Tag: interview

The latest in the Treasury of British Comics Specials is coming your way on 27 May with the return of a set of classic British heroes and anti-heroes in the SMASH! Special!

Inside the 64-page SMASH! Special you’re going to get to thrill to the all-new adventures of The Spider, Steel Claw, Mytek the Mighty and more, all brought to the page by a stellar line up of talent.

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Inside the all-new SMASH! Special, it’s time to catch up with the paranormal investigator Cursitor Doom – first drawn by the great Eric Bradbury, and now updated by writer Maura McHugh and artist Andreas Butzbach…

Maura, Andreas, lovely to talk to you in these most trying of times, hope you and yours are all safe and well and you’re coping well in the viral apocalypse.

Maura McHugh: Thanks for the invite to discuss the story, and so far I’m safe and healthy in the West of Ireland.

Andreas Butzbach: Thank you, it is certainly not the apocalypse I was expecting, but it is okay. This way I can just continue making comics instead of roaming the wastelands with the warboys.

Now, the SMASH! Special comes out on 27 May and inside we’re going to be thrilling to the new adventures of Cursitor Doom. I must admit my relative ignorance of this one. And googling doesn’t help all that much – although I did manage to answer my first question of what the hell is a Cusitor. Of all things, it’s an ancient term for an officer or clerk in the Lord Chancellor’s Court in Britain. What I did find out was that Cursitor Doom was a mysterious hero type, based in a Scottish castle, who used his psychic powers to fight supernatural evils. He was the brains, his assistant, Angus McCraggan, provided the brawn.

Now, assuming we’re not going to see 8 pages of legal paperwork in the strip, first things first, who is Cursitor Doom?

MM: Cursitor Doom first appeared in SMASH! in 1969. He was written by Scott Goodall and drawn primarily by Eric Bradbury and Jim Baikie. He’s a paranormal investigator with some telepathic powers, and operates from a castle in Scotland. The original stories were very much of their time: spiffing action with mysteries and ghostly attacks. I love those kind of stories and characters so it was a lot of fun to dig in and ponder a new story for him.

And what can we expect from the storyline here in the Special? Any particular surprises in store for us?

MM: This story includes another paranormal investigator from the IPC archive: Jason Hyde. Hyde never appeared in comic book form but in illustrated stories, written by Barrington J. Bayley, and illustrated by Eric Bradbury. He’s a scientist with a fondness for gadgets and an unearthly vision (depicted as blue rays from his eyes) which allows him to see through objects and read minds.

MM: Creating a story in seven pages in which I put two such iconic characters together was a challenge, but I did my best to introduce them to a new audience and showcase their talents and allies.

The story has a folk horror vibe with a nod to the 1960s spy sensibility that tended to infuse the Hyde stories, and is called ‘King For a Day‘.

Were you both aware of the two characters before getting the gig to write this new strip for the SMASH! Special?

MM: I was vaguely aware of Doom but Hyde was completely new to me. It’s always enjoyable to root through older comics and become acquainted with new characters. I love reading comics from this era so it was a pleasure to do the research.

AB: I did not knew them prior to this, but quickly read everything I could get my hands on.

What was the thinking behind putting Jason Hyde into what will be his first comic story, so many years after his original appearances in Valiant in the late 60s?

MM: It was editor Keith Richardson’s idea to put the two of them together in the story, and since Hyde and Doom are both investigators of the strange and arcane they have a shared occupation.

It seems to me that both Cursitor Doom and Jason Hyde are more of those classic Brit characters who couldn’t be further from the goody-goody superheroes of US comics at the same time.

The two main characters here are an aging, bald figure whose look is part Bond villain, part terrible 60s TV magician and a paranormal investigator dressed inblack and carrying a walking stick who looked more at home in Victorian London than modern times.

AB: Which is what makes them so awesome. Mind reading x-ray eyes, how cool is that? Those two Guys fit together perfectly…

MM: I like Doom’s odd and enigmatic appearance, and it tallies nicely with a type of British eccentric character that’s a staple of genre fiction, especially detective fiction. British audiences doesn’t necessarily expect their heroes to be handsome and athletic, but they do expect them to solve crimes with panache and wit. Hyde was depicted as a bit sterner, which is why he pairs well with other characters who round him out. I love the British tradition of the boffin detective who doesn’t deny the weirder elements in the world (Quatermass is an example). There is always a sense of fair play and that a grander order of reason and justice should be protected. These stories were aimed at a younger audience of course, so the likes of Hyde and Doom were employed to right wrongs in strange circumstances and be on the side of ordinary people.

Andreas, when it comes to the artwork, I think it’s fair to say that your style is a long way from the fine, detailed, black and white work of Bradbury. Your artwork that I’ve seen from your website and The Romantic in the last Thirteenth Floor Special from 2019 – when you do b&w, it’s fabulously stark and angular, something I especially loved with The Romantic.

AB: Thank you, glad you like what we created for the Thirteenth Foor special. It was my first time working with Ghastly McNasty and Rebellion, I’m pretty proud of it! To see my name on the cover between Kyle Hotz and Kelley Jones, priceless!

So, what changes have you made here for Cursitor Doom, are you changing your style to reflect the look of the strip from the past or going your own way with a new look?

AB: I feel like my style always changes a bit, depending on what I’m working on and which tools are used. It’s a direct reflection of moods and feelings and all the stuff that influenced me in the past. I’m really into this sort of story and characters, I absorbed the original material and just let it flow. Keith does an outstanding job with finding cool material for me and Mr. Bradbury’s work is amazing, even more so when you realise how old that stuff is. His were big footsteps to follow in and I only hope I did the characters justice. Besides drawing the two main characters, I found great joy in designing Vio, Una and Oswin, the characters which Maura created.

Andreas, what process do you use for creating? Any changes for this strip?

AB: First I made sure to get to know the characters, read all the reference material and what I could find online. I worked out some character sheets to get accustomed to drawing the dudes and read the script. I then usually start with a rough page layout with a focus on panels and storytelling. After that, I sketch out the compositions in the panels. The rest is all about lines, filling black areas and making the editor and the writer happy!

And finally, what’s next from both of you?

AB: Until the COVID-19 chaos is over, I’m working on my personal project ‘BIGASSSWORD’ and do commissions here and there. There are also a few pitched projects for which it is too early to say something and hopefully more work for Rebellion.

MM: I’m truly excited to have a story in the next Misty/Scream Special. From my perspective Misty is a comic book treasure: horror aimed at girls, and it was a genuine honour to be part of a continuation of that tradition. I’m also working on other stories for Rebellion… more will be revealed soon!

Thank you to both Andreas and Maura for taking the time to chat to us.

The SMASH! Special will be out on 27 May – get it from the 2000 AD web store or wherever comic books are sold (or whatever stores are still open!) And remember – keep safe, keep everyone else safe, wash your hands, and wear that mask!

Get ready for the SMASH! Special, the latest 64-page giant from the Treasury of British Comics featuring some of the greatest heroes (& anti-heroes) from the gloriously strange history of British comics!

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Alongside the likes of The Spider, Steel Claw, Mytek the Mighty and more greats from the world of Brit comics, you;ll read Simon Furman and Chris Weston‘s take on the strange world to be found in the House of Dolmann… we sat down to talk creepy dolls and the strangeness of Brit comics of old…

Simon, Chris, in the new SMASH! Special, you fine gentlemen are bringing back House of Dolmann.

So, first things first, what is House of Dolmann and what are you doing with it here in the Special?

