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Author Topic: Thrillpower Overload: the missing chapters  (Read 34008 times)

Jim_Campbell

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Re: Thrillpower Overload: the missing chapters
« Reply #135 on: 16 November, 2018, 12:47:40 pm »
Stupidly Busy Letterer: Samples. | Blog
Less-Awesome-Artist: Scribbles.

broodblik

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Re: Thrillpower Overload: the missing chapters
« Reply #136 on: 16 November, 2018, 02:49:49 pm »
Two chapters to go so let us see where Rob is heading with the future of Dredd

Magnetica

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Re: Thrillpower Overload: the missing chapters
« Reply #137 on: 16 November, 2018, 04:49:36 pm »
I can’t believe there are only two weeks left - this story feels like it still has a long way to go. But I wouldn’t bet against a follow up, just not called “The Small House”.

broodblik

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Re: Thrillpower Overload: the missing chapters
« Reply #138 on: 16 November, 2018, 07:29:33 pm »
My theory is that Frank takes Smiley down and not Dredd. But we will have to wait and see what happens in the next two weeks.

Frank

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Re: Thrillpower Overload: the missing chapters
« Reply #139 on: 23 November, 2018, 06:13:36 pm »


The Judge Dredd movie starts with a riot. Judge Dredd and female partner are sent into a slum block to tackle a criminal gang




Dredd and a rookie raid a slum apartment, killing most of the inhabitants and taking into custody a smart-mouth perp Dredd will have to drag around for the rest of the film




One of the perps is unaware Lawgivers are booby-trapped and is killed




Judge Dredd is betrayed and hunted down by corrupt elements within Justice Department. In a rare moment of vulnerability, Judge Dredd finds himself at the mercy of a gloating villain with a pump-action shotgun. He is only saved when his female partner sneaks up behind the baddie and shoots them mid-taunt




Judge Dredd throws the main villain off the top of a large building



Judge Dredd walks triumphantly out the ground floor exit and is congratulated by Justice Department colleagues









Frank

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Re: Thrillpower Overload: the missing chapters
« Reply #140 on: 30 November, 2018, 07:01:20 pm »

Thanks to Julius Howe:





Frank

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Re: Thrillpower Overload: the missing chapters
« Reply #141 on: 01 December, 2018, 06:24:29 pm »

Sex God era Simon Bisley and Pat Mills featured in a 1990 BBC Omnibus documentary on the Green Man that I missed and have been trying to find for the best part of thirty years.

The Biz hits at the 20 minute mark, Mills from around 17m. You see Bisley working on what I assume is a recreation of the Slaine page where it looks like Slaine's going out like Michael Hutchence with Broccoli on his head.

The technique he's employing looks like his regular working practice, though - fast, rough lines laid down in thick, black felt tip with layers of paint built on top: https://youtu.be/K7kR-_iTRUw


Thanks to Lisa Mills and Dan Cornwell for finding and sharing this

Frank

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Re: Thrillpower Overload: the missing chapters
« Reply #142 on: 03 December, 2018, 07:14:51 am »

Thanks again to Julius Howe:





Frank

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Re: Thrillpower Overload: the missing chapters
« Reply #143 on: 06 April, 2019, 09:07:23 pm »

Hot Night In 95, by John Wagner & Staz Johnson (Megazine 307), all the way back in March 2011:



Wagner insists he's just making it up as he goes along, but you really have to wonder.



Fungus

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Re: Thrillpower Overload: the missing chapters
« Reply #144 on: 07 April, 2019, 02:05:09 am »
Not sure it's the right thread, but, that's some serious foreshadowing (sheesh I hate that word...).

Frank

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Re: Thrillpower Overload: the missing chapters
« Reply #145 on: 27 April, 2019, 10:30:23 pm »

A HISTORY OF VIOLETS
or McMahon In The Middle, being a brief survey of colour & story order in 2000ad as it pertains to Judge Dredd

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


Dredd first made the jump to the colour centre pages during his Luna-1 posting, with Prog 46's Meet Mr Moonie and Ian Gibson providing the art. There he'd remain throughout the rest of his Luna-1 Marshal tenure, his return to The Big Meg, then for the full duration of his Cursed Earth mercy mission. On his return to the city, the strip was moved to the front of the prog as Dredd took on Chief Judge Cal in The Day The Law Died.





Following Cal's defeat, Dredd remained the lead strip, and therefore entirely B&W, right up to the start of The Judge Child Quest in Prog 156, whereupon it once more became the middle strip and took the colour centre pages, allowing the artists to be able to go to town and resulting in some superb double-page spreads from Bolland, McMahon and Smith.





Here it stayed throughout the Mega-Rackets storylines, Judge Death Lives, and all the filler in between, right up to Block Mania and The Apocalypse War, marking King Carlos's triumphant return to his creation. That epic occupied the centre pages except for the final two chapters, when Tharg's Future Shocks were moved to the colour centre pages.





By this time, poor Carlos was flagging. He'd already been given a week off to catch up near the end, meaning a vintage Dredd strip from the archives was run instead. To save time, Rey Carlos stopped producing any more epic double-page spreads, hence the strip's move from the centre for its last two instalments as well as the first two episodes after the epic wrapped (Meka-City).

