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Stilly

2000AD & The Meg

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23 hours ago, Don Rosco said:

 

 

Just read the rest of this interview. What a pair of titanic assholes, Jesus! I much prefer the older, mellower Grant Morrison. Been a while but I remember really enjoying this interview with Kevin smith, here's a YouTube link but it's still available in your podcast doofer of choice, episodes 26 & 27:

 

 

Um isn’t that entire interview nothing but a complete pisstake and both of them acting up to what the comics industry and media of the 90’s made them out to be? 

 

Though I think Millar has always been a bit more seriously up his arse and edgelord for his own good. 

 

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Ah they're playing up to it alright, but they definitely mean a lot of what they're saying there. Just young lads, full of attitude. Part of the package I suppose.

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2 hours ago, Don Rosco said:

Ah they're playing up to it alright, but they definitely mean a lot of what they're saying there. Just young lads, full of attitude. Part of the package I suppose.

Yeah I hadn’t read it all when I posted but I agree. 

 

 

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Morrison has conceded that his upstart phase wasn't his greatest idea a number of times now, but in the context of the times it made some sense - when it first kicked off, he and all other British creators were firmly in the shadow of Alan Moore, so going against that orthodoxy was a legitimate tactic, a way of breaking free of the restrictions it imposed. Unfortunately in Moore's case it seems to have resulted in permanent exile, but it was always obviously tongue-in-cheek (and occasionally on point, e.g. comparing the purple prose of Moore's greatest excesses to Pink Floyd - which Morrison deflated by comparing himself to Freddie and the Dreamers).

 

The Summer Offensive stuff came a little later, but I think it was in the same spirit. Mills discusses it in his book, and it's an interesting section. On the face of it, you might think that Morrison and Millar (who I've never had any time for myself) were attempting to reignite the punk spark of 2000AD when it first appeared. But Mills says - and he makes a good argument - that they weren't sticking it to the 'old guard'; they were sticking it to the readers.

 

I still enjoy that interview, though - it was unlike anything else going on at the time (there was still a lot of earnest chin-stroking taking place), and the bits about John Smith and Mystery, Inc. still make me laugh.

 

I recommend Morrison's Supergods for his thoughts on the Alan Moore excommunication - it's a real shame, because Morrison has repeatedly shown a great fondness for Moore's work. He may have taken some light-hearted pot-shots at Watchmen at the time - when it was essentially the White Album of comics - but his Pax Americana in Multiversity is as earnest and considered a tribute as I've seen.

 

Anyhoo, I finished the Mills book and enjoyed it throughout. I did perhaps start to flag a little when he got to the whole Flynn saga, but even that was enlivened by his theories about literal witch-hunts at Tharg Towers. Throughout the book, Mills is always on the side of the creator and, more importantly, I think, the reader. I'm not convinced he could have pulled off all the achievements he claims he was denied, but it's a must-read for anyone who's ever experienced any degree of thrill power.

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I thought he was a touch disingenuous towards Rebellion buying the mag. They pretty much save the whole ship from going down and all Mills can do is complain they're too hands off and don't pay enough to the creators, having complained that the previous owners wouldn't stop meddling and interfering with his baby ... or paying enough to the creators.

And given that the last couple of issue have been chock full of Mills stories I think he might just have an agenda there.

 

Its a good read sure, but its certainly the Mills alone show,

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He seems to run hot and cold on Rebellion, often within the same paragraph. It's a bold move considering they're the current publishers, but it's easy to get the impression that Mills thrives on editorial conflict.

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