Simon Furman: House of Dolmann was one of Valiant comic’s stranger strips, that existed within its own hyper-reality where a ventriloquist and his sophisticated robotic puppets fought crime in one of those slightly ‘suspended in time’ Britains you got a lot of back then. The strangest thing was that Dolmann is a kind multi- or split personality, providing the voices for all the dolls and effectively talking to himself. And yet, there are plenty of moments when Dolmann is entirely absent from the action, and the dolls are still conversing. Anyway, rather than try and do a modern comics overhaul for the Smash Special, we (with a few twists and turns along the way) kept that hyper-reality bubble of Dolmann intact, and went with the (barmy) flow of things.

Dolmann really is one of those magnificently weird things from older Brit comics. A crime-fighting inventor who, of course, decides not to create Iron Man type armour or Bat-themed accessories, but instead, being a master puppeteer, creates a small army of puppets, giving them all special abilities and having them fight crime. Seriously, Tony Stark and Bruce Wayne have nothing on Eric Dolmann!

What is it, do you think, about Brit comics of that time that always went for the weird and somewhat darkly bizarre rather than the sunny heroics of US superhero comics?

Chris Weston: Unlike the USA, which revelled in the shiny and atomic, Britain was still in thrall to the ‘gothic’ imagery that sprung from the Penny Dreadfuls. When these comics were originally published, our popular culture was still shaped by Victoriana: the cobbled streets and shadowy alleyways, jam-packed with Rippers and Spring-heeled Jacks. On top of that, post-war Britain was still bomb-scarred and gripped by austerity and rationing. I think some of this atmosphere permeated its way into the art and stories found in our comic books.

SF: There must just be something in the British psyche that veers more to dark, twisted and more subversive/sardonic in terms of comics. Back in the day, they tended to be either ‘Boy’s Own’ style adventure strips or just plain odd. Often, the ‘leads’ in the stories were villains (Von Hoffman’s Invasion, Dr. Mesmer’s Revenge, The White Eyes, etc), with the obligatory pair of plucky schoolboys bent on thwarting them. Very rarely did the stories feature spandex-clad superheroes. Growing up, I definitely leant more towards the weird and wonderful – Cursitor Doom, Master of the Marsh, The White Eyes… and, of course, House of Dolmann.

And Dolmann, to me, is a seriously wonderfully creepy concept as well. First, the puppets themselves are just plain horror movie style creepy. But then there’s the underlying idea that, from what I’ve gathered, Dolmann’s puppets never actually speak, it’s all Eric throwing his voice. And that puts a very, very creepy take on the whole thing.

Now, is this something you’ve picked up on, or is this just me being triggered by some traumatic birthday party that I’ve obviously blocked out from my memories?

SF: Yeah, it’s a very strange strip – even the dolls’ powers were oddball. The whole vibe owed more to Looney Tunes than anything else. The nearest parallel in terms of US comics I can come up is Doom Patrol. It has something of that same off-kilter atmosphere. I even had Dolmann himself in a wheelchair in our updated version. Other touchstones I used when scripting were the likes of The Prisoner and the (John Steed) Avengers TV series. Oddball and very, very ‘British’.

What do you remember of the strip in it’s original incarnation in Valiant (from 1966-1973)?

CW: I discovered House of Dollman through the Vulcan weekly which reprinted the best of IPC/Fleetway’s output.

SF: The Eric Bradbury art was a big thing about House of Dolmann‘s appeal for me. Eric particularly just had this naturally dark and vaguely sinister style, and the little backstreet where Dolmann has his shop/base of operations always looked like it existed in a pocket of Victorian London. There was just a mood about the whole strip that said, “don’t try to hard to place this strip in any real-world/time.” It just was. And we’ve tried to recapture that.

Looking at the strip here in the SMASH! Special, it’s obvious you and Simon have deliberately gone retro on it, embracing the look and feel of the original. But more than that, you seem to have made it a thing out of time, with modern touches and retro looks, and objects from multiple times cropping up in the panels.

CW: Yeah, I have the police driving around in Triumph Heralds, and laptops exist alongside typewriters. Both Simon and I wanted this to feel like it existed in its very own universe where  different rules and physics can exist, allowing for the fantastical creations we discover in the pages.

SF: In the script I asked for that kind of timeless mishmash of eras, so it’s almost impossible to buttonhole in terms of an actual ‘date’. Again, it was just trying to recapture that ‘bubble reality’ feel of the original.

And as for your art here, am I right in seeing a lineage in terms of style between Bradbury’s line and yours?

CW: Okay, confession time: Eric Bradbury was never one of my favourite artists at the time of the original series publication! I was more into Don Lawrence, Reg Bunn and Jesus Blasco; a shocking admission, I realise.

Okay, completely wrong on that then!

CW: However, he’s definitely someone I have come to appreciate more in recent years. Now that I do this for a living myself, I have a better understanding of Eric’s qualities: immaculate story-telling and illustration skills… plus a professional attitude towards productivity and consistency. These are quite underrated attributes in comic-book illustration, and they made Eric one of the pillars of the British comic book industry. In short, he may not have been a “showy” artist, but the comic books wouldn’t have existed without the likes of him.

Simon, you’ve been heavily involved in the world of Brit superheroes for a long time, marshalling the return of so many classic characters in the ongoing adventures of The Vigilant. Was there any temptation to link Dolmann’s bizarre crime-fighting into that universe at all? Or is there a link that I’m not seeing?

SF: It felt best to distance ourselves a little from the updated/conjoined universe of The Vigilant, which has that more modern feel to it. But, we do use The Super Security Bureau (again, very John Steed Avengers) from the 1971 Pow! Annual in House of Dolmann, which has loose links to The Vigilant in terms of some background characters in that.

While we’re talking The Vigilant – the saga, or at least the first storyline, concludes this summer in the pages of Megazine 421. Is this the end… or merely the end for now and what can we expect from that particular ending of the series in the Meg?

SF: The end… for now! The Vigilant was always conceived as a trilogy, with events leading up to the much-heralded Blood Rapture – which goes right back to the Scream Special featuring (what would become) The Vigilant. But having established these characters and their (updated) lives, it would be a crying shame not to do more. I for one would love to do more… it’s been a proper labour of love.

What can you expect from the finale? Nothing less than Hell on Earth of course.

Thanks to both Chris and Simon for that – and you can see all the creepiness and weirdness of House of Dolmann in the SMASH! Special! Order it today from the 2000 AD web store.

And that finale for The Vigilant comes in Judge Dredd: Megazine Issue 421 – out in June!

It’s time to thrill once more to the heroes and anti-heroes of yesteryear in the SMASH! Special. Featuring seven all-new adventures of some of the greatest Brit superheroes of all time – including Steel Claw, The Spider, and House of Dolmann – this is one you really don’t want to miss!

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Editor Keith Richardson is the man responsible for putting together the SMASH! Special and gathering a truly smashing group of comics talent that includes Charlie Higson & Charlie Adlard (Steel Claw), Rob Williams & John McCrea (The Spider), Suyi Davies Okungbowa & Anand Radhakrishnan (Mytek the Mighty), Simon Furman & Chris Weston (House of Dolmann), Tom Raney (Johnny Future), Maura McHugh & Andreas Butzbach (Thunderbolt), and Helen O’Hara & Valentina Pinti (Cursitor Doom).

Now… Time to sit down and talk SMASH! with Keith Richardson!

Hello Keith – As the man responsible for putting together the new SMASH! Special, what sort of things can we look forward to seeing?

KR: Prison breaks, zombie attacks, giant simian robots, alien invasions Royal cameos, weird Scottish customs  and talking dolls!

So, what’s the story behind putting together this particular special and choosing the title?

KR: I wanted to dust off some of the great action/adventure characters (mainly from the 60s) who we didn’t initially buy following the first acquisition deal with Time Warner. The Spider, Mytek the Mighty and The Steel Claw are all fantastic strips with characters who more than deserve a new lease of life and we have had plenty of fans getting in touch and asking that we bring them back.

We went back and forth under which title to use – Smash! is the perfect fit for an action anthology so that’s the title that we used.

