Comics is a medium used to express ideas through images combined with text or other visual information. Comics takes the form of juxtaposed sequences of panels of images. Textual devices such as speech balloons and onomatopoeia indicate dialogue, sound effects, or other information; the size and arrangement of panels contribute to narrative pacing. Cartooning and similar forms of illustration are the most common image-making means in comics. Common forms include comic strips and gag cartoons, comic books. Since the late 20th century, bound volumes such as graphic novels, comic albums, tankōbon have become common, while online webcomics have proliferated in the 21st century with the advent of the internet; the history of comics has followed different paths in different cultures. Scholars have posited a pre-history as far back as the Lascaux cave paintings in France. By the mid-20th century, comics flourished in the United States, western Europe, Japan; the history of European comics is traced to Rodolphe Töpffer's cartoon strips of the 1830s, but the medium became popular in the 1930s following the success of strips and books such as The Adventures of Tintin.
American comics emerged as a mass medium in the early 20th century with the advent of newspaper comic strips. Histories of Japanese comics and cartooning propose origins as early as the 12th century. Modern comic strips emerged in Japan in the early 20th century, the output of comics magazines and books expanded in the post-World War II era with the popularity of cartoonists such as Osamu Tezuka. Comics has had a lowbrow reputation for much of its history, but towards the end of the 20th century began to find greater acceptance with the public and academics; the term comics is used as a singular noun when it refers to the medium, but becomes plural when referring to particular instances, such as individual strips or comic books. Though the term derives from the humorous work that predominated in early American newspaper comic strips, it has become standard for non-humorous works too. In English, it is common to refer to the comics of different cultures by the terms used in their original languages, such as manga for Japanese comics, or bandes dessinées for French-language comics.
There is no consensus amongst historians on a definition of comics. The increasing cross-pollination of concepts from different comics cultures and eras has only made definition more difficult. Examples of early comics The European and Japanese comics traditions have followed different paths. Europeans have seen their tradition as beginning with the Swiss Rodolphe Töpffer from as early as 1827 and Americans have seen the origin of theirs in Richard F. Outcault's 1890s newspaper strip The Yellow Kid, though many Americans have come to recognize Töpffer's precedence. Japan had a long prehistory of satirical comics leading up to the World War II era; the ukiyo-e artist Hokusai popularized the Japanese term for comics and cartooning, manga, in the early 19th century. In 1930s, Mr. Chester, an early founder of "the Golden Age of Comics", which make the comics flourished after World War II. In the post-war era modern Japanese comics began to flourish when Osamu Tezuka produced a prolific body of work.
Towards the close of the 20th century, these three traditions converged in a trend towards book-length comics: the comic album in Europe, the tankōbon in Japan, the graphic novel in the English-speaking countries. Outside of these genealogies, comics theorists and historians have seen precedents for comics in the Lascaux cave paintings in France, Egyptian hieroglyphs, Trajan's Column in Rome, the 11th-century Norman Bayeux Tapestry, the 1370 bois Protat woodcut, the 15th-century Ars moriendi and block books, Michelangelo's The Last Judgment in the Sistine Chapel, William Hogarth's 18th-century sequential engravings, amongst others. Illustrated humour periodicals were popular in 19th-century Britain, the earliest of, the short-lived The Glasgow Looking Glass in 1825; the most popular was Punch. On occasion the cartoons in these magazines appeared in sequences. American comics developed out of such magazines as Puck and Life; the success of illustrated humour supplements in the New York World and the New York American Outcault's The Yellow Kid, led to the development of newspaper comic strips.
Early Sunday strips were full-page and in colour. Between 1896 and 1901 cartoonists experimented with sequentiality and speech balloons. Shorter, black-and-white daily strips began to appear early in the 20th century, became established in newspapers after the success in 1907 of Bud Fisher's Mutt and Jeff. In Britain, the Amalgamated Press established a popular style of a sequence of images with text beneath them, including Illustrated Chips and Comic Cuts. Humour strips predominated at first, in the 1920s and 1930s strips with continuing stories in genres such as adventure and drama became popular. Thin periodicals called
ABC Warriors is a feature in the UK comic-book series 2000 AD written by Pat Mills. It first appeared in program 119 in 1979 and continues to run as of 2018. Art for the opening episodes was by Kevin O'Neill, Mike McMahon, Brett Ewins, Brendan McCarthy, who among them designed the original seven members of the team. Since they have been illustrated though not by Bryan Talbot, Simon Bisley, SMS, Kevin Walker, Henry Flint and Clint Langley; the A. B. C. Warriors are a team of war robots designed to withstand ` Bacterial' and ` Chemical' warfare, they were built to take part in the long-running Volgan War, which Mills had described in several previous 2000 AD strips, including Invasion! and Ro-Busters. Each robot has a distinctive personality – one programmed by its human creators – but each is more or less able to act with free will. One of the main characters, was known to 2000 AD readers through the story Ro-Busters; the story of the creation of robotic warriors to be used in the Volgan War had been introduced in the Ro-Busters story "Hammerstein's War Memoirs".
