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Messages - IndigoPrime

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Prog / Re: Prog 2157 - Red Army!
« on: 14 November, 2019, 11:14:19 am »
So... was the thing that Hershey gave Dredd just information about where to find her granddaughter?
It was a request rather than a thing, wasn’t it?

As for the Prog, Dredd ended well, although could easily have gone on at least another four episodes. Brink remains one of the best things 2000 AD has done in the past decade. Defoe has lost me, and so will need a re-read during that magical time when I get a clone and have the time. Hope has grabbed me more than the previous run, which I now kind of wish I’d grabbed in the Hallowe’en sale. Deadworld… has kinda lost me too. I loved the set-up and initial run to this one, but I found it more intriguing as a messed up plague strip than what’s become an oddball elseworlds Dredd. Oh well. It’s still good, mind.

Film & TV / Re: Your Movies of the Decade
« on: 14 November, 2019, 09:17:28 am »
Let Me In
I never watched that one, having heard not great comparisons with Let the Right One In. Did you watch both? (Edit: Having looked around, it seems the movies are basically identical, and so not watching Let Me In would be more down to redundancy than quality.)

Rebellion unveils special hardcover edition of political comics classic featuring new scans of original artwork and Carlos Ezquerra variant cover

One of the defining political comics of the 1980s - Third World War - is back in a brand new hardcover edition from Rebellion Publishing.

Exploding from the pages of mature comics title Crisis in 1988, Third World War by Pat Mills and Carlos Ezquerra was a searing political satire on capitalism, commercialisation, imperialism, and exploitation that still rings as true today as it did in the '80s.

Using brand new scans of the original artwork supplied by the family of the late Carlos Ezquerra, this ground-breaking comic book classic is being collected in its entirety for the very first time.

This definitive collection will be available in paperback from all good book and comic book stores in January 2020. A special limited edition hardcover is only available from the Treasury of British Comics webshop.

Even in our post-9/11 world, Third World War continues to resonate - truly anti-establishment graphic novel dealing with ever-more prescient issues around capitalism, the power of corporations, and global politics, and unlike anything else published by the Treasury of British Comics imprint so far.

Eve is unemployed after leaving university and is immediately conscripted as a soldier working for a corporation and discovers just how South American countries are being exploited to create food needed to feed the increasing population for their profit under the guise of western paternalism.

Running in Crisis from 1988-1990, and including work by Angie Kincaid and Matt "D'Israeli" Brooker, this definitive edition highlights the stunning painted colour artwork of Ezquerra, who died last year, and reinforces his place as one of the masters of comic book art.

Film & TV / Re: Your Movies of the Decade
« on: 13 November, 2019, 07:45:57 pm »
2010: Monsters
2011: Attack the Block
2012: Dredd
2013: Gravity
2014: The Lego Movie (a very good year, this one – hard to choose!)
2015: Ex Machina
2016: Arrival
2017: Three Billboards Outside Ebbing, Missouri
2018: The Death of Stalin (although very nearly Spider-Man: Into the Spider-Verse)
2019: we have a 5yo and so have seen bugger-all that came out this year

General / Re: How do you read yours?
« on: 13 November, 2019, 01:21:15 pm »
It varies for me. Sometimes – mostly – I’ll read it straight through. Sometimes, if I’m particularly into a strip, I’ll skip to it first. Occasionally, I’ll not read the Prog for a while and then have to catch up. The Meg is more of a problem, because I’m finding it hard to keep track month to month. In part, that’s down to storytelling. Some strips right now just aren’t that memorable. But probably also I’m just losing track due to a million other things going on!

Prog / Re: 2000 AD in Stages
« on: 12 November, 2019, 01:44:22 pm »
This has been one of my favourite threads on this board. Really great stuff. The only disappointment is when someone bumps the thread (like, er, I’m doing now) and it’s not a new entry!