Many credit the titles of the ’70s for introducing strips which were anarchic and full of antiheroes, but the truth is that the likes of Lion and Valiant were doing this years before. The Spider is a villain, out for himself and his ego! He only helps the forces of good so that he can test his mettle against other criminal masterminds and prove that he is the best! And what a rogues’ gallery he has – Crime Genie and The Living Totem are truly inspired.

I particularly like the House of Dolmann as it is so bizarre and actually quite creepy. Here is this seemingly nice genius who wants to fight crime with his small, automated robots. All great fare for a kid’s comic. But through adult eyes…he projects personalities upon these automatons, using his talents for ventriloquism to give them all unique voices…they argue and fight all of the time when out on missions, sometimes almost jeopardising the outcome! And it is all Dolmann! The guy is completely out to lunch in those original stories!

With this SMASH! Special, as with the previous Specials you’ve put together, it’s a fascinating mix of new and established names?

KR: I always mix new and old names on all anthologies that I commission. It makes good sense to have some established creators because you know what to expect and you know that the quality is going to be there. But it is very important to always be on the lookout for new talent. It may not work out in every case, but when you find a DaNi,  Henrik Sahlstrom or an Andreas Butzbach it makes it all worthwhile.

I ended up with Valentina’s portfolio after it was picked up at San Diego Comic Con. The line art on her sequential pages was really nice, but all of her pages were superhero-themed so I had to wait for the right project on which I could use her. Helen O’Hara is probably best know to most people as a freelance film review and co-host of the Empire Podcast. I love her reviews and excitement for the superhero genre, so I approached her to write the Thunderbolt strip.

I am over the moon with how Steel Claw turned out. It is everything I expected and more. The original strip was so off the wall, straddling different genres and constantly reinventing itself every new story arc. It always felt like a weird amalgamation of The Prisoner, The Invisible Man and James Bond, with a little dash of 50s B-movie sci-fi. Bearing all that in mind, who better to work on the script than Charlie Higson, the man who has written Young James Bond and loads of sketches for Vic Reeves and Bob Mortimer!

As for Charlie [Adlard] on art chores, I always wanted this strip to be B&W and I think Charlie’s B&W work is great. He is also terrific at drawing great fight scenes – see Code Flesh for proof of that!

And finally, where do you see things going with these heroes in the future?

KR: Obviously I would love to do more with these characters. I guess that we have to wait and see if this special does well, which in the current situation that the world finds itself in, is no mean feat. That being said, all of the stories here are complete, but open-ended, ripe for a continuation.

2000 AD Regened, the all-ages 2000 AD is back for the latest set of fabulous tales with a younger spin with Prog 2183 on 27 May, a 48-page spectacular featuring old and new favourites. It’s time to get those younger Earthlets into the world of 2000 AD!

We tracked down Tharg’s Earthly representative, Matt Smith, to his lockdown quarters… a cupboard under the stairs generously provided by Tharg in 2000 AD Towers (he’s even giving Matt a 5% discount on the rent during lockdown) to talk Regened and Cadet Dredd…

Matt, with Prog 2183 we now have four 2000 AD Regened comics and more on the way. The 2018 2000 AD FCBD comic began it all, then a Regened Prog 2130 in 2019, and now four Regened Progs in 2020; Prog 2170 back in February (and doesn’t that seem a loooong time ago now?), Prog 2183 coming out on 27 May, Prog 2196 on 26 August, and Prog 2206 on 4 November.

What was the initial thinking about 2000 AD going all-ages?

MS: Well, it was Keith Richardson’s idea originally as editor of the FCBD issues to make one all-ages, to create stories that would encourage a wider readership. He was keen to do further all-ages specials, developing the likes of Cadet Dredd, but the field became too crowded what with all the Treasury of British Comics material as well.

And at what stage did you realise it was something that had been hugely successful for 2000 AD and that there was enough demand out there to make it a quarterly feature, not as a Special but as actual Progs?

MS: So, when we looked at how many specials we could put out in a year – ‘cos we’re limited to a certain number as per our relationship with the newsstand distributor – we decided that the all-ages issues could be part of the regular run of progs, and that allowed us room to experiment with the likes of Scream/Misty, Tammy, The 13^th Floor and the like. The first Regened Prog was our best-selling of the year, which told us there was an interest in the all-ages material, so we expanded to four over 2020. There’s generally some retention too in the issues that immediately follow so people are sticking with the Prog.

Obviously, the desire to get new readers on board is something that’s not just desirable but essential for the continued success of 2000 AD (and, come to that, comics in general). How has the response been to the Regened Progs? Have you seen anything that indicates it is actually getting into the hands of younger readers and converting those young readers into regular 2000 AD readers?

MS: The increase in sales suggest that people are deliberately buying the issues specifically to pass on to a younger audience – which is great.

And what about the responses from long-time fans?

MS: Some grumble that for one week the material’s a little broader, but most see it for what it is – a genuine attempt to make SF comics for everyone.

Anyway, with Prog 2183, we have the latest Regened Prog to blast onto the shelves (well, whatever shelves are open at least). What strips do we have to look forward to this time?

MS: More Cadet Dredd, this time by me and Nicolo Assirelli, which calls back to an old Dredd story, ‘The Shooting Match‘, in which Dredd takes part in an RCA – Routine Combat Assessment. Plus there’s young Johnny Alpha in a story from the Mutant War by Mike Carroll and Nick Brokenshire; more Finder and Keeper by John Reppion and Davide Tinto; Psi-Judge Anderson by Cavan Scott and Paul Davidson; and a Future Shock by Laura Bailey and Andrea Mutti.

I presume we’ll be seeing a mix of known names and new (at least to 2000 AD) talent in the pages this time as we’re now used to seeing in both Regened and the various Specials published through the years?

MS: Yes, I’m actively trying to get new names to try their hands at the all-ages stories.

What sort of styles are you looking for when it comes to new Regened material? Over the issues so far we’ve seen a fascinating mix of the Saturday morning cartoon style, clean line animation look that we all know kids enjoy and some more unusual stylistic choices – Chris Weston’s Cadet Dredd, Rob Davies’ Gronks, that sort of thing.

MS: As always with 2000 AD, you try to mix it up – the general trend for kids’ comics is art with a more open line, so I look out for artists who I think fit well with that. But you try to get a bit of grit in there too to give it some drama alongside the humour.

We’ve also seen things develop in terms of the series involved. Some have been obvious stand-alone things, but then we have Cavan Scott & Nick Roche on Rogue Trooper and Moore, Reppion & Tinto’s Finder & Keeper giving us continuing tales. And of course, there’s Cadet Dredd. Will we see this mix continuing, or is it the case that continuing series with 3 months between episodes will be the exception rather than the rule?

MS: Mostly, they’ll be self-contained so anyone can pick up a Regened issue and not need to know much backstory. But the story thread in the Anderson strip in Prog 2183 will be continuing in further Regened Progs.

And then of course, we have Full-Tilt Boogie, a strip that began in Regened but is graduating to a full series in 2000 AD itself. Is this something you imagine might happen with other strips from Regened, the transition to ongoing series in 2000 AD?

MS: It’s possible, we have to see how well they go down first. FTB was one of the most popular of the new strips, and had a lot of potential in its opening set-up, so that felt natural to get its own full-length series (which starts in Prog 2185, out 10 June).

Moving on to Cadet Dredd… You’re returning to write the character after introducing him in the 2018 Free Comic Book Day Prog. Since then, we’ve seen versions from writers Chris Weston and Rory McConville and art from Neil Googe, Chris Weston, and Ilias Kyriazis.

Now we see a fourth joining the ranks in Nicolo Assirelli. And it seems somewhat apt, given the incredible number of different artists we’ve seen on grown-up Dredd over the years, to have a different version each time. What can we expect from your story and Nicolo’s artwork this time around?