Hammerstein is the only ABC Warrior to appear in film, making a cameo appearance in the 1995 Judge Dredd movie. The initial run of stories from progs 119–128 follows Hammerstein towards the end of the Volgan War as he recruits six robots to join him for a special mission – to tame Mars, which had become a futuristic Wild West. In further adventures set much in time, the warriors teamed up with Nemesis the Warlock in his fight against the Termight Empire and to prevent a destabilised Black Hole bypass at the Earth's core destroying the world. Many of these early stories pursue the theme of humans using robots to do jobs that they do not wish to do themselves, the cruel treatment of soldier robots by their human officers; the Warriors find themselves at odds with humans who are exploiting the land and the beings that live on it – typical storylines see the Warriors identifying such evil and delivering poetic justice to the perpetrators. Stories explore ideas of "khaos", the concept of programmed robots being able to discover their true identities.
British comics artists who illustrated ABC Warriors include Kevin O'Neill, Mike McMahon, Brett Ewins, Brendan McCarthy, Carlos Ezquerra, Dave Gibbons, Simon Bisley, Kev Walker and Henry Flint. The members of the Warriors have changed over the course of the stories. Here are the longest-serving members: Hammerstein has been the leader of the Warriors for most of the comic's run, although he has surrendered the position to Deadlock for a number of stories; as told in the story The Black Hole, he was the first successful war robot to be built, this success was due to him being given both emotions and a conscience which allowed him to distinguish between combatants and civilians. In the first run of ABC Warriors stories, he was recruited during the Volgan Wars by the mysterious Colonel Lash to lead the ABC Warriors on Lash's post war project. Overall humanoid in form, his right ` hand' is the combat hammer. Depicted as noble and patriotic, he has always represented the compassionate'heart' of the team, while remaining a formidable warrior.
Deadlock is a follower of the fictional Khaos religion, as such is at odds with the order and duty-fixated Hammerstein, which in the story The Black Hole led him to betray and attempt to kill Hammerstein. Deadlock's powers allow him to astrally project and reform his body if it is damaged or destroyed, he holds the sword X-Caliber, a weapon that allows him to drain the souls of the living to use as psychic'nourishment', he is able to call the undead to his aid. For a time Deadlock led the team in place of Hammerstein, being the only other member to do so; when first shown, Deadlock was the Grand Wizard of the Knights Martial, a group of intelligent robots who had developed psychic and magical abilities and observed the war from the'Watch Tower' space station. They were given special authority to try and execute Volgan war criminals during the conflict, as well as war criminals from their own side. Deadlock led his Knights into active combat, such as to take down and reprogram Volgan robot general Volkhan so he could no longer create robots outside of human control.
The Watch Tower was brought to earth by Volgan artillery during the war, just before Hammerstein recruited Deadlock for the Mars mission. On his eventual return, Deadlock discovered that in his absence the Knights – no longer kept chaste and pure by isolation far above the earth's surface – had been tainted and turned to frivolous pursuits, ignoring the old values of meditation and discipline. A disgusted Deadlock turned his back on the order and went into isolation and studying ancient manuscripts in an attempt to reach the highest level of the astral plane, join with his master Khaos; when he was ready it was Nemesis himself who came for him and they became one, as shown in Nemesis the Warlock Book Four: The Gothic Empire. Centuries passed with no word of his whereabouts, though at some point he established a Kollege of Khaos on the comet Tiamat, he reappeared in the bowels of Terra, to assist older versions of his former comrades, sent back from the future Termight by Nemesis the Warlock, to save the planet from destruction – a mission depicted in the story The Black Hole.
