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Messages - Funt Solo

Pages: [1] 2 3 ... 412
1
Prog / Re: Thrill-Coma 2010
« on: Today at 04:41:43 am »
Top Five Covers of 2014

1900: One of those Dredd covers that has nothing to do with the story, this is amazing work from Greg Staples: perhaps it's Dredd just before he battles Orlok during Block Mania.
 



1904: This cover by Alex Ronald takes the internal story further than the prog itself: the untold story of Dredd's encounter with an unruly class during his stint as Block Judge.
 



1869: The return of Ulysses Sweet after a 26 year hiatus (from a two-episode thrill spun off a Future Shock) definitely earns the 2014 WTF award.  The best thing about this frenzied assault on woke-nicity is a wonderfully disturbing cover by Alex Ronald:




1908: Greg Staples gives us another amazing Dredd cover: this time the cover text tries to attach it to the internal story.
 



1897: Another odd turnip from the refuse pile of history would be the Lawlords from Lawcon, having taken thirteen years to hatch a nefarious plot to invade Earth. Their tactic of shouting the plan at everyone during prime time demonstrated their level of intelligence, but this third cover from Alex Ronald (taking the hat trick) again makes a poor story look great:
 

2
General / Re: I made a CGI MEGA CITY, any good ?
« on: 18 July, 2019, 10:22:47 pm »
I often find myself utterly bamboozled with the intent of posts. 

3
General / Re: Things that went over your head...
« on: 18 July, 2019, 07:22:01 am »
...which was built in 1980, when that strip was published.   :o

4
Off Topic / Re: The Political Thread
« on: 18 July, 2019, 02:59:05 am »
Quote
Labour spend it, the Tories save. 

Or Labour spend it on services, the Tories spend it on ... something offshore, probably.

5
General / Re: When did 2000ad get good again.
« on: 17 July, 2019, 06:28:16 pm »
Also, I quite liked Kola Kommandos.

And that's why our lists of "bad things" should be ignored in favor of giving everything a go: you might like it.

6
General / Re: I made a CGI MEGA CITY, any good ?
« on: 17 July, 2019, 06:20:08 pm »
Nice pics, but ... they're pretty massive for the context of this message board (which I think has a width limit of something like 747 pixels) and the ones that aren't showing up are linking directly to a google account, which we could only access if we knew your log-in!

Here's what to do for max effect: save your images as two versions - large (1920*1080) and small (747*420).

Load them both into imgur: the small one can be a thumbnail link to the larger one, like this:



[Check my code by clicking "quote" and then copying it into a text file.]

(And it's Peter O'Toole.)

7
General / Re: When did 2000ad get good again.
« on: 17 July, 2019, 06:01:32 pm »
Pussyfoot 5, though… Wasn’t that in a floppy a while back? I recall that was OK, although left dangling in that way John Smith had a tendency to do.

Standalone, it probably is fine (and was floppied in Meg 281).  Contextually, as it was a spin-off from the superlative Devlin Waugh sequence of Chasing Herod | Reign of Frogs | Sirius Rising, it suffers for me in comparison.

I'm VERY suspicious of those claiming offence on behalf of others, rather than, oh, I don't know, giving someone belonging to the minority involved the opportunity to speak up on their own behalf.

Conversely, it would be idiotic of me to say that only black people can recognize racism as directed towards black people. 

One does not need to be a member of a persecuted group to recognize the persecution.  What would be the motive behind (or effect of) silencing those who are not members of the persecuted group from indicating the persecution?  Perhaps to further isolate the persecuted group?

8
Megazine / Re: Thrill-Coma 2010: Best of the Meg
« on: 17 July, 2019, 05:50:02 pm »
So, yeah: you must have meant strip pages.
Are there any other kind?  ;)

Not in my current Meg catch-up: I just don't have time to read all the articles.  The Interrogations alone would form a mighty tome.  Thrill-Power Overload was about 250 pages, and the Interrogations (from 2004 to 2014) are 900 pages!

9
General / Re: When did 2000ad get good again.
« on: 17 July, 2019, 05:17:21 pm »
It's an interesting list.  Of those you mention, I could separate them like this:

I had trouble plowing through them at the time they were published:
 - Fleischer's Rogue Trooper
 - Millar's Robo Hunter
 - Universal Soldier [but some people love this]
 - Bix Barton [but some people love this]
 - Kola Kommandos
 - Kelly's Eye

I wouldn't volunteer to re-read these but they were harmless at the time:
 - Dead Meat
 - Harlem Heroes [reboot]
 - Trash

I read them but couldn't actually tell you what happened:
 - Space Girls
 - Baberace 2000
 - Blair-1

I thought it was a great experience at the time:
 - The Clown

I entirely agree with others about Slaughterbowl: really the highlight of the prog at the time and in hindsight during the offensive.  Big Dave had a certain Viz-like charm, but I haven't re-read it since it was published so I'm not actually sure how I'd find it today.