MS: Cadet Dredd is undergoing his first RCA – Routine Combat Assessment. It’s a live-round test in which a cadet goes up against another to gauge their combat effectiveness in a mock-up of a Mega-City environment. The story also hints at events coming Dredd’s way in a couple of decades.

So far, with the three artists we’ve seen three very different interpretations of what it means to look like Dredd as a cadet. Has Nicolo’s interpretation stuck to any of these or has he gone his own way?

MS: He’s pretty much stuck to what’s gone before – I gave him Neil Googe’s interpretation as ref. We have to keep remembering to use the Mark I Lawgiver and Lawmaster, though!

When it comes to writing a younger Judge Dredd, what sort of elements of Dredd work as a younger readers good cop type character? I found it fascinating that Chris Weston’s tale in Prog 2030 was initially pitched as a regular old-man Dredd but you decided that it could easily work for younger readers.

MS: Well, it was Grudzilla crapping himself that sold me on Chris’s story as an all-ages one! But you have to maintain the balance between action and minimal violence when writing these Cadet Dredd stories – robots always come in handy if you need something destroyed.

And as to the future, although of course the future can be a tricky place – but assuming that the sales figures on these Regened Progs keep going up and up, will we be seeing the same quarterly pattern next year and into the future?

MS: I would assume so. If they continue to sell well, we’ll keep doing them with this kind of regularity.

As far as Cadet Dredd goes, it’s obviously something that could be worked into an all-ages comic of his own. There was, of course, the Lawman Of The Future title back in the 90s that came out alongside the Stallone Dredd movie. Do you imagine that an all-ages Cadet Dredd title could work in the current market or are we a way off that as yet?

MS: It would be nice, and it would be the one that would make the most sense to launch as all-ages title (most famous and popular character, vast sandpit to play in). However, the sums required to launch a new title and make it viable suggest to me it wouldn’t be something we could do on a weekly or monthly basis when so many licensed kids’ titles are struggling themselves.

And finally, with the current Covid-19 crisis still ongoing, how have things affected all at 2000 AD Towers? And would you like to say something for all the fans out there?

MS: Fortunately, thanks to the remote set-up, we’re able to put the mags and books together from home, so there’s been only moderate disruption. It’s a bit more challenging editing a weekly and monthly comic via laptop in a front bedroom, but it’s certainly do-able – and I’m very grateful to all the writers, artists, colourists and letterers that continue to work so hard all around the country and beyond.

As to all the Squaxx reading this, your continued loyalty and support for the Galaxy’s Greatest is much appreciated. We’ve seen subs numbers rise significantly since the lockdown so people are making sure they don’t miss out on their Progs – and if there’s anyone out there who can’t get their issues because the shops are shut, always remember that we have extra copies at shop.2000AD.com. Don’t let a pandemic get in the way of Tharg’s pulse-pounding publication! Stay safe, Earthlets!

Thanks as always to Matt for letting us see behind the curtain – the latest Regened – Prog 2183 – is out wherever you can get comics from, including the 2000 AD web store on 27 May. Keep safe out there Earthlets!

And you can find the new Full-Tilt Boogie blasting into the pages of 2000 AD Prog 2185 – out 10 June!

Yes, it’s time for another interview from the talents behind the Cor!! Buster Special, featuring some of the greatest characters from Britain’s golden age of humour comics, all here in brand-new strips from some of the best names in comics today!

Buy now in print and digital >>

This time round, we’re chatting with Lizzie Boyle and Lew Stringer, writer and artist on the latest tales of toothless terror with Gums!

The Cor!! Buster Easter Special 2020 goes on sale Wednesday 8th April 2020 from all good newsagents, whatever comic shops may still be open (please support them however you can!), and through the 2000 AD and Treasury of British Comics web shops.

What can we expect from the story this year? Is it more of Gums v Bluey?

LB: This year’s Gums strip is, of course, more Gums vs Bluey… but this time they encounter a new villain and need a little bit of help from some aquatic friends…

This year’s strip will be drawn by Lew Stringer, although I believe Abi Bulmer was originally meant to be on art? Have you had the chance to see Lew’s work yet?

LB: I’m really excited that comics legend Lew Stringer has drawn the strip. He brings so much energy and excitement to everything he draws – I hope I haven’t created too much of a challenge for him!

Lew, you’re also doing your bit in the Special this year with Gums. Was this a last-minute change, as I believe Abi Bulmer was meant to be on art duties?

Lew Stringer: Yes, very much last minute. I think it was the last strip to be done, and I sent it in only three weeks before publication! I was sorry that Abby couldn’t do it as I thought her pages were one of the highlights of last year’s special, but the extra work was appreciated. I hope I’ve done it justice.

Yes Lew, you’ve definitely done it justice!

How’s it been for you continuing the saga of Gums for a new generation of fans with both the Cor!! Buster Special and the Treasury of British Comics?

LB: Honestly, it’s such a privilege to be allowed to delve into the archives and see what you find. I love the challenge of writing different characters, drawing on the earlier stories and trying to be faithful to them whilst also bringing things up to date.

Have you had any feedback from people indicating that we’ve seen new readers picking the comic up?

LB: I definitely heard from people whose kids read and loved the Cor!! Buster Special last year and from others who read the Tammy & Jinty Special. It was great to read so many comments from families where parents and children were both getting enjoyment out of the Specials.

I had a lot of questions too about what other comics are available for youngsters: adults tend to know about the classics like the Beano but were really pleased to learn about some of the newer titles that are available like The Phoenix. 

We’ve seen Rebellion and the Treasury begin the process of opening up to new and younger readers with comics including the 2000 AD Regened issues and this Cor!! Buster Special. What are your thoughts on where comics for children are going and where they need to be to flourish?

LB: Firstly, you don’t know how today’s media-savvy kids will respond to comics until you produce a few. That’s the risk that publishers like Rebellion have to take. It’s not cheap to produce and distribute printed comics and we should actually be proud and supportive of a UK publisher that has the scale and the courage to push some things out into the market, take the risk and see what happens.

Secondly, every comic convention I’ve ever been to has been full of children, exploring comics, getting sketches of their favourite characters, going to writing and drawing workshops and generally having an amazing time. These are the same media-savvy, tech-addicted kids that people would say don’t care about comics.

Lastly, let’s perhaps let children decide what they’re interested in rather than making those decisions for them. Saying “oh no, they won’t like that” is the route to a very limited diet of entertainment and culture. Saying “let’s try it” creates much more rounded young people – and perhaps some adults who learn a few things too.

I think you have to give people options, whatever their age. We are lucky to live in an era where the barriers to publishing are very low and we’ve seen an incredible flowering of self-published comics, indie books and mainstream publishers. Some children will fall in love with three-panel webcomics; some will want weekly serials; some will dive into graphic novels. Some will do a mix of all of these. What I’d like to encourage is more experimentation and more diversity of styles, not less.

On a smaller note, what do you hope to see happening with both the Treasury of British Comics reprint collections and these new re-workings of classic characters in the Cor! & Buster Special and T&J Specials?

LB: I hope that the reprints and the specials continue. There’s so much in the archive still to explore and we’re only starting the process of (re-)introducing characters to a wider audience. Perhaps there’s scope to publish some of the archives digitally as teasers to see if there’s an appetite for printed collections? Perhaps spin-off webcomics? Maybe just hook us with some awesome T-shirts featuring classic characters of the past!? Calendars? Mugs? Get your comics merchandise here!! (I’ll go now…)

Time once again to show you more from the new Cor!! Buster Easter Special 2020, full of those classic comic characters to raise a smile and a laugh from the golden age of British humour comics! This time, it’s that fearsome feathered crook – Duck Turpin!