The must-read memoir of 2020 is the fascinating inside story of one of British comics’ biggest movers and shakers – King’s Reach: John Sanders’ Twenty-Five Years at the Top of Comics.
One of the key figures of British comics in the late 20th Century, John Sanders masterminded the output of Britain’s biggest comics publisher, IPC, over 25 years – launching more than 100 titles, selling millions of copies every week, battling censorship and industrial disputes, and coming up against one of the century’s most notorious crooked business tycoons!
For the first time, he now steps into the limelight to reveal his story and that of the medium that would go on to dominate global culture, even as the newsstands it relied upon declined.

King’s Reach: John Sanders’ Twenty-Five Years at the Top of Comics will be published by Rebellion Publishing in paperback on 9th July 2020.
From King’s Reach Tower in London, Sanders oversaw the launch of hugely popular titles like Tammy, Battle and the revolutionary 2000 AD, all while fighting corporate battles to expand the UK’s comics output, facing down the government and the media in censorship battles, and witnessing the effect of changing tastes on a decades-old industry.
At the head of an industry that, at its peak, sold 10 million comics per week, Sanders details how he strove to keep comics relevant to generation after generation and, with artists employed across the globe to service the voracious appetite of readers, he was in the hot seat for one of the biggest cultural shifts in living memory.
The story of British own-brand comics belongs almost exclusively to the twentieth century – the era in which they were born, flourished and died. The millions of children who read them were aware that despite their weekly publications being often derided by adults,   the stories were finely crafted, and the pictures were commercial art at its zenith.
Now, resurrected by serious adult readers and by academics, comics are recognised as being an important marginal note in the story of English literature.
“The story of British own-brand comics belongs almost exclusively to the twentieth century,” says Sanders. “The era in which they were born, flourished and died. The millions of children who read them were aware that despite their weekly publications being often derided by adults, the stories were finely crafted, and the pictures were commercial art at its zenith. Now, resurrected by serious adult readers and by academics, comics are recognised as being an important marginal note in the story of English literature.
“This is a book written for those grown-up comic fans. But I hope it will be also read and enjoyed by the millions of people whose dreams were enlivened, and whose youthful years were made enjoyable, by comic book heroes they still remember with affection.”

General / Re: 2000AD Lego builds
« on: 08 November, 2019, 02:38:37 pm »
These almost come across like a Muppet Babies take on the ABC Warriors.

For me, HCs are good for durability. Too many of my softbacks have warped.

Off Topic / Re: The Political Thread
« on: 07 November, 2019, 07:50:47 pm »
That’s a shitty choice. If I were in that position, I’d go Sinn Fein through very gritted teeth, purely to keep out the DUP, and never let the Sinn Fein MP forget it if they were elected.

I’m aware of how things are shifting on the newsstand, having been in publishing for nearly 20 years. However, my point was simply that what’s going on in Orbital isn’t comparable to a UK-based weekly. Perhaps things will shift beyond recognition in ten years, if the newsstand business dries up; I don’t know. But it is still a big chunk of sales of all publications I work with, even if there has been a move towards direct sales via subscription.

Personally, I would be cautious to suggest the Hachette model would be something 2000 AD could or should ape. We have no idea about the sales of those titles either. Also, the business model of 2000 AD is somewhat reliant on multiple-dip. So if you transform the Meg effectively into a set of graphic novels, you lose one revenue stream (book reprint); furthermore, the notion that hardbacks are what people want to see is hardly matched by the output from Rebellion itself. Brits, it seems, are more heavily wedded to softback trades than HCs (more’s the pity – I much prefer HC editions).

Off Topic / Re: The Political Thread
« on: 07 November, 2019, 07:43:37 pm »
Your proxy has to be registered themselves and able to vote in that particular election. They do not have to be able to vote in your polling station, but if they cannot will need to contact your electoral registration office to sort a postal vote. Ideally, you would want someone local to your polling station, if that’s possible.

My reading of that is editorial adding to existing PR material. From the actual press release, it looks like this will be material compiled from the Rebellion era, and that’s therefore already coloured, and also that doesn’t need remastering, since it’s already in digital.