If you're looking to excise the blander end of the market (and I speak to my overall experience, even where perhaps the art was wonderful), you might consider adding to your list:
 - Brigand Doom [Marmite]
 - Skizz II & III [because it's not Moore]
 - Soul Gun Warrior & Assassin
 - The Grudge-Father
 - Urban Strike [arguably just an extended ad]
 - Maniac 6
 - Kid Cyborg
 - Outlaw
 - Pussyfoot 5

10
Megazine / Re: Thrill-Coma 2010: Best of the Meg
« on: 17 July, 2019, 04:52:51 pm »
The page count of the meg went up when American Reaper was in it so ‘it took up too many pages’ arguments are a bit redundant.

I wondered about that and had to go and check - the size of the Meg is the same before and after Reaper (books I & II, at any rate - as I'm only up to Meg 355).

Maybe you meant strip pages?  There were 37 before Reaper, then a sequence of 51, 46, 47...

So, yeah: you must have meant strip pages.

11
Megazine / Re: Thrill-Coma 2010: Best of the Meg
« on: 16 July, 2019, 11:56:11 pm »


The second half of 2014 stands out with four strong series running concurrently.  In order of publication:

The Man from the Ministry
(megs 348-353)
Script: Gordon Rennie
Art: Kev Hopgood
Lettering: Simon Bowland


I'm ignorant of the actual influences behind this story, but it seems filled with nostalgia for a very British kind of yarn. A bit like the setting for Ministry of Space (Ellis & Weston 2005), this is set in a Britain that developed more advanced space travel sometime after World War II.

The once well equipped E.T. department (tasked with defeating hostile flying saucers in near space) is in the present day poorly funded and chronically understaffed (at two) and deals with only sporadic outbreaks of dangerous xenomorphic life that makes it to the surface (hinting at Invasion of the Body Snatchers or Day of the Triffids). 

But the past pays a visit and we're launched (also: literally) into a battle against the alien foe in which science, a stiff upper lip and derring do will out. The end leaves the way open for further adventures, and there are some threads dangled about potential alien allies.




Judge Dredd: Dead Zone
(megs 350-355)
Script: John Wagner
Art: Henry Flint
Lettering: Annie Parkhouse


An adventure in two parts: in the first half Dredd solves a murder mystery set in a Chaos Day burial pit memorial centre out in the Cursed Earth.  A downtrodden couple (Yodie and Belle) get caught up in the local brutalities and it's only the chance discovery of a hi-tech bracelet that allows them to escape: to Mega-City One.

That leads us to the second half (subtitled Invisible), where Yodie discovers that with great power comes great Judicial and criminal interest: and we find an answer to the puzzle of the origins of the bracelet.  The resolution leaves some new players for Wagner to return to at a later date.

Something of a shaggy dog story, this holds together really well over six episodes, with layers that keep it from being just a run-of-the-mill procedural.




Lawless: Welcome to Badrock
(megs 350-354)
Script: Dan Abnett
Art: Phil Winslade
Lettering: Ellie De Ville


Dan Abnett's follow up to Insurrection takes us forwards five years after the battle against the Zhind on the planet of 43 Rega.  Asides from that, this is nothing to do with Insurrection and everything to do with Colonial Marshal Metta Lawson: newly arrived in the remote township of Badrock and tasked with keeping the peace between the brewing hostility of various factions.

There's plenty of rope here for a long-running story: with (religious) Meks, Uplifts, muties, settlers, corporate goons and the local Abs to contend with (not to mention Lawson's somewhat mysterious predecessor). 

In order to get around the surface, Lawson disdains a horse, finds a Lawmaster trike too limiting and eventually settles on a refurbished CATT (Combat All-Terrain Transport) that, along with her pulse rifle, give her a distinctive look and (coupled with her pragmatic attitude to peace-keeping) sets her clearly on the periphery of normal Justice Department protocol.




Dredd: Uprise
(megs 350-354)
Script: Arthur Wyatt
Art: Paul Davidson
Colours: Chris Blythe
Lettering: Simon Bowland


Movie Dredd (Karl, not Sly) continues his paginated adventures in the Megazine with another episodic by Arthur Wyatt.  This alternity Dredd is set in a Mega-City One where the Justice Department struggles to maintain order: even moreso in The Spit, where continuuing riots threaten to overwhelm the Judges and threaten a new upper crust* development.

There's a nod to Mechanismo with some robotic law enforcement and an interesting twist that sees corruption from unexpected sources.



*The origins of the phrase "upper crust" are well explained in Modern History TV's Food: How Healthy Was Medieval Food?, which also includes details on the importance of daily piss-tasting and securing your spices.  That this is all co-presented by Rebellion's CEO, Jason Kingsley, is (medieval) gravy.

12
Off Topic / Re: Threadjacking!
« on: 12 July, 2019, 11:37:42 pm »


Or "Man with enormous heid dominates game with devastating headers."

13
Prog / Re: Thrill-Coma 2010
« on: 12 July, 2019, 05:16:13 am »


2014 (4th Quarter)

A strong and stable line-up takes us from the numerically significant prog 1900 to the end of the year.  It's an interesting blend, with more modern thrills leading the pack against the stalwarts of yesteryear (or their strange offspring).