Buy now in print and digital >>

The Cor!! Buster Easter Special 2020 goes on sale Wednesday 8th April 2020 from all good newsagents, whatever comic shops may still be open (please support them however you can!), and through the 2000 AD and Treasury of British Comics web shops.

Last year, the team of Robin Etherington and David Follett brought back Hit Kid, the mysterious mini made man from Krazy comic, originally drawn by Sid Burgon. This year, for the Cor!! Buster Easter Special 2020, they’re turning their attention to another dubious character… Duck Turpin, originally drawn by Mike Lacey in the pages of Krazy.

Robin, Dave, again you’re bringing back a lesser-known character from Krazy for the Cor!! Buster Special. Is he someone you remember well? What’s the story about here?

Robin Etherington: I remember Duck Turpin as a pretty oddball story, even for Krazy. A thief who’s a duck, who chooses to dress up in Dick Turpin styled regalia and commit audacious acts of thievery in a (then) modern-day England in which there are no other talking animals. As a child, I didn’t question a single part of this. I still don’t – ha! It’s the sort of mad non-logic that makes children’s comics so vibrant.

David Follett: I remember Duck Turpin for sure- the iconic character design and rapscallion personality isn’t one you can forget in a hurry. I grew up watching Dick Turpin on TV so knowing the source material made it feel like I was part of a secret club for inside jokes.

As for what it’s about… Crackpot evil-doer travels in time and meets his hero. Moral of the story: never meet your heroes.

Not knowing the strip myself, I was surprised by the time-travelling aspect of it – was this something that was in the original or something you’ve added in?

RE: This was my addition. I liked the idea of bringing this strange character face to face with his supposed hero, just to see what happened. Ego-collisions always make for amusing stories, especially where villains are concerned.

DF: We added that knowing it would give the strip a heightened sense of nostalgic fun. Plus, who doesn’t want to read about time-travelling ducks with delusions of grandeur?!?

But the core idea of the strip, time travel or not, is that classic Brit comics trope, taking a character from history and twisting it, you can almost see the thought process of Lacey in creating Duck Turpin… who’s a famous character I could do something with? … Dick Turpin. Now, what’s a comedy spin on it… Dick, sounds like Duck… Aha!

RE: Absolutely. That single twist, often a play on words, conjured many a daft and memorable character. I love playing with history as well, so this one really was a great fit!

Dave, the look of Duck Turpin is really special, a subtly updated version of Mike Lacey’s style if I’m right in how I’m seeing it. Was this your intent, or simply that Lacey’s style is one that’s influenced your own?

DF: I wanted to keep the style as closely as possible for this strip because really, it works so well. The design of Duck Turpin himself is pretty classic, and I for one would LOVE to see the character re-imagined for modern kids as a cartoon series along the lines of Danger Mouse, Mickey Mouse and the Harvey Street Gang. I doubt his character design would actually change that much it’s so good!! 

What classic Brit characters would you like to see brought back, either for future Cor!! Buster Specials or as Treasury of British Comics things?

RE: Ah, well, I can’t say much about that as I don’t know what Rebellion have in store! A lot of the most popular characters have certainly been earmarked for future appearances. I enjoy plucking from the fringes. Personally, I’d be happy writing more for either Hit Kid or Duck Turpin – they’re both superb!

Skid Kidd would be great fun. A boy who accidentally gets his hands on a secret weapon disguised as a bike, who spends his days fleeing from (and thwarting) nefarious villains with ridiculous gadgets? What’s not to like?

DF: Bewitched Belinda could be good fun – light heartened magic.

It’s a great thing to see the Cor!! Buster Special out there, bringing these classics to (hopefully) new readers as well as those readers picking it up with nostalgic memories, but what do you think is the way forward for kids comics? Something along the lines of the Cor!! Buster Specials publishing a few issues per year and then delivering a bigger collection, or is it some type of original graphic novel format such as we see with the works of Raina Telgemeier and Dav Pilkey?

RE: It’s both. We need the regular weeklies, the monthlies, and the book-length tales. It’s vital that we avoid tunnel vision. Right now, Dog Man is a success story for young kids and the medium and Telgemeier’s books are superb. Parents and teachers are engaging with both series, but they need to be viewed responsibly. We’re talking about two creators, and for many children they might be the ONLY comic stories they read all year (certainly where Dog Man is concerned).

I want those books on the shelf (I absolutely love them) but I still believe that if we are to retain diversity for our children, longevity for the material and quality, we need more writers and artists finding regular employment within the industry – an industry which continues to shrink. We also need more accessible outlets to allow them to produce great material for a wider demographic.

DF: Good question but difficult to answer. I think bringing the characters to young modern readers, then what you’ve done so far is good.

Going forward, it could be really interesting to try for a longer format like a graphic novel. The trick is to make sure you choose characters whose world actually supports a longer narrative, because nearly all of the characters in your catalogue were created and structured around simple one/two-page gag formats. And to keep the appeal you’d need to perhaps modernise them a bit. Tough call!

Time for a bit of much-needed laughter in your life, with the new Cor!! Buster Special, featuring some of the greatest characters from Britain’s golden age of humour comics!

Buy now in print and digital >>

The Cor!! Buster Easter Special 2020 goes on sale Wednesday 8th April 2020 from all good newsagents, whatever comic shops may still be open (please support them however you can!), and through the 2000 AD and Treasury of British Comics web shops.

Inside, you’ll get the chance to find the funny with Faceache and Frankie Stein, giggle along to Gums, snicker with Sweeney Toddler, and discover the delights of Daisy Jones’ Locket, a wonderful little strip from writer Olivia Hicks and artists Shelli Paroline & Braden Lamb, featuring a classic Brit comics set-up of a girl with an enchanted locket and her own personal Genie to help her out!

Richard Bruton asks the questions…

Olivia, Shelli, Braden, hello to you all, I hope you and yours are all well and keeping safe in these most difficult of times.

SP: Thank you! I have family working in hospitals, so I’m thinking of them a lot right now. Everyone, please stay home with a good comic if you can, for their sake! Richard, Olivia, nice to meet you both. I had so much fun working on this comic and am really proud of the collaboration!

OH: My partner works in an old people’s facility, so every day I stress anew about them, but other than that I am doing ok! Making sure I check in regularly with my family.

Shelli, it’s so nice to meet you! I’m so glad you enjoyed working on it (I was worried there were too many panels!) I haven’t seen the strip yet but I’m so excited to see the art. I was already excited but from the description here, I can’t wait! It sounds absolutely gorgeous.

Olivia, Shelli, first of all, what’s Daisy Jones’ Locket all about here?

OH: The basic gist of the strip is that whatever Daisy wishes for, her genie comically misunderstands. In the new comic, Daisy and her genie accidentally end up on a piratical rampage! Cos what’s better than pirates? Nothing!

It strikes me it’s another one of those classic Brit strips where the character’s powers or particular unique thing are very simple and narrow but, like so many of the strips such as this, the fun is to be had in the ridiculous situations you get to put them in?

OH: Yeah, exactly! It’s a set up that’s ripe for pure chaos, so I just wanted to make it as silly and entertaining as possible.

SP: I love a good ‘Monkey’s Paw’ story – especially if they hinge on language – so I was immediately drawn to the well-meaning but confused genie.

Olivia, you’re new to the Cor!! Buster Specials, but the last thing you wrote for 2000 AD, ‘The Hockey Sticks of Hell’ for the 2018 Sci-Fi Special, was something that, to my mind could easily have fitted into either the Tammy & Jinty or the Cor!! Buster Specials as it shares that old fashioned storytelling sensibility.

But what was it that attracted you to Daisy Jones’ Locket?

OH: I’m a nerd and I like to do research on the strips and channel the heart of the classic comic into the story I want to tell. With Daisy Jones, I was attracted to the strip’s incredible propensity for dad jokes. Just the pun in the title alone was enough to make me want to write it.

