Alas, that’s the end of the 3A range of 2000AD Action Figures (or as Luke’s other half insists, dolls) . Luke spends his hard earned and gets a second hand example of the 1/6 figure, having already forked out loads for Mongrol, Sam Slade, the Dark Judges, Gronk, Fish but thankfully was given Ro Jaws. Arguably this is the one 3A should have started with first, Luke ponies up the dough for “maxi” Dredd. Is it any good?
It’s difficult to write anything new about a chap who people speak so fondly of, who is revered by generations of British comics readers and is such an influence for so many comic creators.
Comic fans feeds are awash with outpourings of grief and expressions of sadness on the passing of a legend of British comics.
These messages, posts and threads have become a celebration of the life and work of a true great. From his early work for DC Thomson to his work on “Battle” with “Rat Pack” and “Major Eazy”, to creating “El Mestizo”, “Judge Dredd” and “Strontium Dog” and adapting “The Stainless Steel Rat” before moving onto “Third World War” for Crisis.
He worked in the American comics market too, with long term collaborators Garth Ennis, John Wagner and Alan Grant, on titles including “War Stories : Condor”, “A Man Called Kev”, “Bloody Mary”, “Bob The Galactic Bum”, “Just A Pilgrim”, “Adventures In The Rifle Brigade” and “Battlefields”.
Carlos would always return to 2000AD. It was always an event when Carlos drew Dredd or when you knew that “Strontium Dog” was returning to the Prog’. A fantastic action artist, Carlos’s versatility, rate of output and the quality of his work was legendary, Carlos was the only artist to complete a Dredd mega epic solo, but not once, but twice and with two of the best. Once with “The Apocalypse War” followed by an extended run on the strip and then a few years later with “Necropolis” and it’s prologues.
Although his style evolved it was always distinctively and recognisably Carlos. He was an early embracer of digital technology, but still went back to pen and paper for those lucky enough to commission work from him.
I was lucky enough to meet him a few years ago at ICE in Birmingham. He was gracious polite and patient to the gibbering manchild in front of him who produced a scrap of paper for a “Major Eazy” sketch.
Here’s to a creative genius. Here’s to Carlos Ezquerra.
Carlos The King.
It’s amazing that the Meg’ is still here after all the tribulations since its debut in 1990. It’s far more consistent than it’s older sibling. Overcome with enthusiasm this week for publications from the House of Tharg, managing something twice in a weekend for the first time since his thirties, Luke rambles for a few hundred words on this special anniversary issue.
Time for another jumping on Prog .There hasn’t been a lot to love in 2000AD lately, but there is a lot of promise in 2100…..
The Fleetway Files
Published by Hibernia
Review by Luke Williams
With the “Treasury of British Comics” an obvious success, Hibernia, who led the way in celebrating out of print IPC properties, are still cranking out retrospectives and strips. Having already published quite a few collections of articles on Fleetway work, Luke peruses their latest (and when he means “latest” – he means it was released ages ago and he’s taken ages to read it, so this is old news.)
Luke’s finding the Prog’ a tad dull at the moment. So, he figured he’d write about one of his favourite comics, ever, which, by coincidence, has strong connections to the Galaxy’s Greatest
Why All British Comic Fans Of A Certain Age Should Read DC’s “Hitman”
By Luke Williams
Occasionally in writing for this blog’ I’ll veer away from 2000AD. Sometimes there is a comic that has very close ties to the the Galaxy’s Greatest or its stablemates. This maybe because of the creative team or it shares a sensibility with the publications of the House Of Tharg. “Hitman” meets both criteria.