Topics

Art and script droids get all the glory, but I was interested when reading The Mighty One (MacManus, 2016) to hear about the amount of editorial rewriting (especially on GFD's Rogue - which is perhaps the origin of the term "scrotnig" as a typo of "escorting"), uncredited design work and also the fact that Tom Frame coloured a lot of the centre pages. I was also discombobulated by the idea of MacManus rewriting chunks of Skizz (or rather adding dialogue where there wasn't any).

This got me curious about about lettering (where the better you are the more you're not noticed) and sound effects. Sometimes, it seems fairly obvious that the artist is the one that did the sound effect, like in this example from Frank Quitely's Shimura:




But do letterers ever do the sound effects? I'd always assumed they mostly had responsibility for that.

[The Ebay]

I noticed someone on The Ebay selling prog 216 as "1st Rogue Trooper (Preview) Issue" for (GBP) 25 + 17 postage.

This made me squirm as the only thing that's Rogue-ish about prog 216 is the teaser poster on the back cover, which you can see for free both in the Ebay ad for the product and on Barney and right here right now*:



*Feel free to send me 42 quid every time you read this post.

[The 7 Wonders of the Galaxy]

The 7 Wonders of the Galaxy
by Kevin O'Neill (progs 162-168)

Click the image to see a larger version.

The Colossus of Rodium	Valley of the Gods	Dorado: The Head of Hate
-------------------------------------	-------------------------------------	-------------------------------------

The Hanging Prisons of Sin-Sin	Petrax	Kil-ray
-------------------------------------	-------------------------------------	-------------------------------------

Tomb of the Host

-------------------------------------

One of the key problems I had during the UK's comics mini-boom of the late 80s / early 90s was affordability. I was either on minimum wage or no wage at the time, and (just to provide an example slice), this was the theoretical shopping list for November 1990:

Progs #703-706
Crisis #52
Revolver #5
JD Megazine #1.02
2000 AD Winter Special #3
Rogue Trooper Annual
Strip #20
Best of 2000 AD Monthly #62
Deadline #24

Is that why the boom busted? Too many titles aimed at too many thin wallets?

[Key:]

Key:
  SFS: Sci-Fi Special (including the '77 Summer Special)
  2KA: 2000 AD Annual (& latterly Yearbook)
  JDA: Judge Dredd Annual (& latterly Yearbook)
  JDMS: Judge Dredd Mega-Special
  WS: Winter Special
  2KAS: 2000 AD Action Special
  FCBD: 2000 AD Free Comic Book Day
  2K40: 2000 AD 40th Anniversary Special
  2KVS: 2000 AD Villains Special

[Summary:]

Here you go Sharkey. Here's an academic pamphlet on the definition of conspiracy theories and theorists.

https://www.climatechangecommunication.org/wp-content/uploads/2020/03/ConspiracyTheoryHandbook.pdf

I read that - at least, I did if it's the one you posted earlier. I thought it contained a lot of good advice, advice which should be applied to every source. It did, however, imply that anyone who questions "reputable" sources is somehow bound to believe in every conspiracy there is. Still, a useful little book, thanks, SM.

The term 'conspiracy theorist' is, to me, a pejorative term used to describe anyone who doesn't believe an official account either partially or in its entirety. The paragons of example would be David 'Lizard Man' Ike or Alex 'They'll Kill Us All!' Jones. Whilst the information people like this often present is based in reported and even verifiable facts, the conclusions (or theories) they come to based upon them seem, at best, unlikely. I view this end of the spectrum in the same way I viewed Erich von Däniken when I was growing up - interesting, even thought-provoking, but ultimately probably wrong. Like von Däniken, these people turn their efforts into a business - and good luck to them, I say.

At the other end of the spectrum we have people like James 'The Link's In The Show-Notes' Corbett and Jon 'No More Fake News' Rappoport.  The information people like this often present is also based in reported and even verifiable facts, but the conclusions (or theories) they come to based upon them seem, at worst, incomplete - which some freely admit. I view this end of the spectrum in the same way I viewed newspapers when I was growing up - interesting, even thought-provoking, but ultimately probably on the right track. Like old-fashioned newspapers, these people seem to have a general thirst for the truth, whether it agrees with the official account or not - and good luck to them, I say. Most rely on donations to fund their work, so are ultimately businesses too.

Then there are the chattering masses in between - of which I am one - who latch onto 'TRUTH!' with unshakeable faith, or try to make sense of it all, or just go with the flow, or deal with the madness any way they can.