Shelli, you and Braden are a couple creating comics, with quite a number of projects to your names as well as you, Shelli, co-directing the Massachusetts Independent Comics Expo (MICE) and you, Braden, providing colours for various multi-million selling Raina Telgemeier graphic novels.

Yet this is your first foray, as far as I can tell, into the world of Brit comics. Assuming you were born and bred Americans, I doubt you’ll have seen many of the classic Brit humour comics contained in the Cor!! Buster Specials. In which case, what was your process for getting the (quite lovely indeed) artwork onto the pages for Daisy Jones’ Locket?

BL: We grew up reading some of their contemporaries. I’m a little familiar with the distinguished competition, Beano. And Buster’s dad, Andy Capp, was in American newspapers.

SP: Thanks so much for the compliment! There were a couple of things I was excited about for this comic. One being the chance to put a new spin on an old favourite. I have some experience working on licensed comics – Muppets, Adventure Time, Garfield – and it’s always nice to play with someone else’s toys while having the freedom to update and redesign. Secondly, THE LARGE FORMAT. I love a big page chock full of story.

It’s noticeable, in a Special full of a myriad of styles and art types, that your work on Daisy Jones’ Locket stands out, a very modern style, very relaxed artwork, incredibly readable, and with a gorgeously minimal colour palette to match.

SP: Yes, it’s a bit of a throwback actually. Braden and I explored a lot of mid-century illustration and design when we drew the graphic novel Making Scents, which is set in the early ’60s. We kind of lean in that direction in our own style – the graphic look, brushy inks, and limited colour palettes.

Hopefully, we’ll see more of these kids specials coming from the Treasury of British Comics. And thinking ahead, what other characters would you love to get your hands on in the future from the massive archive at the Treasury of British Comics?

OH: HIRE A HORROR! Oh my gosh Hire a Horror beyond any doubt. When I was a kid I would read my dad’s old Cor!! Annual and I loved that these horrible rich people would hire monsters for their petty purposes, and the monsters would always punish them. I also loved Gus – everyone seemed to dislike him and be out to get him, but he would always overcome just by being sweet and clever.

And I have some faves from Sally – The Justice of Justine and Catgirl. They’re both teen superhero stories, and I think they’re both really fun. I also have a hankering to do an update of Life’s a Ball for Nadine from Jinty. She’s a black heroine, and as a black woman I’d love to write an updated version of her story.

BL: I’ve long been a fan of the Goon Show! [pauses for audience applause] … [not a sausage] I don’t know who’s allowed to make comics for that property, but I would love to draw those insane characters and absurd situations.

Hmm, there was A Telegoons comic in the old TV Comic from 1963-1964, drawn by Bill Titcombe, but that’s not part of the Treasury of British Comics – although maybe in the future!

It’s a great thing to see the Cor! & Buster Special out there, bringing these classics to (hopefully) new readers as well as those readers picking it up with nostalgic memories. or this sort of comic.

What do you think is the way forward for kids comics? Is it something along the lines of the Cor!! Buster Special publishing a few issues per year and then delivering a bigger collection, or is it some type of original graphic novel format such as we see with Raina Telgemeier and Dav Pilkey?

SP: More of everything! The more different doors there are into the world comics, the more young people will get into them, and start exploring. I want kids tripping over comics everywhere they go!

OH: I agree with Shelli – we need both. I think the published book format is so important, but you can’t find graphic novels really in newsagents. Having floppy comics in the newsagents and the supermarkets is a great way to get even more kids reading.

BL: I totally agree. Longer comics like graphic novels, memoirs, and nonfiction are great for building some important skills like critical thinking and empathy, but sometimes (like right now, in particular), you just need a good, quick, silly gag to brighten your day a little.

April gives us all the chance to flex our funny bones… and boy, do we need the laugh at this most difficult of times! So it’s time for another Cor!! Buster Special, featuring some of the greatest characters from Britain’s golden age of humour comics, all here in brand-new strips from some of the best names in comics today!

Buy now in print and digital >>

Amongst the delights on offer here in this special, you’ll find, amongst others, the return of Grimly Feendish and Sweeney Toddler, more toothless terror with Gums, and of course, the return of Ricky Rubberneck, the boy with the bendable bonce, as Matt Smith and John Lucas delight us with Faceache‘s malleable madness!

The Cor!! Buster Easter Special 2020 goes on sale Wednesday 8th April 2020 from all good newsagents, whatever comic shops may still be open (please support them however you can!), and through the 2000 AD and Treasury of British Comics web shops.

Matt, John, hello. This year, for the Cor!! Buster Easter Special 2020, you’re the team tasked with bringing back the greatest of gurners to the kids of the world… it’s the return of Faceache.

First of all, it’s a character so beloved by so many, what does it mean to you to be the ones continuing his adventures here?

Matt Smith: It’s been great to get the chance to write a Faceache story – he’s a classic archetype of a British comics character in that he’s always getting into scrapes or causing mischief, but his grotesque ability offers up so many imaginative avenues. Conjuring up what horrible contortion he can turn himself into next is always good fun.

John Lucas: Well, as an American, I’m largely ignorant of British kids’ comics. My first exposure to Brit comics came by way of 80’s reprints of 2000 AD, Warrior, and Eagle, which coincided with the handful of 2000 AD alumni breaking into the American market. That work and its artists, Bolland, McMahon, Davis, Gibbons, Leach, Kennedy, McCarthy, Bellamy, Hampson, blew my mind. It really wasn’t until a few years ago, thanks to social media and the Internet, that I was exposed to Ken Reid’s work, and I immediately loved it. I’m a big fan of American Underground comics and Basil Wolverton and it scratched that same grotesque itch. I still haven’t seen a lot of Reid’s work, but I’ve been made aware of his popularity and importance.

So, short answer long, it’s intimidating.

What’s the story this time round?

MS: Since this was going to be an Easter special, I thought I’d have Faceache trying to snaffle as much chocolate as possible. He uses his gurning powers to scare the kids away doing the Easter egg hunt, but Martha (and her Monster Make-up) have other ideas.

JL: It’s the classic love story of a boy and his chocolates. I have a monster sweet tooth… so it really resonated with me.

What do you think it is about this particular character that really resonated with readers and continues to do so?

JL: Kids love the grotesque. They love monsters. They also love the fantasy of getting one over on the adults. And that’s Faceache. Reid’s masterful cartooning doesn’t hurt.

MS: It’s a typically British comics character that can gurn and uglify himself – like Plug in the Bash St Kids, or Pongo Snodgrass, there’s a unique strain of gargoyle-like characters. They’re so visually arresting, and tap into that sense of anarchy and strangeness that pervades UK funnies.

John, you’ve not only got the difficulty of following on from the incredible Ken Reid, but there’s also the problem of following up the decidedly different art from Steve Mannion on Faceache in the Cor!! Buster Special 2019.

JL: Apparently, I love the pressure/intimidation of following monster talent. I’m a big fan of Steve’s, I have all his Bomb and Dawn comics. They’re gorgeous.

What have I done? Can I have it back? I want to redraw my story. I can make it better.

What was your awareness of the character from your childhood?

JL: Choco goose egg.

And if you did know of Faceache, was there any trepidation on your part about taking the strip on here?

JL: There was, but not half as much as now!

What steps did you take in terms of shaping the artwork? Did you deliberately adjust your style to echo something of Ken Reid or Steve Mannion here?

JL: I didn’t try to ape either gent, because that would’ve been pointless, and a complete failure. Aside from the reference I got from editorial, I found as many clean images of Faceache that I could via Google. Looking at that, I filled a couple of pages just doodling him, trying to capture a likeness, while trying to find me in it. Hopefully, I was able to pull it off. I would’ve loved to have had a little more time to live in it and see where it would’ve gone. Maybe, they’ll ask me back to do more.

