywood action set pieces and outlandish characters that are, hopefully, quite memorable, This is a world where everyone gets a different superpower, after all — no two people are the same. But, at its heart, it’s about emotionally allowing yourself to come to terms with fatherhood, really. Out main character, Michael Fisher, is a divorcee who very rarely sees his son when we first meet him. And then the world starts going to hell and it’s up to him to try and find this boy he hardly knows even though there’s a super-powered danger around every turn. And, for Michael, it’s coming to realise the real reason he never sees his son. The book’s called “Ordinary” for reasons that aren’t just about super powers and explosions and giants and talking bears and huge battles. There’s an emotional arc for our lead that is pretty unusual for modern comics, I think.
Welcome to “Cheat Sheet,” ROBOT 6′s guide to the week ahead. Although the U.S. Postal Service is closed today for Labor Day, UPS is going full steam ahead, which means comics arrive on Wednesday as usual. And so some of the ROBOT contributors took a break from the long weekend to make their top picks for the week. Keep reading to see what they chose …
Although a new profile of Grant Morrison closes with the promise of the third and final volume of Seaguy in 2014, his collaborator Cameron Stewart cautions excited fans that “It’s still a long way off.”
Published ahead of Morrison’s appearance at the Edinburgh International Book Festival, the Guardian article focuses primarily on the newly retitled Wonder Woman: The Trial of Diana Prince, and touches upon some recent personal losses, his dispute with Rebellion over the Zenith rights and — seemingly out of nowhere — his, let’s say, complicated history with Mark Millar before ending on the long-awaited conclusion of Seaguy.
“It’s honestly the best I’ve ever written,” he says of the saga that began in 2004. “It never sold well, but it’s my thing. I want Seaguy to remain as my statement about life and death and the universe.”
But while The Guardian asserts the final miniseries, presumably still titled Seaguy Eternal, is “due out next year,” Stewart suggests that timeline is a bit optimistic.
“INB4 everyone assuming Seaguy 3 is done or even a work in progress, when I have still not even received a script,” he wrote this morning on Twitter. “Which isn’t to say I’ve been sitting around waiting for a script that isn’t coming — I’ve been busy, so has Grant. It’s still a long way off.”
Also of note from the Morrison interview:
If you’re in the United Kingdom and subscribe to the print edition of 2000AD, you’ve already read the first installment of “The Book of Scars,” the opening chapter of the storyline celebrating the 30th anniversary of Slaine, the Celtic hero who was the magazine’s first foray into the fantasy genre, and who quickly became one of its key recurring characters. In its time, the strip has teamed writer/creator Pat Mills with some of the most influential artists ever to work for 2000AD, and many are returning to provide sequences of art for this celebratory storyline.
The first part quickly establishes how Slaine is being bounced around through his own timeline, with the strip’s current artist ending the six-pager with a tribute to the art of the late Massimo Belardinelli, who worked on many of the character’s early arcs. As Slaine lands in key moments from other storylines, the art for those sequences will be handled by the original artists from those eras: Glenn Fabry is returning to draw some “Time Killer”-set pages, Simon Bisley is drawing a return to “The Horned God” period, and the great Mick McMahon is revisiting the “Sky Chariots” adventure.
Like many, I first encountered the art of Edmund Bagwell in 2005, in the first issue of Liam Sharp’s extremely short-lived but influential anthology Event Horizon. Sharp introduced lots of new talent in those two issues, but it seemed that Bagwell was to be the book’s breakout star. Here was an artist with many strings to his bow, producing lushly rendered digital paintings and linework to accompany prose short stories in the first volume, and also illustrating Rich Johnson’s role-playing satire “Chase Variant” in the second.
U.K. comics history is full of instances of well-intentioned anthologies eventually failing, leaving that great survivor 2000AD to cherry-pick their best talent. This was again the case, with Bagwell soon working on some memorable short stories with writers Al Ewing and Arthur Wyatt. Short one-offs such as “Future Shocks” and “Terror Tales” are usually seen as dues-paying exercises by the editorial staff at 2000AD, and Bagwell was rewarded by being commissioned to draw the series “Cradlegrave,” written by John Smith.