It seems unfair, to me, to lump all these disparate voices and perspectives together under a single, dismissive umbrella. And, technically, a conspiracy theory is just what the words themselves say - a theory to explain an ostensible flaw in an account, which may or may not involve conspirators, a theory meant to be explored and tested, a theory which provides evidence and not, as some believe, proof. Police, insurance companies, and courts investigate conspiracies all the time, working on their theories until they provide credible evidence. Yet we would not call these people "conspiracy theorists," even though it's part of their job.

Then we have the mainstream media and governments. The information people like this often present is also based in reported and even verifiable facts, but the conclusions (or theories) they come to based upon them seem, at worst, political - bending facts to fit agendas. I view this field in the same way I viewed comics when I was growing up - interesting, even thought-provoking, but ultimately probably just entertainment. Like John Wagner, these people seem to have a general thirst for projecting TRUTH! through a lens, bending it to agree with the official agenda - and good luck to them, many say.

This is why I say question everything.

It doesn't mean dismiss everything or disbelieve everything you don't like - that's what religion is for. It doesn't mean attack the opposing view or win the argument - that's what sport is for.

It simply means what it says, question everything - because nothing is entirely as it seems, and anyone who tells you otherwise is either in error or lying.

Question everything I've written, too, of course. I may be wrong about lots of things, I'm just as human and flawed as everyone else. Question Ike and Jones, question Corbett and Rappoport, question the msm, question me, question each other but, ultimately, question yourself as well.


TL;DR

A wise man once said to me, "Listen to everyone. Take what you need and discard the rest."

"Why?" I asked.

He shrugged and said, "Find out."

1. Wall of text doesn't mean you're correct in your assertions.

2. You were given a PDF that relatively cleanly defines the difference between a "conspiracy theory" and a "theory", but spent most of your post redefining "conspiracy theory" to just mean a "theory". Why?

3. "Question everything" is too broad and sweeping. It's insane. We don't have time. We have to rely on (peer-reviewed) experts.

4. "Nothing is entirely as it seems" is too broad and sweeping. It's insane. The sky is blue.

5. Shouting "fire" in a crowded theater when there's no fire is potentially harmful. (This is a reference to the fact that you are willing to throw entirely unsubstantiated theories around as if they have equal weight with actual evidence. And then you say "What did I do?" as if you sincerely don't understand the difference. Why can't you tell the difference?)


Summary: that PDF you were given explains the difference between conspiratorial thinking and conventional thinking, and I don't understand why you remain apparently confused as to the difference between the two.

Just stumbled across this Pete Milligan and Brett Ewins interview from 1988 about Bad Company.

I was trying to find a synopsis of the plot of Bad Company 2002, because despite reading it a mere eighteen years ago I have no idea what happened.

I finally have a sort-of-finished paint job on my Thrud mini from 1986:



I am thinking that the boot fur could be lighter to contrast with the strapping, and the helmet could be bronze to contrast with the axe. Also, I could do highlights on the gems. And maybe the horns could be bone. But really: it's sort of finished.

[Stage #1: Launch (progs 1-35)]

Stage #1: Launch (progs 1-35)



Invasion
Cockney rebel Bill Savage defends Britain from invading Russian Volgans.
Continues in the next stage...

Flesh [Book I]
Cowboys from the future harvest dinosaurs from the past: what could possibly go wrong?
A second series turns up in prog 86...

Dan Dare
It's like Star Trek, except they kill all the aliens.
Continues in the next stage...

M.A.C.H.1
The Bionic Man crossed with 007.
Continues in the next stage...

Harlem Heroes
Basketball meets Rollerball (minus motorbikes, plus jetpacks).
Returns in the next stage as the sequel series Inferno...

Judge Dredd
Dirty Harry filtered through Death Race 2000.
Continues in all subsequent stages...

Shako
If Jaws were a polar bear...
This is the only series of Shako.

Tharg and the Intruder
Alien editor deals with various assaults on thrill power.
Returns in prog 129...

Tharg's Future Shocks
Usually one-off tales with a twist.
More in the next stage...