Have to say, by the way, the art looks fabulous – Love the image of Faceache stuffing himself on the last panel of page 1.

JL: Thanks, bud. It was a gas to work on. American comics don’t present a lot of opportunities for pure cartooning. I have a deep love of that kind of work. I’m really hoping to do more of that in the future.

And John, for those not familiar with your work, tell us a little about yourself and your work.

JL: I’ve been knocking around in comics for a little over 20 years. I’ve done work, as penciler and inker, for pretty much everyone. I even drew a strip for 2000 AD, around 2003 or so, called Valkyries. If people know me, it’s from my arc drawing Deadpool, or for my years inking on titles like X-force, Ultimate X-men, Conan, Fear Agent, etc. Lately, I’ve been working on independent stuff, things I have more of a hand in shaping, most recently After Houdini and Before Houdini, from Insight Comics. I’m currently working on the most me thing I’ve ever done and I’m in hog heaven. I can’t talk about it, yet.

The next thing I have coming out is a short in Slow Death Zero, a comic celebrating the 50th anniversary of legendary underground publisher Last Gasp.

Thinking ahead, what other characters would you love to get your hands on in the future from the massive archive at the Treasury of British Comics?

JL: As I said, I’d love to do more Faceache. I’d love to draw The Spider. I don’t know all that you have in your stable. I’m sure there are characters and properties I’ve never heard of, but would love.

Have you had any feedback from people indicating that we’ve seen new readers picking the comic up?

JL: I’ve shared a panel or two of my Faceache, and American followers have told me they’ve asked their shop to order copies.

What do you hope to see happening with both the Treasury of British Comics reprint collections and these new re-workings of classic characters in the Cor!! Buster Easter Special?

JL: Personally, I’m hoping to be exposed to a whole new world of comics. I love learning about new old comics.

Get ready to for some much-needed giggles and guffaws on 8 April, as you get to chortle through the Cor!! Buster Easter Special! Inside you’ll find classic Brit humour characters given a new spin for today, a perfect antidote for the times we find ourselves in.

Buy now in print and digital >>

The Cor!! Buster Easter Special 2020 goes on sale Wednesday 8th April 2020 from all good newsagents, whatever comic shops may still be open (please support them however you can!), and through the 2000 AD and Treasury of British Comics web shops.

Inside, alongside the likes of Grimly Feendish, Sweeney Toddler, Gums, Faceache, and Kid Kong, you’ll also find the triumphant return of THE dynamic duo, those fearless feathered fighters against crime… it’s Birdman & Chicken! Yes, Trevor Metcalfe’s bird-brained heroes from Krazy comic return at last, courtesy of writer Keith Richardson and artist Edward Whatley.

Evil-doers beware, you’re about to get your feathers ruffled in ‘The Squawk Knight Returns!‘

Keith, you’re both overseeing the entire Cor!! Buster Special as editor and writing the new Birdman & Chicken strip inside the Special.

Can you tell us a little bit about what to expect from these new adventures of Birdman & Chicken here?

Keith Richardson: Birdman and Chicken is a strip which originally ran in a Brit funny book, Krazy and was drawn by Trevor Metcalfe. It was a homage to the great 1960s Batman TV show.

In our story, Birdman and Chicken have gone their separate ways.

Chicken is now working with a (ahem) reformed villain and Birdman is left self-isolating himself from the world of super-heroics. Needless to say the situation changes by the bottom of page one!

Edward really brought it life.

Birdman & Chicken starts as you mean it to go on, with that great DKR homage on the first panel and that title, The Squawk Knight Returns. And through it all, you’ve captured the whole vibe of both the original and the light-hearted Batman pastiche.

Were you both fans of Trevor Metcalfe’s original in late 70s Krazy? Or is this all new to you?

KR: I knew about the strip having read a few Krazy comics back in the day, but it wasn’t a title that I collected on a regular basis. I remembered Birdman and Chicken so the strip definitely left an impression. I am a fan of funny superhero strips though. Bananaman was the first one that made an impression on me. My fave is definitely The Tick though – pure class.

Edward Whatley: Being from the US, I didn’t get to experience the original Birdman & Chicken stories when they were first published, but when Keith asked me to draw their new adventure, I found the original stories online and read the whole series, which I found to be intimidatingly great. It was a perfect blend of action and humor.

Edward, the art for Birdman & Chicken is a near-complete change from the last time we saw you, drawing Captain Crucial vs Fuss Pot. There’s a real sense of Alan Davis running through the pages, the sort of Davis artwork that I remember seeing on his Batman run on Detective Comics back in the day.

Was this a deliberate look for this strip? Looking through your various sites, there’s some art, like Dober Man, which does remind me of Davis, even early Adam Hughes (from his earliest work on such comics as Maze Agency), but then other strips have a completely different look.

EW: I’m an Alan Davis fan from waaaaay back (I also loved his run in Detective Comics) so thanks for the comparison. I try to give every story the look it needs, so for Squawk Knight Returns I was trying to give it the best Bronze Age superhero aesthetic I could muster. I even took Keith’s script and broke it up to fit the 16-panel grid Frank Miller used in Dark Knight Returns so that the storytelling was reminiscent of DKR. From there I tried to make the art look like an 80’s superhero story while staying close enough to the original strip that the characters would still be recognizable.

Oh, and what’s the obsession with Captain Crucial? He’s appeared in both of Edward’s strips so far… is it part of the deal that he only draws a strip if it has Captain Crucial in it?

KR: There’s no obsession. Last year I wanted a crossover between polar-opposite characters and it just so happened that Captain Crucial was chosen. This time around it made sense to have our Superman pastiche interact with our pastiche of Batman. That being said, I do like Captain Crucial so don’t be surprised if he pops up again in the future.

EW: The inclusion of Captain Crucial was all Keith’s idea, but I was glad to have him back as I really enjoyed drawing him in the first Cor!!! Buster Special. His cool hip personalty really lets you draw some interesting facial expressions and poses. In the new special, the hipster Crucial and the stoic wooden Birdman are an interesting combination. I’d love to do a story in which they interact more.

Keith, you’re the man in charge for all of these Specials, whether the recent Action 2020, this Cor!! Buster, or the many we have still to look forward to for the rest of the year.

It’s obviously something close to your heart, but how have the specials gone down with readers, both old and new?

KR: Mixed, but mainly positive. I have had some tremendous feedback for Action 2020 and some reasoned criticisms. There is an element…wizened naysayers so immersed in nostalgia that they are never going to like anything new. At least they like our trades!

It is difficult catering for older readers whilst trying to attract newbies, but hopefully we have got the balance right as far commissioning goes.

Are you still looking at getting the various specials out as annual things, or could we see a more regular schedule for some of them?

KR: I was hoping for maybe a mixture of the two, but obviously with all the turmoil recently, who knows what the future holds?

Finally, what characters from the archives would you both like to see in the next Cor!! Buster Special? Is there any particular one that’s really crying out to be brought back?

EW: I would love the chance to draw a full-fledged Captain Crucial/Birdman team up in the style of the old World’s Finest Superman/Batman comic. In just two panels, Keith wrote a hilarious conversation between the two characters and I’d love to see him develop their tense but funny relationship further.

KR: Wow – quite a few. I would like to bring back Prambo, Kid King, Watford Gap, The Evil Eye, Wiz War, Stone Age Brit, Robot Smith and Sub. Is that enough?!

Oh yes! Thanks to Keith and Edward for answering those questions! You can find Birdman & Chicken in The Cor!! Buster Easter Special 2020 from Wednesday 8th April 2020! You can get it from all good newsagents, whatever comic shops may still be open (please support them however you can!), and through the 2000 AD and Treasury of British Comics web shops.

