Sequart Content Tagged:
Magazine content related to 2000AD (page 2 of 2)
Continued from last week. But Millar’s work for Fleetway often went far beyond casual, unthinking sexism. As the months passed and the examples of this piled up, he gave every impression of being a died-in-the-wool misogynist.… [more]
Continued from last week. The image of Millar as a tykish, daring and promising newcomer was wearing through by the end of 1992. What had at first seemed like boyish ambition, conspicuous potential and a novice’s… [more]
Continued from last week. The Spider wasn’t the only long-unseen British superhero to be radically reworked by Millar in Vicious Games. He also briefly laid claim to Tri-Man, who’d been a far more conventional example of the… [more]
Continued from last week. Fifteen months would pass until March 1992′s 2000 AD Action Special and the next of Millar’s superhero stories to see print. A stillborn revamping of the Sixties British superhero The Spider, it… [more]
Continued from last week. The obviousness of Millar’s influences would become more and more of a problem as his work for Fleetway continued. Of course, 2000AD had been founded upon a deliberate policy of appropriating and… [more]
Continued from last week. In fact, it’s more than possible that Morrison actually had a considerable influence upon the format of Zenith: Tales of the Alternative Earths. Four years previously, he’d written his own series of… [more]
Continued from last week. For a brief moment in early 1990, Millar’s career appeared to be unambiguously prospering. As of May, Trident had, in addition to The Saviour, added Millar’s The Shadowmen to their schedule. Though… [more]
2000AD artist Henry Flint still recalls the excitement of encountering the first issue of the weekly SF-adventure comic. It was, he says, “nasty, brutal. Parents hated it. The morality of the heroes was questionable. After… [more]
An Interview with Rob Williams, on 2000AD‘s Ichabod Azrael and Comics Storytelling in General (Part 2)
Continued from last week. COLIN SMITH: I may well be very wrong here, but it seems from the outside as if you’re determined not just to tell a good story, but to push your own boundaries… [more]
I gave up on 2000AD in the early 1990s. Not only did it seem to have lost much of its sharpness and satirical edge, but it often appeared complacent, sloppy and even, on occasion, smug… [more]
Earlier, we discussed how Dredd is faithful to its source material, to the extent that it could be described as a violent morality play. Today, I’d like to discuss the film’s narrative choices, because I… [more]
I’d struggle to overstate how much I enjoy and admire Al Ewing’s work.
Dredd is a far better, smarter, and well-made film than anyone had a right to respect. It gets nearly everything right. It’s visually beautiful, even when disgusting. It’s entertaining. But it’s also disturbing and thought-provoking.… [more]
NB: The Zaucer of Zilk is currently being serialised in 2000AD, so please be aware of oncoming spoilers as well as the likelihood that most if not all of my presumptions are entirely misplaced.
Sequart Research & Literacy Organization’s entire line of eight books of comics scholarship is now available in revised editions featuring significantly lower cover prices.
Sequart Research & Literacy Organization is proud to annouce that the second edition of Grant Morrison: The Early Years is now available for order only through comic shops.
Bit of a tangent this time but part of my job as Clubs & Technology Editor here at The List is to review video games. And with the recent release of Rogue Trooper (another classic… [more]
In my very first article I mentioned the importance of 2000AD and its impact on the UK comic scene (and in fact the comics world as a whole), so this month I thought I’d pull… [more]
It is something that has always interested me as a British reader, and something I briefly touched on in my previous column; comics are a quintessentially American art form, so how come so many of… [more]