In order of most to least thrilling...


The Grievous Journey of Ichabod Azrael (and the Dead left in his Wake): One Last Bullet
(1900-1910)
Script: Rob Williams
Art: Michael Dowling
Letters: Annie Parkhouse


Did you ever wonder what you'd get if you crossed High Plains Drifter, Preacher, Dante's Inferno and, erm, Dirty Frank from Low Life?  Well, it might end up something like this.  To hazard a guess, this thrill might be Marmite for the Squaxx at large, given that it breaks the fourth (and fifth, and sixth) wall with alacrity and reads a bit like beat poetry (from the 14th century).

If you're looking for a clean, clear and obvious narrative structure: look elswhere!  As one of the character's themselves opines as they meet their demise:

"Behold my finite narrative ends.  I, the hunter, am killed. This is not correct. If anything it should have been him who slayed me as befits my stature as prime antagonist. An ending proper must have its roots established at the beginning. Story, form... decays around us..." 

Dirty Frank is resurrected here as a talking horse and lands many of the best lines.  Certainly, it seems as if the author is having a ton of fun as he provides Ichabod with what seems to be his final chapter.  We are given an ending, and dramatic events unfold prior.




Kingdom: Aux Drift
(1900-1909)
Script: Dan Abnett
Art: Richard Elson
Colours: Abigail Ryder
Letters: Simon Bowland


The fifth book of this long-running series (last seen in 2011) sees Gene find another group of survivors: this time what seems like an equal status mixed group of humans and Aux.  As usual, Them (the dominant Insectoid race populating the Earth) are not far behind and there is much scrapping.

Richard Elson's depiction of Gene's decimated world and the deadly combat he gets into on a regular basis is amazing to behold as the action punches out of the frames, but there is now something repetetive about Gene's journey (insofar as each series after the first has had Gene arrive at a destination, find out it's not a bed of roses and thereafter continue on his walkabout).

To counter that complaint, there are hints back to previously dangled threads (Leezee and the orbiting Masters), a new commander caste Them to worry about and a bit of a stepping stone to what seems to be a well organized survivor population.




Stickleback: The Thru'Penny Opera
(1900-1911)
Script: Ian Edginton
Art: D'Israeli
Letters: Ellie De Ville


In some ways Stickleback can seem more design aesthetic than story, with D'Israeli's depiction being so definitive, and there being a sense that the world is difficult to define: almost a mirage, rather than a reality.  Whilst that sense remains, we're suddenly grounded in the opening scene of this fifth series by the revelation that the stickly back of the titular protagonist is part of an elaborate costume.

As we lurch through a threatened London under seige by the machinations of ancient dark gods, Stickleback finds himself firmly on the back foot and (for those that love the character) there awaits what might be a terrible disappointment in the final reveal.  It's difficult to know if the series can survive such a jarring shift in approach.




Judge Dredd: Block Judge
(1900-1909)
Script: John Wagner
Art: Carlos Ezquerra
Letters: Annie Parkhouse


A solid Dredd tale by the old masters that's reminiscent of classic procedurals such as The Graveyard Shift (335-341) or Sunday Night Fever (416-418), whilst also having the limiting factor of being set within a single block: itself somewhat like the classic The Pit (970-999).

Perhaps the only complaint we could level here, then, is that this very serviceable story is unavoidably derivative.  Dredd is grumpy at a younger Judge, but only because he needs the best from everyone. Whilst ultimately Dredd wins out, it's against a city that has an endless supply of crazy citizens to throw back at him.

There's a great sequence in which the wounded and outnumbered Judge Corrigan has the lights switched off, masterfully realized by Ezquerra:




Greysuit: Prince of Darkness
(1901-1911)
Script: Pat Mills
Art: John Higgins
Colours: Sally Hurst
Letters: Ellie De Ville


Whilst the art is undeniably fantastic (as you'd expect from Higgins), the story is at the ranty, polemic end of the Mills oeuvre.  It would be safe to assume that Mills hates upper class privelege, but in painting his enemies as monsters in need of justified extermination, he ambles too easily into hyperbole and starts to become the beast in need of tranquilising (that he paints his targets as).

As beasts create murderous beasts, we're left in a bloody, muddy field with nobody to root for: a world populated only by the hateful.  It begs the question of who this is for, apart from the author.

The most memorable scene is where the main character injects his enemy with a drug that forces him to beat his own brains out against a wall - but it's just a bit sickening, and so doesn't need to be repeated here.

14
Off Topic / Re: The Political Thread
« on: 11 July, 2019, 07:53:55 pm »
Was browsing the BBC news site:


15
Prog / Re: Logos Through the Ages
« on: 11 July, 2019, 07:42:53 pm »
There are some other interesting ones floating around:

Partially transparent back (590)Fore-text, Rear-back (671)No backing (713)

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Semi-transparent back (719)Flag Logo (p2000)Slaine destroys (1199)

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