As the date of 2000AD/Rebellion’s limited release of The Complete Zenith draws near, the publicity campaign for the book also reaches its, uh, zenith.
No matter where you stand on the ethics of the release, or on the matter of the material’s ownership (and I’m sure there will be plenty more claims and counter-claims on that issue to come), it must be stated that the final cover is a great-looking design, strong and bold and graphic.
Chris Weston doesn’t blog that often — the perils of working more and more in a business where your projects are accompanied by non-disclosure agreements — but he recently posted a big update featuring art he’s created for his own amusement, some commissions and convention sketches, and some recent 2000AD covers finally seen without intrusive trade dress.
He also updates us on the fate of the “Carry On X-Men” poster we featured in December, stating that he was going to produce a silkscreen print but changed his mind in the post-Friedrich litigation landscape. Weston responded to a question about this image on Facebook this week: “I have asked Marvel three times for permission and offered to pay for a license to do a limited-edition print, but they haven’t bothered replying to me.”
The Nosferatu piece is a good example of the insanely complicated rendering Weston can bury in the background of an image, unnoticed at first glance. Hundreds of rats, thousands of bricks, each one hand drawn. And that’s before we even get to the ornate etching on the ship or the likeness of Max Schreck. Really, I’m dumbstruck by this.
In its 36-year history, the venerable U.K. comics anthology 2000AD has only ever featured a handful of superhero strips. Of those relative few, most commentators would say they’re a pretty strong bunch — one cold classic (“Zenith”), and a couple of neglected psychedelic gems (“Storming Heaven,” “Zaucer of Zilk”).
Darkest of them all is Rob Williams’ post-apocalyptic “The Ten-Seconders,” an ongoing tale that sets humanity against a race of superhuman aliens, the self-styled “gods.” When mankind decides to resist against the rule of their new super-powered overlords, the rag-tag group of surviving guerrillas dub themselves “The Ten-Seconders,” as 10 seconds is the average time a human can expect to last in a confrontation with a god.
During its previous two runs in 2000AD, “The Ten-Seconders” has been drawn by four artists: Mark Harrison, Dom Reardon, Sean Thomas and Ben Oliver. Now, after a five-year absence, the strip returns, revitalized by Williams’ pairing with Edmund Bagwell, an artist whose work effortlessly traverses from scenes of ordinary human life before the invasion to the graceful arrival of the gods, to their violence and terror, and onto hints of oncoming cosmic threats. Basically, Bagwell was born to work on this scale. In previous arcs, the threats were analogs for the Justice League and then the Vertigo anti-heroes. This time, we have Galactus/Celestial-styled creatures looming over the planet. Bagwell is one of those few artists whose work has a clear Kirby influence without that fully overpowering his entire style. I’ve been championing Bagwell’s work since 2006, and I literally cannot wait to see what he has in store for us this time.
2000AD has provided ROBOT 6 an exclusive first look at the full opening chapter of the return of “The Ten-Seconders.” It works as an introduction, a recap and as a secret origin for the series’ protagonist Malloy, and leaves us on a doozy of a cliffhanger. As such, it packs a hell of a lot into just six pages!
“The Ten-Seconders” returns July 3 in 2000AD Prog 1839.
Hey, you know who’s a seriously underrated artist? Matt “D’Israeli” Brooker. Let’s take some time to embarrass this mild-mannered Englishman with the type of fulsome praise the British, as a nation, handle so badly. The folks at 2000AD have sent along a video profile of the man (below), revealing an artist of rare intelligence and dry wit. He’s also one of the few artists I’ve seen taking full advantage of the freelancer lifestyle — you’ll see what I mean after watching the clip.
Few artists emerge with a fully developed style of their own, but D’Israeli certainly did, and I think if you showed someone unfamiliar with his work a page of his earliest strips — a “Timulo” from Deadline in 1989 or a Lazarus Churchyard from 1991 — and then presented them with a more recent page, from 2000AD‘s “Lowlife” or “Leviathan,” or from the amazing “XTNCT,” they would recognize it all as being produced by the same hand. Brooker may have constantly evolved and refined his line to its current slickness, but there’s an easily spotted commonality, an essential D’Israeli-ness, to it all. It’s hard to think of many of Brooker’s peers that you could say the same for.