Although his motives were unclear at first, he assisted the Warriors in their battles with the Monad, a creature from the end of time, only to betray them when they reached their goal. It turned out he had been sent by his master Khaos to ensure the destruction of Termight so Kh
Peter Milligan is a British writer known for his work in comic books and television. Milligan, born in London, started his comic career with short stories for 2000 AD in the early 1980s. By 1986, Milligan had his first ongoing strip in 2000AD called "Bad Company", with artists Brett Ewins and Jim McCarthy. "Bad Company" helped Milligan become better known. Concurrently, Milligan and Brendan McCarthy had been working on the anthology title, Strange Days for Eclipse Comics. Strange Days featured three strips, "Paradax", "Freakwave", "Johnny Nemo". Milligan, McCarthy and Ewins produced three issues of this psychedelic comic, it was not a great seller but it picked up a small, loyal readership; the most conventional strip, "Johnny Nemo", had its own series, while the more quirky "Paradax" had a two issue series published by Vortex Comics in 1987. By 1989 Milligan was swapping between strips such as "Bad Company", while still writing material in 2000AD, such as "Hewligan's Haircut" with artist Jamie Hewlett.
Milligan and artist Jim McCarthy created the Steve Ditko-inspired "Bix Barton". This was first run as a black and white strip for its first outing, "Barton's Beasts"; the strip was popular and was a precursor of "Devlin Waugh" and others. In 1989 he had his first work published by DC Comics. Skreemer was a six issue mini series drawn by Brett Ewins, somewhat lost in the midst of the so-called "British Invasion" of American comics of the time. A dark post-apocalyptic gangster story, it did not sell well. Milligan was soon to become a regular writer for DC while still working on his more personal comics in the United Kingdom in comics such as 2000 AD, its spin off titles Crisis and Revolver. Skin was the story of a young thalidomide skinhead in 1970s London, his attempts to deal with his disability and the world in general; the strip was due to feature in Crisis in 1990 but the publishers Fleetway were worried by the controversial subject matter, plus they were concerned with the use of explicit language in the story.
The printers refused to print it, blaming the graphic language and controversial subject matter as a reason. The story remained in limbo until being published as a graphic novel by Tundra Press to little controversy; the 1990s saw the Changing Man for DC Comics. This proved his most successful American comic, came at the end of the first wave of "The British Invasion". With issue No. 33, it became part of the Vertigo imprint. It was cancelled with issue No. 70. A one-off story marking Vertigo's tenth anniversary was published in 2003. Milligan succeeded Grant Morrison on Animal Man for a six-issue run in 1990–1991, became the regular writer of Batman in Detective Comics in the same year. During an editorial meeting, Milligan presented the idea that led to the creation of Azrael, who became Batman during the "Knightfall" crossover. Milligan and artist Duncan Fegredo created Enigma for Disney Comics' planned Touchmark imprint; when the Touchmark line was cancelled, the project moved to DC's newly launched Vertigo line in 1993.
Milligan followed this up with The Extremist with artist Ted McKeever. Both titles dealt with taboo subjects for a mainstream publisher, but were applauded by their handling of these subjects. Milligan and artist Mike Deodato launched the Elektra series for Marvel Comics in November 1996. Milligan spent the remainder of the decade writing one-off specials such as Face and The Eaters, or miniseries like Egypt and Tank Girl The Odyssey, as well as acting as advisory editor to Paul Honeyford's Fighting Figurines. Milligan and Brendan McCarthy's psychedelic comic Rogan Gosh was reprinted in a collected edition by Vertigo in 1996, after being first serialised six years earlier in Revolver. Milligan rounded out the decade by writing a The Human Target four issue miniseries. In 2001, Marvel Comics' new editor-in-chief Joe Quesada began revamping the X-Men family of titles. Milligan and artist Mike Allred took over X-Force with issue No. 116, replaced the book's Rob Liefeld-styled team with a more satirical one: the Orphan, the Anarchist, U-Go Girl, Vivisector, Venus Dee Milo, Dead Girl and Doop.
X-Force was cancelled with issue No. 129, replaced by a new title, X-Statix, with Milligan and Allred continuing as the creative force. Milligan proposed a character based on a resurrected Princess Diana. News spread to the British tabloid newspaper The Daily Mail, which objected; the character was altered, as were the references to the British Royal Family. X-Statix was cancelled with issue No. 26. Milligan's film work includes the screenplay for Pilgrim, he scripted the 2002 adaptation of the Melvin Burgess novel An Angel for May. He wrote issues #166–187 of X-Men, teamed with artist Salvador Larroca, in 2005. Milligan returned to The Human Target with the graphic novel Final Cut, followed by all 21 issues of the subsequent series for Vertigo. In 2006, he wrote the X-Statix Presents: Dead Girl five-issue miniseries for Marvel collaborating with artist Nick Dragotta and co-creator Mike Allred; the following year he wrote an Infinity, Inc. limited series for DC and The Programme for Wildstorm, starring a Soviet Cold War superhero.