---

Links are to the The 2000 AD ABC

Inspired by a mention on another thread, I got thinking about the different logos for 2000 AD:

Original (1)	Original & Starlord I (86)	Original & Starlord II (100)
---------------------------------------	---------------------------------------	---------------------------------------

Classic & Starlord (119)	Classic & Tornado I (127)	Classic & Tornado II (134)
---------------------------------------	---------------------------------------	---------------------------------------

Comic Rock [one-off] (167)	Classic [golden age] (178)	Burning the Classic (554)
---------------------------------------	---------------------------------------	---------------------------------------

Stamp (555)	Stamp II [rounded] (842)	Stamp III [bevelled] (889)
---------------------------------------	---------------------------------------	---------------------------------------

Top Banner (950)	Top Banner Inset (1033)	Font Logo (1200)
---------------------------------------	---------------------------------------	---------------------------------------

Stamp IV (1234)	Stamp & Banner (p2008)	Stamp & Banner II (1900)
---------------------------------------	---------------------------------------	---------------------------------------

What would the stats be?

This is the back cover of prog 312 from 1983, celebrating 2000AD's 6th birthday:



Can you identify the droids that are representations of real contributors? 

[Best of the Meg from 298 to 323]

In attempting to get caught up on 8 years worth of back issues I wanted to comment on some of the best stories in the Megazine.

Best of the Meg from 298 to 323

In order of publication...


Lilly Mackenzie And The Mines of Charybdis (2010: 298-305)
Script & art: Simon Fraser
Colours: Gary Caldwell
Lettering: Simon Bowland
A space opera that focusses strongly on the relationship between the title character and her best friend Cosmo Judd (who has dwarfism).  Whilst we follow Lilly on a quest that ties back to her adventurous past, at the heart of the story is Cosmo's unrequited love for Lilly: whilst he seems destined to remain in the friend zone, Lilly clearly cares deeply for him.  There is a set up for a sequel, and so I'm hopeful there'll be more of this tale.




Hondo City Justice (2010: 300-303)
Script: Robbie Morrison
Art: Neil Googe
Colours: Gary Caldwell
Letters: Ellie De Ville
This stars Inspector Inaba, who started as a supporting character in Shimura and had a couple of titled series (Babes With Big Bazookas and Big Lix & Flying Kicks) from 1996-1998.  In this tale, she is teamed with Cadet Judge Junko Asahara: a sort of super-powered psi.  Glorious art with a manga bent, kick-ass female leads that aren't visually exploited, a plot that wouldn't blush as a powerful screenplay and a good mix of action and humour all tie together to leave me wanting a lot more.




Insurrection II (2011: 305-310)
Script: Dan Abnett
Art: Colin MacNeil
Letters: Simon Bowland
The first Insurrection (2008-2009: 279-284) proved that dressing Warhammer 40K's Space Marines up as Judges was a great idea.  With such a powerful first tale, the danger here is that we might get a tricky second album, but it holds together really well as a sequel: very much presenting itself as the middle tale of a trilogy.  Much more than the first act, this leaves us well and truly on a cliffhanger (which is a slight weakness).  In terms of growth, the characters' core dilemma is brought to the fore: can you fight effectively for freedom without hurting the master you once held dear?




American Reaper (2011-2012: 316-321)
Story: Pat Mills
Art: Clint Langley
Letters: Annie Parkhouse
Pat Mills & Clint Langley collaborated for years on Slaine with The Books of Invasion (2002-2006) and Slaine the Wanderer (2009-2010) arcs.  One of the key aspects of Clint Langley's work on Slaine was a unique blend of photography and art: something that is also used here, and has a tendency to marmite the audience (as the blend of forms sometimes leaves us in the uncanny valley).  What's on offer here is just so fascinating, though: not just an art style, but an entire design aesthetic - a USA that's not only modern but also harks back to Happy Days or Grease.

Rather than just present the tale in comic strip form, there's also a supporting structure of adverts and wanted posters that provide depth to a world in which young people have become a commodity to be consumed by the old and rich.  The tale ends on a cliffhanger, promising a return in the fall of 2012.

If these are photographed people appearing in the strip, how come they don't get credit?  Are they pals, or hired actors?  Has there ever been a piece on how Clint Langley achieves this sort of thing?




Strange & Darke: New Blood (2012: 319-323)
Script: John Smith
Art: Colin MacNeil
Colours: Len O'Grady & Dee Cunniffe
Letters: Ellie De Ville
Somehow, this manages to normalize an animal-skull-headed Brit-Cit occult detective (Inspector J. Strange) and teams him up with new recruit Bekky Darke (Psi Division).  The tale is self aware enough to voice its own similarity to The Wicker Man, as Strange & Darke investigate the odd goings on in a remote Welsh village.  The art manages to masterfully blend beauty with disturbing horror and the tension throughout ramps up to an unusual climax and a denouement that's difficult to predict.

