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    #51
    re: Deadworld. Yes, I should have mentioned that the art in fantastic. Not that there was anything terrible art wise in any of the strips but Dave Kendall's stuff really stood out.

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      #52
      Alex Anderson I checked and it's the 1981 Judge Dredd album I've got. Do you want me to scan the article and send it to you?

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        #53
        Only if it's not too much trouble, Patrick. Poor Mumpo made the mistake of thinking I lived in the 21st century and sent me a link to the entire annual but, of course, my Laptop is more "Space 1999" ...

        Many thanks to both of you.

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          #54
          Originally posted by Alex Anderson View Post
          Only if it's not too much trouble, Patrick. Poor Mumpo made the mistake of thinking I lived in the 21st century and sent me a link to the entire annual but, of course, my Laptop is more "Space 1999" ...

          Many thanks to both of you.
          Complete with the Data70 typeface?

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            #55
            It's just the men in jumpsuits I notice ...

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              #56
              Originally posted by Alex Anderson View Post
              Only if it's not too much trouble, Patrick. Poor Mumpo made the mistake of thinking I lived in the 21st century and sent me a link to the entire annual but, of course, my Laptop is more "Space 1999" ...

              Many thanks to both of you.
              I wish I'd got this earlier as I''m in the office on my own today and that would have made scanning it easier. I will try and sort it out. PM me your preferred email address.

              Or I could photocopy it and send a hard copy if you would prefer. Old skool!


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                #57
                So reading through Dredd the thing that's really struck me is how weird it is that the artists can change so often, like even within an overarching story. Also. Bolland and Ezquerra really stand out stylistically from the other artists. In very different ways.

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                  #58
                  Not just Dredd, Strontium Dog, Slaine and a load of others. Not only that but sometimes the artistry went from excellent to not great (which was which depended on your subjectivity obviously).

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                    #59
                    The early issues were really exciting to me as a 7 year old. There seemed to be an agenda that it was going to leave Marvel and DC in the dust. There was a strip where a comic reader wasn't convinced about 2000AD, so Tharg took him on a bit of a mind-trip. There was one panel with the Marvel and DC characters and Tharg stating something along the lines of 'the past is yours, but the futures mine.'

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                      #60
                      From prog 24:





                      Courtesy of the 2000 AD shop: COMPLETE FUTURE SHOCKS VOL 01
                      Last edited by Mumpo; Yesterday, 13:45.

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                        #61
                        And this was the first page of the first actual Future Shock story in prog 25, as mentioned by Tharg in that final frame above:



                        Hmm... 'Red Hairs', 'Black Hairs'... can you see where this one's going..?

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                          #62
                          Cheers, Mumpo! I haven't seen that for 42 years!

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                            #63
                            I think there was a MAD spoof in which he was “The Inedible Bulk” so that could be a deliberate homage. Or just the same obvious but still funny gag.

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                              #64
                              Originally posted by Levin View Post
                              So reading through Dredd the thing that's really struck me is how weird it is that the artists can change so often, like even within an overarching story. Also. Bolland and Ezquerra really stand out stylistically from the other artists. In very different ways
                              Originally posted by Bordeaux Education View Post
                              Not just Dredd, Strontium Dog, Slaine and a load of others. Not only that but sometimes the artistry went from excellent to not great (which was which depended on your subjectivity obviously)

                              Although John Wagner chose Spanish artist Carlos Ezquerra to draw his Dredd strip the pair's intended first installment was deemed too violent and wasn't published in prog one (eventually seeing the light of day in the 1981 Dredd annual). With its co-creators disillusioned, editor Pat Mills cast around for various alternative artists. The most successful of the first batch were Mick McMahon and Ian Gibson, with Bolland following a little later. If Mills hadn't required those replacement art droids then the early years of Dredd may well have paralleled those of Strontium Dog a year or so later - that strip hit the ground running and bar a couple of episodes in its formative Starlord days, Ezquerra would put his inimitable stamp on it until the late 80's. As it transpired however, Dredd established a template for a roster of artists pretty much from the off; and these days there are half a dozen writers taking turns on it, all with their own favoured artists.

                              Bolland's brushwork has always been astonishingly precise and the apex of his sterling work on Dredd was probably Judge Death Lives, with the acclaimed "Stare into the fist of Dredd!" panel. McMahon, as Ezquerra's chief replacement was originally ordered to mimic the Spanish artist's style as closely as possible and indeed, on his very early efforts it's very difficult to tell the difference if you don't know its him. Fortunately his trademark exaggerated depictions didn't take long to surface and he left the strip far too early in 1982. For my money though, the greatest of the artists who benefited from Ezquerra's absence was the inimitable Ron Smith, whose meticulously drafted lines and grotesque figures absolutely nailed the character both of Dredd and the strip's myriad preposterous protagonists.

                              Slaine was a slightly different case again - creator Pat Mills insisted that his then-partner Angie Kincaid drew the first episode but the results were considered underwhelming by the editorial team, so Italian artist Massimo Bellardinelli and Mick McMahon again were called on to draw remaining installments of the earlier chapters. But then Pat Mills has always had a habit of burning through artists, so I'm not sure even his missus would have stuck around long.


                              Beyond those strips, the very nature of 2000 AD means that different artists often have to be deployed on continuing strips, frequently at short notice. As a weekly anthology publication running five stories per week it notoriously eats up content as fast (and often faster) then the creator droids can churn it out and it doesn't take much to upset an artist's schedule. Sometimes delays occur because the droid is simply being too fastidious but it can be through circumstances beyond their control - Carlos Ezquerra once had to rush a multi-part Dredd story because his house was falling down after storm damage (no, it wasn't The Apocalypse War).

                              It should be said that increasingly, Tharg's creative droids jealously protect their strips even in a collaboratively-inclined title like 2000 AD - which means that rather than having substitutes rushed in to keep things on schedule it's more likely that installments will simply take longer to deliver, often leading to the gaps of severl months or years between chapters that I mentioned earlier.


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                                #65
                                Sorry - "Stare"?!

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