Milligan was involved in 2007's Batman crossover, "The Resurrection of Ra's al Ghul", by writing the lead-in Batman Annual No. 26, as well as the parts of the storyline in th
Neil Richard MacKinnon Gaiman is an English author of short fiction, comic books, graphic novels, audio theatre, films. His works include the comic book series The Sandman and novels Stardust, American Gods and The Graveyard Book, he has won numerous awards, including the Hugo and Bram Stoker awards, as well as the Newbery and Carnegie medals. He is the first author to win both the Newbery and the Carnegie medals for the same work, The Graveyard Book. In 2013, The Ocean at the End of the Lane was voted Book of the Year in the British National Book Awards. Gaiman's family is of other Eastern European Jewish origins, his father, David Bernard Gaiman, worked in the same chain of stores. He has two younger sisters and Lizzy. After living for a period in the nearby town of Portchester, where Neil was born in 1960, the Gaimans moved in 1965 to the West Sussex town of East Grinstead, where his parents studied Dianetics at the Scientology centre in the town, his other sister, Lizzy Calcioli, has said, "Most of our social activities were involved with Scientology or our Jewish family.
It would get confusing when people would ask my religion as a kid. I'd say,'I'm a Jewish Scientologist.'" Gaiman says that he is not a Scientologist, that like Judaism, Scientology is his family's religion. About his personal views, Gaiman has stated, "I think. I would not beat the drum for the existence of God in this universe. I don't know, I think there's a 50/50 chance, it doesn't matter to me."Gaiman was able to read at the age of four. He said, "I was a reader. I loved reading. Reading things gave me pleasure. I was good at most subjects in school, not because I had any particular aptitude in them, but because on the first day of school they'd hand out schoolbooks, I'd read them—which would mean that I'd know what was coming up, because I'd read it." When he was about ten years old, he read his way through the works of Dennis Wheatley, where The Ka of Gifford Hillary and The Haunting of Toby Jugg made an impact on him. One work that made a particular impression on him was J. R. R. Tolkien's The Lord of the Rings from his school library, although it only had the first two volumes of the novel.
He took them out and read them. He would win the school English prize and the school reading prize, enabling him to acquire the third volume. For his seventh birthday, Gaiman received, he recalled that "I admired his use of parenthetical statements to the reader, where he would just talk to you... I'd think,'Oh, my gosh, so cool! I want to do that! When I become an author, I want to be able to do things in parentheses.' I liked the power of putting things in brackets." Narnia introduced him to literary awards the 1956 Carnegie Medal won by the concluding volume. When Gaiman won the 2010 Medal himself, the press reported him recalling, "it had to be the most important literary award there was" and observing, "if you can make yourself aged seven happy, you're doing well – it's like writing a letter to yourself aged seven." Lewis Carroll's Alice's Adventures in Wonderland was another childhood favourite, "a favourite forever. Alice was default reading to the point where I knew it by heart." He enjoyed Batman comics as a child.
Gaiman was educated at several Church of England schools, including Fonthill School in East Grinstead, Ardingly College, Whitgift School in Croydon. His father's position as a public relations official of the Church of Scientology was the cause of the seven-year-old Gaiman being blocked from entering a boys' school, forcing him to remain at the school that he had been attending, he lived in East Grinstead for many years, from 1965 to 1980 and again from 1984 to 1987. He met his first wife, Mary McGrath, while she was studying Scientology and living in a house in East Grinstead, owned by his father; the couple were married in 1985 after having Michael. As a child and a teenager, Gaiman read the works of C. S. Lewis, J. R. R. Tolkien, Lewis Carroll, Mary Shelley, Rudyard Kipling, Edgar Allan Poe, Michael Moorcock, Alan Moore, Steve Ditko, Will Eisner, Ursula K. Le Guin, Harlan Ellison, Lord Dunsany and G. K. Chesterton; when he was 19–20 years old, he contacted his favourite science fiction writer, R. A. Lafferty, whom he discovered when he was nine, asked for advice on becoming an author along with a Lafferty pastiche he had written.
