Imagine it’s March 1977, you have 8p and you want a comic. Let’s assume you want a boy’s comic: it was a sexist world back then. There are lots to choose from. Perhaps you want a funny one like The Beano, The Dandy, The Beezer, The Topper, Whoopee!, Buster or Whizzer and Chips? Or something harder edged? Tiger, Battle or a new science fiction comic with a free “space spinner” on the front?
2000AD emerged from the ashes of Action comic, which was withdrawn due to its violent content in the mid-1970s. Did anyone present at 2000AD’s creation, imagine it would still be going in the then far flung futuristic year of 2000AD? A year by which time most of the children who had bought Prog 1 would be in their thirties, many with children of their own? It seems unlikely. It is now 39 years on from that first issue. Those same readers of Prog 1 would now be in their fifties, at least. None of the comics mentioned above are now going with the exceptions of The Beano which began in 1938. And 2000AD itself.
This documentary tells the story of the galaxy’s greatest comic which despite Action’s fate (or perhaps because of it) has always been pretty violent. After an exciting animated opening sequence in which many of the comic’s monochrome heroes – Judge Dredd, Rogue Trooper, Strontium Dog, Nemesis the Warlock, Zenith – move very slightly against a thumping rock soundtrack, it’s perhaps disappointing that most of the film is spent in the company of a group of ageing, sometimes not very articulate men. Some are enthusiastic. Some are quite bitter.
Pat Mills is the star. Passionate and profane about the early days, angry about the 1990s days of decline, he is still with the comic. Others left during the 1980 s comics “brain drain”. Neil Gaiman seems genuinely emotional about Alan Moore’s failure to complete his brilliant Ballad of Halo Jones a full thirty years later. Some rage at the appalling way some artists’ work was treated. Others praise 2000AD for crediting its writers and artists properly (in a special “credit card” box) something few British comics did up until then. One fan, Ex Machina director and author of The Beach, Alex Garland wrote the screenplay to Dredd, a huge improvement on the disastrous 1990s attempt to film the 22nd century fascistic lawman starring Sylvester Stallone. Other films seem to have liberally stolen from the comic.
None of the writers seem to have liked Tharg the Mighty, the comic’s fictional alien editor very much, presumably because most have presumably endured a stint answering letters on his behalf (including, two from a teenage “C Hallam, Peterborough” in 1993). Tharg also introduced the occasional Twilight Zone-style Futureshock stories, often used as a testing ground for upcoming writers and artists.
A fine tribute anyway to a fine comic. Until next time: Splundig Vur Thrigg Earthlets!