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No more so than most of us though. Anyway, he spells dystopia correctly even if he lacks confidence in his ability to spell it, hence the '(sp)'.

Having got burned by doing stuff in collaboration before, I'd say your best bet is to just write it, then say "does anyone want to draw this?"

Don't be in a rush: it's a marathon, not a sprint.

Your first decision should be about the length and format of your work. Is it a single, self-contained story that could see print just anywhere, and so could connect with other stories you write for other publications on that basis? Is it a longer work that would have to be told in several chapters that couldn't find itself a home in an anthology comic?

Next, you need to to think about a likely home for it, and tailor what you write accordingly. maybe it has to adopt the form of a 3 or 5 page story with a definite ending on the final page?

Small press titles with an editor have the advantage that you don't have to collaborate directly with an artist - because there are people who want to draw for Futurequake, for example, if the editor likes a story then he can match it up with an appropriate artist.

I could never get past the Skylab Landing Bay. What was that? Level 17 or something?

That's great. But will the Americans get it? (At least with The Simpsons you've got quality writers not just pandering to the lowest common denominator).

I don't think there's anything not well suited to the story about Jason Brashill's art on Judge Dredd.

I was really glad to see his work in 2000AD again, and I thought the graphic killings didn't lack any gravitas for being done in a style verging on cartooning.

You know, that inversion thing - it doesn't absolutely have to hurt. I hypothesise that it depends on morphology of the particular individual's pudenda.

The procedure can be done painlessly and without injury; but this programme suggests perhaps not on every man's wang.

I'm really enjoying this series. I hope my social anthropology students are watching it. I'll be disappointed if they weren't.

I reckon you're right, Bou, about posh blokes roughing it. I couldn't do it myself: the blokes got stones, I'll say that for him.

But, in the words of Jarvis Cocker, something like "...watching roaches climb your wall, if you called your dad he could stop it allllll..."

A little bit of Google research suggests that Axa's setting was a post-apocalyptic Earth, hundreds of years after a nuclear holocaust. British writer, Spanish artist. It ran in The Sun for 5 years. There have been full-size comic book spin-off series in full colour.

Axa, for those who don't know, was a piss-poor sci-fi strip that ran in The Sun in the 1980s, and probably the 1970s too. I don't remember if there was interplanetary travel involved, but the were a lot of survival on savage worlds scenarios. With swords. Needless to say, Axa's clothing was routinely put through such rigours it would end up in shreds almost the moment she put it on.http://www.wsu.edu/~brians/nukepop/147.gif">

Axa !!!!!!!!!

But everyone knows he's in it! (surely?)

Eh? I never thought there was any mystery about the fact that Orson Welles is in The Third Man. Surely the fact Orson Welles is in it is reason enough to watch it?

3rd man: try going into the chat room (link at top of message board) and typing (slash)bbsicons stront2. See what happens.

Stront2 looks good. You have to go into the chatroom and type an instruction, selecting Stront2 as your icon. Unless Max comes up with a nicer custom-made one for you.

Link: http://www.2000adonline.com/?zone=download&page=icons" target="_blank">Have a look here....

The 3rd man said he wanted something 2000AD-related. Can anyone point him to the place on the site where the off-the-peg icons are kept? He could use one of those for now.http://www.hollywoodawards.com/welles/welles2.gif">