I'm doing a little indexing and my copy of prog 257 has the back cover missing.  Can anyone tell me what was on there?

I know that time passes in Mega-City One at the same rate as time passes for us the readers, but MC-1 is 122 years in the future.  Therefore, Judge Dredd ages (unlike other comic characters who can stay eternally whatever age they're presented as being).

But why?  Whose idea was it?  Has it been that way since prog 2?

My daughter is six and we quite enjoy comics.  I was wondering if anyone has some age-appropriate comic recommendations?

So far, we've been enjoying Lumberjanes, Ms Marvel and the Oz graphic novels. 

Whilst those can have scary-ish monsters and cartoon violence, we are avoiding gore and existential threats.  Example: her gran was reading her the Harry Potter books and the Dementors were just a bit too spooky!

So I stopped reading 2000AD at prog 1683, back in 2010 (due to a temporary lack of funds).  Fast forward eight years, and I was waxing lyrical nostalgia to her indoors (who spends more time out of doors than me by a large margin) about Tooth when she suggested I revisit it.  And lo and behold, what was once a nachtmare (expensive mail-subs from overseas, or online systems that didn't accept $$$) is now as smooth as finely-ground extra-smooth peanut butter.  Thanks, 2000AD shop.

So, when I left - Judge Dredd was on his Tour of Duty and Mayor Ambrose had just sent his Hershey-headed love droid to assassinate CJ Sinfield.  Damnation Station was looking great but not really thrilling me.  Zombo was trying to be funny, but not tickling me.  Ichabod Azrael was confusing me and making me think I would benefit from a classical education.  And Nikolai Dante was losing the war.

And now I've decided to get caught up, by reading eight years worth of missing progs.  The only spoiler I know about is that something called the Day of Chaos happened to MC-1 and did some serious damage.  I've been at it a couple of weeks and am up to prog 1708. It's a bit weird to realize that's what brand new for me is 8 years old for everyone else.   

In Dredd: Sinfield deposed!  Ambrose/Maybe locked up!  Dredd on the Council of 5!  And a couple of corking horror/procedurals in the form of The Skinning Room (progs 1700-1704) and Skull Sessions (1706-1707).  Tour of Duty had run for 45 progs: does it count as a mega-epic?  I'm assuming that Dredd won't last long on the Council.

In Strontium Dog (The Life and Death of Johnny Alpha) : Johnny's alive!  Okay, I didn't see that coming.  Mostly because I saw him die way back when.  I guess this is a bit of a Dallas maneuver, but done more subtly than "Feral dreamt it in the shower".  And what about Feral's fate - fattened up and then burnt to death?  Was this some kind of a punishment from the writer?  Also, it's not clear exactly how well Johnny is going to be, or what's happened to Middenface (who offered himself in a life-exchange).

In Nikolai Dante: no crest!  No way!  This reminds me of Friday (aka Rogue without the biochips).  I wonder if it's permanent, and I wonder why the writer chose to do it.  Is it for vulnerability, or were they just sick of writing disembodied dialogue?  Is the crest dead?  The stories City of the Damned and The Master of Kronstadt deal with the immediate aftermath.  I feel like this would benefit from a family tree diagram of some sort.  So many characters, and at this point spanning a story that's run for 13 years (with me 8 years beyond that). I'm a bit like "who-they?" everytime someone new comes into frame.   

Low Life (Hostile Takeover) is great - Dirty Frank is perhaps my favorite comedy 2000AD character ever because he makes me laugh out loud.  Like with this exchange from 1704:   

Dirty Frank: "Truly, you have an impressive and capacious weapon, Corrupt Judge Stewart."
Corrupt Judge Stewart: "You don't have to broadcast the 'corrupt' thing, y'know, turdboy."
Dirty Frank: "Who revealed Dirty Frank's secret middle name?"

Sinister Dexter, The Red Seas, Savage and Defoe are all in there: well produced but not my favorite thrills. 

The big new thrill is Age of the Wolf - which blew my mind with the double page spread of the hero being torn apart in the penultimate episode.  I assume this returns for new stories, because it's so good and really serves as just an opener for a larger tale.

I don't know if anyone's at home to update Barney these days, but I noticed that prog 1663 is missing its Droid Life.

http://www.bbc.co.uk/news/science-environment-21604005



Alan Moore: prophet.

Hello!

I'm looking to buy a graphics tablet, but am completely ignorant on the subject (like it might not even be called a graphics tablet - that level of ignorant). It's for high school students to use in the creation of computer art work - can any of you talented artist types give a recommendation?