February 25th, 2017
While I was preparing my piece on 2000AD‘s fortieth anniversary, I was reading through the new edition of Thrill-Power Overload, the history of 2000AD (a genuinely excellent book, incidentally – far more willing to criticise the comic and its publishers than you’d expect from an official celebration), and I came across what may be the wrongest thing Grant Morrison (a man who I admire hugely as a writer, but who has made more than his share of wrong statements) has ever said:
“at least Batman also has Bruce Wayne, giving him all of two dimensions. Dredd is just Dredd. I think the character is now as relevant to the new century as Dan Dare was to the 1970s.”
February 22nd, 2017
December 7th, 2015
LIFE TURDS have prevented me from finishing my long promised post on Julia Scheele‘s comics, so here’s a quick ramble about the dick-slap aesthetics of Nemesis the Warlock and Marshal Law that I stole from my own twitter account…
Matt Maxwell once asked me if I had any thoughts on NEMESIS THE WARLOCK. I do, and they’re all blurred by time & distance but here we go!
In Alec – how to be an artist, Eddie Campbell described Mills & O’Neilll’s NEMESIS as “the wicked satire of a rejected Catholic upbringing”. I wouldn’t presume to be able to improve on that description, but it does point towards what’s so good about *O’Neill’s* NEMESIS.
Don’t get me wrong, plenty of good artists have drawn NEMESIS (including Bryan Talbot, for fuck’s sake!) but O’Neill made it look *naughty*. This is what separates his baroque atrocities from similar dystopias (Warhammer 40K, etc): the heavy metal fanfare never obscures the man.