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I've just got back from watching it, and I actually wonder if I saw the same film as everyone else. Someone said:

when the global view is basically 'you saw what it was like in Philedelphia - well it's like that everywhere mate', it seems like a wasted opportunity.

...but the film is only in Philadelphia for the first five minutes, then it moves to another city followed soon later by half a dozen or so different countries on different continents. I don't know of any other zombie film which does this. If you'd rather get nostalgic about some other film where the whole story takes place in one house or shopping mall then indulge yourself by all means, but don't tell me WWZ offers nothing we haven't seen before.

Plus: <everything Prof Bear said.>

I just think that sometimes doing something the please the fans can actually hurt a movie

Hear hear!
Does anyone think we would have got anything as good as Dredd if Alex Garland had looked at this website and done what we said we wanted? I doubt it. He did his own thing and I'm glad.

What we all have to do is proof read all of the progs that haven't been in the Case Files yet, looking for errors like that, and then post our findings on this thread for Rebellion to see...

A few more details about the book have been released.
http://judgetutorsemple.wordpress.com/2013/06/27/july-1st-2012-is-z-day-according-to-2000ad/

This article lists all of the stories in the book, and the list omits the "Zenith Interlude" episodes. So unless the article is not accurate (hope so), it's not actually complete.

The first half of the book is mostly Millar, and it's bloody awful.

True, but the second half is almost all Wagner, and it's bloody brilliant.

Those pages in Roadkill were the wrong way round in the original prog too.

I didn't read your spoiler bit so I hope it doesn't affect what I'm going to say.

But I can't think of any zombie film which had ever shown us a global view of a zombie crisis before, so that alone will make this film worth going to see as far as I'm concerned.

[wait until we actually see the finished film.]

Dredd also had similar troubles (remember when Alex Garland had to replace Pete Travis in editing?) but turned out very well. Let's wait until we actually see the finished film.

Thanks, I hadn't realised that copyright law overruled normal contract law.

A contract doesn't have to be in writing with all of the terms written down on a piece of paper. It can be verbal and the terms can be implied as well as express. The standard working practice of an industry or of a particular company can be implied into a contract's terms without being spelled out in full at the time. If 2000AD's normal policy was to pay a fee and keep the rights then that would apply to Grant Morrison and legally bind him whether he signed something or not. He's just trying it on.

Incidentally, he wrote a Zenith one-off around 2000 or 2001, years after the original series finished, so if he thinks he got such a raw deal at the time then why did he come back and work for them again all that time later?

That supports what Tiplodocus is saying, rather than contradicting it.

I particularly like the extra little tales covering back-stories that have occurred in the last couple of Megs.

Me too. It feels like two strips actually, rather than 20 pages of the same thing.

Some of us may heave felt Wagner's absence from 2000AD more than others because we weren't all buying the Megazine yet in those days.

Mind you, some of the 2000AD stories are not as bad as I had remembered them as being, which was a pleasant surprise. (Although that could be because my memories were hideous.)

I'm normally not keen on Defoe but this series has been pretty good. I enjoyed this week's episode.

Well where is John Wagner's? Pat Mills's? Alan Moore's?
Sort it out your Majesty!