Thereafter, Dredd held onto the colour centre pages and had an unbroken run that took in classic post-war stories such as The League of Fatties, The Executioner and Cry of the Werewolf, until Requiem for a Heavyweight, again featuring Ezquerra on art, ended Dredd's run in colour.





The following week's 'jump on' prog (335) saw the return of Strontium Dog and Nemesis, the latter taking the colour pages, whilst The Graveyard Shift opened the comic in glorious B&W. Dredd remained the opening strip for a while, only returning to the colour centre spot in Prog 353, up against Captain Strange and his Weird Boys.

Dredd stayed in the middle of things through the premature conclusion of his next 'epic' adventure, City of the Damned, The Hunters Club (shouldn't that have an apostrophe?), Midnight Surfer, and a whole buncha inconsequential filler material (notable exceptions being Kenny Who?, The Taxidermist, and the introduction of the major and recurring pro-democracy theme to the strip with Letter from a Democrat and Revolution.





Dredd held centre stage through the transition to painted colour (520) and the end of Wagner and Grant's writing partnership after the epic Oz. That story had a colour spread for each of its 26 weeks, as did each of the stories that followed the Judda's defeat until Prog 590's Twister, part 3 of which saw the entire Dredd strip go full colour for the first time, rather than just the opening centre pages.




 
Dredd briefly found his way back to the opening position for jump-on Prog 650’s The Shooting Match, before returning whence he came back on the inside the very next week for the beginning of Young Giant, joined by two further all-colour strips in the shape of the revamped Rogue Trooper War Machine and Sláine epic The Horned God.
 
Soon afterwards, Dredd came back to the fore with Tale of the Dead Man part 6 (Prog 667), and here he stayed more or less for the duration of his next up ‘n’ coming mega-epic, beginning in Prog 671 with the Countdown to Necropolis episodes (some of which reverted to the centre pages) followed by the full-blown Necropolis-proper from Prog 674 onwards.





For the most part, Dredd remained the prog’s opening strip for the duration of Necropolis, with just two notable exceptions towards the middle of the run, when it jumped back to the centre pages expressly to afford King Carlos the opportunity to give us a couple of spectacular double-page splash images when it really mattered!

Post Necropolis, Dredd retained the prog’s opening story slot and there, with the occasional exception, is where he stayed, Prog 723 marking the moment when 2000 AD went full-colour from cover to cover.
 
The strip's most protracted absence from pole position was in the wake of the 1995 Judge Dredd movie's release on home video and the demise of both DC's US Dredd titles and the UK Stallone tie-in comic, Lawman Of The Future. With Prog 999's conclusion of the lengthy The Pit, Dredd saw himself bounced to last place in the pecking order for the next 31 issues.

From milestone Prog 1000, the issue editor David Bishop says was intended to make his mark on the comic, Dredd (Dead Reckoning) brought up the rear behind Sláine and Vector 13. Joe only regained his title as leader of the pack with jump-on 20th birthday Prog 1033 (Lonesome Dave), The Mighty One apparently deciding the character had paid penance for his transgressions!



© Ian Hollingsworth, 2019

TordelBack

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Re: Thrillpower Overload: the missing chapters
« Reply #146 on: 28 April, 2019, 12:06:37 am »
Good read Sauchie, cheers!

broodblik

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Re: Thrillpower Overload: the missing chapters
« Reply #147 on: 28 April, 2019, 05:02:32 am »
Thanks Frank, enjoyed the article.

The Monarch

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Re: Thrillpower Overload: the missing chapters
« Reply #148 on: 29 April, 2019, 10:29:09 pm »
ah if only my scanner wasn't buggered so i could put the mcmahon bloodsuckers strip here

Frank

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Re: Thrillpower Overload: the missing chapters
« Reply #149 on: 12 May, 2019, 03:19:38 pm »




According to legend, Debbie Harry was the model for Anderson – true? She pretty much was … She was based on Debbie Harry.

I think I did a Forbidden Planet advert and I drew a lot of famous people into that, such as Debbie Harry and David Bowie. I think I must have just drawn her. I’m not sure she’s particularly Debbie Harry … The thing I remember about her was she had to be bright and breezy, sort of smile a lot ... To me, that bright-eyed face was absolutely key for her.

 
(Brian Bolland, speaking to David Bishop's Vicious Imagery blog, February 2007


Deirdre Vine was Judge Anderson. There was a shot that we needed for a cover, and I got a camera with a very long lens on it and did a snap of her, from when she didn't know, and gave the snap to Brian Bolland and said 'make Anderson look like that'.

(Kelvin Gosnell, speaking to Michael Molcher for the 2000ad Thrillcast, March 2018)


Bolland didn't draw an Anderson cover until Eagle's US reprint title, long after he and Vine left the Nerve Centre. Still looking more like Judge Anderson than Debbie Harry ever did, Vine's untroubled by Gosnell capturing her likeness, and corrects his characterisation of her move into magazines as pursuit of her real interests.

As Pat Mills remembers, Vine held a genuine interest in science fiction, and was teaching a course on sci-fi cinema when she applied for the post of sub-editor on 2000ad. She enjoyed working with Wagner, Mills and 'all the fantastic artists', only moving to women's interest titles because Tharg's pay was 'abysmal'. Plus ça change!