Once again, April brings the funny (and we really need the funny right now!) with another laugh-filled Cor!! Buster Special. Just like the first one in 2019, the Cor!! Buster Easter Special 2020 promises plenty of hilarity, loads of chuckles, and even the occasional titter and chortle.

Buy now in print and digital >>

Alongside familiar characters from the pages of Cor!!, Buster, Krazy, and Monster Fun, there’s also the chance to catch up with those peculiar porcine pals, Swines Of Anarchy! So, expect roaring motorbikes and rip-roaring laughs with writer Lee Langford and artist Pye Parr

The Cor!! Buster Special 2020 goes on sale Wednesday 8th April 2020 from all good newsagents and comic shops (support them as much as you can everyone!) and from the 2000 AD and Treasury of British Comics web shops.

Lee, Pye – in the first Swines of Anarchy The Feek wrote a tale that he described as something ‘born out of that final joke on the last panel (The hot air baboon gag) – it’s one of those ‘so bad it’s great’ gags’.

What can we expect from the Swines this time around?

Lee Langford: Well, it’s a year on since the first story, and the Swines are preparing to celebrate their first anniversary in their clubhouse when there’s a knock on the door… I don’t want to give too much away, but expect bottled beer, bad guys, bottom burps, bad boxing, big bangs, and many, many more pig-puns!

Pye Parr: There’s no vomit this time, but there is a great fart gag! And some old school Wile E Coyote style dynamite, a big bad wolf, and some general pea-brained stupidity from the pigs.

In a comic with lots of older strips from Cor!! Buster, this is one that owes a lot more to the slightly more risqué Oink!. And you’re certainly having fun with putting more bikes, booze, and fart gags in here. Were both of you fans of Oink! at the time?

LL: When Oink! first reared its trotters in the paper shops of ’86, I was fourteen and somewhat appalled by the look of it! It looked rough and nasty and dangerous, and somehow slightly pornographic, so of course I bought it!

In hindsight, I guess it was like a junior version of Viz in style, but pig-themed, which was its best selling point; and the number of pig-puns seemed to be inexhaustible. Oink! was a naughty new kid on the comic block which didn’t last long, but for those who lived through it, we’ve never forgotten.

So when I was asked to write Swines of Anarchy, all that hidden nostalgia must have swelled to the top and swilled out onto the keyboard.

PP: Not especially. I remember it, and other similar one called… Zit maybe? that I bought a few copies of. It had a strip in it called ‘Bloody Ages Ago’ about cavemen which I thought was pretty funny. Me and my friend John knew where his dad kept his copies of Viz, so we used to sneak a read of those whenever possible and laugh at the swearwords.

Pye, Swines is also different, in that it’s one that doesn’t have that very condensed, multi-panelled look of older strips.

PP: That’s all down to my writers choosing how many panels there are when they write the script! Tbh though I think I’d struggle with the more dense style of storytelling. I have a lot of trouble knowing when to leave things out and being economical with the art, which I think you’d need to be both to keep it readable and spend less than a week on a single page.

Lee, your second strip in the Cor!! Buster Easter Special 2020 is Creature Teacher, a possibly lesser-known strip from Monster Fun, originally drawn by Thomas Williams and here in the new strip by Brett Parson. It’s a classic strip concept, Bash Street Kids with a monster teacher I suppose.

Did you already know the strip and went after it for yourself?

LL: I was already very familiar with the Creature Teacher strip, and a huge fan of its original artist, Tom Williams, and it was a story I actively pitched to Rebellion (albeit in a different story form) so when I was asked to write it as a strip for the special instead I was overjoyed.

What was it that hooked you in and gave you the ideas in here?

LL: First of all, the strip’s concept lends itself to brilliant visuals for an artist to run wild with: a paranormal monster teacher, and a gang of scruffy, gawky, mischievous kids. Secondly, it’s a war of wits between teacher and kids; sometimes the teacher may win, other times the kids may win, so there’s a lot of room to tell stories with a great cast of characters. The school environment is also a traditional British humour comic’s trait (something I was keen to introduce more in the special) which lends itself to any season or occasion; the story in the special focuses on Easter and the many gags you can play on this theme.

Hopefully, we’ll see more of these kids specials coming from The Treasury of British Comics. And thinking ahead, what other characters would you love to get your hands on in the future from the massive archive at The Treasury of British Comics?

PP: I always quite liked The Thirteenth Floor, but I can think of several people who where BORN to draw that strip, and would do a far better job than I.

LL: It’s a very big list, but here are a few: Elephant on the Run (Cheeky Weekly), Barry & Boing! (Knockout), Cheeky (Krazy, Cheeky Weekly), Captain Condor (Lion), Boy Boss (Wow! Whoopee!), Fiends and Neighbours (Cor!!), Bumpkin Billionaires (Whizzer & Chips), Janus Stark (Smash! Valiant), The Super Seven (Knockout), The Robot Maker (Cor!!), The Leopard from Lime Street (Buster), 12½p Buytonic Boy (Krazy), Eagle Eye, Junior Spy (Wham!), The Spider (Valiant), The Pirates (Buster).

You weren’t wrong – that was quite a list!

The Cor!! Buster Specials are all about bringing these classics to (hopefully) new readers as well as those readers picking it up with nostalgic memories. Have you had any feedback from people indicating that we’ve seen new readers picking the comic up?

LL: I’ve actively seen kids browsing the newsagent shelves, and choosing last years’ Cor!! Buster Special to buy, because it stands out amongst the licensed children’s magazines, and unbagged, so it can actually be looked through before purchase; it seems like the traditional format of a comic is so old that it’s now a new looking concept to the kids of today, so no toys and gimmicks works to its advantage.

Also, the younger readers I’ve spoken to within friend and family circles have really enjoyed it, and openly want more of the same; which can lead them back to the original collections, to form a circle of sales, which is great for our corner of the industry.

What do you think is the way forward for kids comics?

LL: I think all forms of graphic storytelling are the way forward for any strip throughout the history of The Treasury of British Comics library. The Cor!! Buster Specials are an annual treat (as are the other specials such as Scream! & Misty, Tammy & Jinty, Action 2020, etc) in their traditional floppy comic home, but the potential to expand the strips to longer narratives such as graphic novels (or illustrated prose books) is an exciting possibility, and we know that this format has proven successful in the past as digest books (Starblazer, Commando, Beano Comic Library, the varied Fleetway Picture Libraries).

On the world bookshelf, British comics and their characters are unique, which I believe is their selling point in gaining a wider popular readership; from slapstick to sci-fi, they’re all witty, clever, dramatic, exciting and anarchic.

PP: I really have no idea, but maybe it needs to come out more often. One or two copies a year is a start, but it needs to be followed up with something more regularly, or else how is anyone going to know it exists or find it again in the future? My guess is most of the kids reading it will have been bought a copy by an older relative who’s aware of it through 2000 AD.

And what about the future for both the Treasury of British Comics reprint collections and these new re-workings of classic characters in the Cor!! Buster Special?

PP: On an entirely self-serving note, I hope they do more of the big high-end collections of classic stories, (and that I get to put them together!) as I like working on them. I’ve designed both The Trigan Empire and Charley’s War collections and I loved spending so much time giving them a treatment they deserve! Especially Trigan Empire when I actually started looking at the quality and quantity of the art. It’s incredible. Love it now.

LL: Please, please continue! A few short years ago, I never thought it would be possible to read the collected adventures of Faceache, The Thirteenth Floor, Bella at the Bar; or experience brand new Sweeny Toddler, Roy of the Rovers, and Hellman of Hammer Force. They were dead characters from a dead era. There are decades of similar characters left to be unearthed in collections, as well as continuing new adventures, and it doesn’t end with comics: animation, television, film and games are also mediums these characters can run around and misbehave in. Also, further volumes of those collections already begun, such as Faceache. So more new and more old, wherever possible.