Film & TV / Re: The Boys TV series - Karl Urban cast as Butcher
« on: 07 November, 2019, 10:44:47 am »
Morbid curiosity, mostly, and a stubbornness when it comes to seeing through things I’ve paid for. I also did find various aspects of the premise interesting, and had – despite reservations – enjoyed the TV show. I guess once you’re several volumes in, you’re already invested and may as well see it through. (I read all of IDW’s Dredd series also; that’s another I should have bailed on. Mind you, I didn’t see Blessed Earth through to its conclusion. That really was too much.)

Books & Comics / Re: Orbital to stop selling weekly comics
« on: 07 November, 2019, 10:17:44 am »
The one thing I'd take from the above graphs is that there isn't as big a move towards digital for comics yet - clearly even the youth prefer to read their comics in physical paper form.
It’s an interesting one. I look at people in various circumstances, and it’s pretty clear physical media is – for the most part – dead. My siblings-in-law in Iceland now pay for Spotify but won’t buy another CD ever again. But even in the UK, most are heading in that direction. (Personally, I’ve veered from physical product – I literally never use CDs anymore – but will still occasionally buy one if it’s a nice item, such as the recent Wire issues that were also hardback books; also, I still buy digital albums to support artists I like.)

Telly and movies are also heading rapidly in that direction, and even bypassing the short-run purchase bump that music enjoyed on digital. Well done, everyone in those industries, for fucking everyone with DRM. Music got it, and for a while reaped the rewards. You screwed everyone, and poisoned the well, so now most people don’t want to buy anything.

Books seem to be holding on, as do comics to some extent. Mini-IP (5) has grown up with digital. She knows music as asking Alexa to play something, or her nighttime playlist on the iPod. Her experience of TV is Netflix and ‘BBC’ (what she calls iPlayer) – no ads; no fuss; on tap. She will almost certainly never want to buy an album or a movie, because what’s the point?

Books, though, retain a fascination, and she’s into comics. That’s partly my doing, but she now has a Phoenix sub, and we’ll soon be getting a Beano one as well. The comics are devoured. She regularly takes ten books home from our local library. She knows books exist in digital form, but has shown no interest in that.

However… I do recall chatting with a guy who ran one of the digital comics services, and he was talking about his daughters and their friends. They were – unsurprisingly – big into comics. But they had no expectation of nor interest in ownership. For them, a collection was something that made no sense, given that they had more stuff instantly available than they could ever cope with taking in. So their comics time was always about finding and reading something new.

Depending on how old people here are, how much of your time with media was about investment? You had limited finds, and so bought that album or book, and you experienced it over and over, because you effectively had no choice. You’d try to find something good in a dud, and repeatedly devour a favourite. Things had time to grow on you, too. Now: it’s all about immediacy. The value proposition has shifted. Investment is more or less dead.

To continue the music analogy they're moving away from buying 7" singles and onto albums. If the market follows the trends in the music market then the next move would be from physical to digital and from ownership to streaming probably accompanied by a small resurgence in top end expensive collectors editions. So be careful what you wish for there.
I suspect this is spot-on. We’re already heading in that direction anyway, with digital comics and the likes of the ‘unlimited’ services. That Comixology’s hasn’t moved beyond the US is probably shoring up some sales elsewhere, but I dod suspect in the long run, comics will be digital (and often streaming-based) in the main, backed by some special editions in HC.

To be honest, I’m part of the problem myself. I buy 2000 AD and the Meg in paper, but that’s about it. I grab collected runs of some series, but have mostly ceased buying softbacks because they just don’t last well. I’m now and in the future only making an exception for series I really love (Brink) and those where the investment is huge, and there’s no viable way of shifting format (Usagi Yojimbo); otherwise, I’m these days in the ‘wait for a HC omnibus’ crowd. Still, at least I’m buying stuff, and not just heading to freecomicsdownloadsforskinflints dot com.

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