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A few woahs from Mrs G during the early stages, showcasing that this really isn't a typical fan effort. The ambition here was marvellous to see, and I think getting in Edmund Dehn was a very smart move. Nice also to see a Mad Max vibe out in the Cursed Earth versus whatever the Stallone flick tried to do.

I'm fairly sure I've mentioned it before, but CF1 is our best-selling title on both sides of the Atlantic and has to be regularly reprinted (I think it's up to its 11th or 12th reprint).

It's great to hear this. One of the things I always wanted when younger was some kind of properly complete collection of certain 2000 AD hits. Titan always cherry-picked and frustratingly avoided certain creators (such as McMahon on Sláine), and then the Complete Judge Dredd monthly ended up running aground when it hit the colour era, morphing into a best-of that was swiftly cancelled. Even the initial DC/Rebellion collaboration didn't really hit the spot, given the sometimes odd choices of reprint.

Now, though, we have a complete Dredd (once you also grab the Restricted Files), a complete Sláine, chunky Strontium Dog and Rogue Trooper (although I really hope for a fourth book that'll compile all the flashbacks, including Rennie's stuff and Cinnabar). Even Robo-Hunter, ACE Trucking and Ro-Busters have received this treatment. It's fantastic.

Why do people think they can get away with this shite?  Oh wait, I know... http://en.wikipedia.org/wiki/Happy_Tears_%28Roy_Lichtenstein%29

From an art standpoint, I'd argue Lichtenstein was in a different space from someone doing the same thing today. He was in the tradition of Warhol, and in the 1960s doing something new. Spiegelman's quote that "Lichtenstein did no more or less for comics than Andy Warhol did for soup" is amusing, but from an art perspective, I'd argue Lichtenstein's work was both relevant and interesting.

Doing the same thing now, however, isn't really saying anything new. It's like that raft of mid-1990s bands that ripped off new wave work (Elastica being one of the most overt) trying to claim some kind of post-post-modernism, but they just come off as unimaginative plagiarists. Copying a 2000 AD cover or any other comic work would only today be remotely relevant if you have something new to day. There's no point in art doing something that was already done—and better—decades ago.

It's admittedly been years since I ventured into a local library, but last time I did there was a rack of trades very firmly and awkwardly lurking in the children's section. A bit odd seeing Maus a metre away from Meg and Mog.

I agree about 3rillers. Room for a one-off to breathe and/or the means to potentially test a new series. I've really enjoyed the latest lot.

It just seems an odd way to get people into Dredd. The Death strip is a classic, but the Walter stuff... isn't. Still, maybe people will like the art.

I thought the colouring was fine—inoffensive and typical of modern fare. Personally, I like the really hardcore and vibrant old-school colours in 2000 AD, but even 2000 AD rarely does that these days. I did find backing Judge Death with Walter stories a bit of an odd decision, though; I would have thought another cracking Dredd would have made more sense.

I ordered from Disposable Heroes, too. There's a comic shop about three miles away, but they apparently have "no interest" in FCBD.

Conventional wisdom states, don't fuck with a logo regularly, its part of brand recognition.

Yep. Mind you, design wisdom states: don't cover up half the logo every issue—something most magazines ignore regularly (including 2000 AD).

Why did they need Sov-Judges to help oversee the transition of MC-1's Sov ethnic minority??

They wouldn't have; that was put into the storyline to deal with an art error.

But now I just find myself thinking how I'd rather have Amy and Rory all the more. Although then again, it's not as if Clara has had many decent episodes to shine in so far; she's still in the more-bad-than-good category so maybe it could change. One day.

I think part of the problem is Clara is (right now, at least) a puzzle/plot device first and a character second. It's one of Moffat's 'failings' as a Doctor Who writer, in seemingly taking a long time to craft strong characters, despite clearly having an ability to work with complex plots and interesting ideas. (His other issue is pacing, but that's in part down to Doctor Who's lack of episodes and seems to have been addressed in this latest run.)

Still, I'll take this over RTD's Doctor Soap any day, and I love the fact they get away from present-day Earth rather more frequently than Eccles/DT managed.

Man, the BBC's so stupid for creating money-making toys for kids based on a popular family TV show, thereby wrecking some of the mystery that kids won't even care about, and annoying a few grumpy sci-fi fans with rose-tinted glasses glued to their faces, because EVERYTHING WAS BETTER IN [insert year here].

Those fools!

With the greatest of respect, Keith Richardson DOES

Time to start introducing the writers to THE CUPBOARD. (i.e. You and/or Keith could lock Rennie in a cupboard until he produces enough Cabs material for a third trade. Given how freelance contracts are for writers these days, I imagine you'll be fine. I'm pretty sure I've done research on this.)

The explanation was identical, though—not sure how one differs from the other.

On Carrol, hadn't he already dealt with the art mess-up, via the lines about transition/cooperation in the assassination storyline?