The writer sent Gaiman an informative letter back, along with literary advice. Gaiman has said Roger Zelazny was the author who influenced him the most, with this influence seen in Gaiman's literary style and the topics he writes about. Other authors Gaiman says "furnished the inside of my mind and set me to writing" include Moorcock, Samuel R. Delany, Angela Carter, Lafferty and Le Guin. Neil Gaiman has taken inspiration from the folk tales tradition, citing Otta F Swire's book on the legends of the Isle of Skye as his inspiration for The Truth Is a Cave in the Black Mountains. In the early 1980s, Gaiman pursued journalism, conducting interviews and writing book reviews, as a means to learn about the world and to make connections that he hoped would assist h
Abelard Snazz was a fictional comics character, created by Alan Moore, first illustrated by artist Steve Dillon. A super intelligent man, nicknamed "The Man With The Multi-Storey Mind", he appeared on the pages of British magazine 2000 AD. Abelard Snazz known as "the man with the two/multi-story brain", is a genius whose plans do not work quite as intended, his first name was inspired by Moore's half-memory of having read about the philosopher Peter Abelard, but no specific link was implied. Snazz was Alan Moore's first recurring character for 2000 AD, appeared in eight issues between 1980 and 1983. Snazz first appeared in Moore's third Ro-Jaws' Robo Tales strip for 2000 AD, in the two-part story "The Final Solution", in issues #189-190. Moving into the Tharg's Future Shocks for his second storyline in #209, Snazz gained his own short-lived strip in #237.'The Man with the Double-Decker Brain' is a mutant with two brains and two sets of eyes. Convinced - with some accuracy - of his own genius, he acted as a consultant inventor, "offering to handle complex problems with more complicated solutions," and shared many character traits that Moore would return to with the America's Best Comics character Jack B.
Quick in his Tomorrow Stories anthology comic, two decades later. His innovative solutions build upon one another to great comic effect as his initial errors are compounded in ever-more bizarre ways. Joe McCulloch describes the logical progression of two of the strips in the following way: Upon inventing ultra-sophisticated police robots to rid crime, Snazz winds up reducing a planet to a police state, so he invents complementary robot criminals, but innocent citizens are getting caught in the crossfire, so he invents robot civilians to be harmlessly wasted, the robots crowd the humans off the planet. In another scenario, he creates a Virtue-Converter to transmute the unlimited selflessness of the beatific Farbian Crottle-Worms into a lucrative source of energy, at least until his callous attitude toward his beaming work-force engenders Pride within them, counteracting their virtue and spoiling the plan. Snazz is accompanied by his robot sidekick Edwin, whose dialogue tends to revolve around variations on the phrase "You're a genius, Master!", serving to stroke the ego of Snazz spurring him to more unlikely feats of "intelligence", while underscoring the humour for the reader.
Snazz himself is frustrated by Edwin's cloying, servile flattery. Five of the six Abelard Snazz stories end with characters turning against Snazz and leaving him in a cliffhanger-style predicament; the Abelard Snazz saga pales in significance when compared to Moore's better-known 2000 AD work - Skizz, D. R. & Quinch, The Ballad of Halo Jones - but, despite its relative lack of exposure, it formed a cohesive whole, with "a tight continuity, with earlier adventures referenced on, an ending of sorts." The character of Abelard Snazz appeared in three issues before getting his own eponymous strip, which ran for a further five issues. All six stories were written by Alan Moore: Ro-Jaws' Robo Tales: "Final Solution" Tharg's Future Shocks: "The Return of the Two-Storey Brain!" Abelard Snazz: "The Double-Decker Dome Strikes Back" "Halfway to Paradise" "The Multi-Storey Mind Mellows Out!" "Genius is Pain" The first two Abelard Snazz stories were reprinted in Eagle/Quality's 1986 2000 AD vol. 2 reprint comics.
"Final Solution" featured in issue 4, issue 5 reprinted "The Return of the Two-Storey Brain". 2000 A. D. vol. 2 #4 2000 A. D. vol. 2 #5 Moore's short Future Shocks stories were collected in the late 1980s and reprinted in two volumes by Titan Books as Shocking Futures and Twisted Times. All bar one of the Abelard Snazz strips feature in the second of the two volumes, because as Moore explains in the introduction to "Twisted Times", "The Return of the Two-Storey Brain" did not, due to "unintentional plagiarism" on his part from a story by R. A. Lafferty. Twisted Times This story was nonetheless restored when Rebellion published all six Abelard Snazz stories, alongside Moore's other "Future Shocks" in the 2006 trade paperback: The Complete Future Shocks On the planet Twopp, crime is so rampant that the Prime Minister and Commissioner are robbed down to their underwear on their way to visit double-brained, four-eyed “Mutant Supermind” Abelard Snazz, President of Think, Inc; the officials of Twopp ask Snazz for a solution to the planet’s crime problem.
Snazz's answer is to create a race of giant police robots armed and programmed to make unlimited arrests. Snazz is hailed as a genius by Edwin; the police robots are so efficient that they arrest all of the criminals on the planet, continue to fill out their arrest quotient by arresting citizens for minor offences, such as breaking the laws of etiquette, good taste, grammar. With everybody getting arrested, the officials return to Snazz for help. Snazz creates a race of giant criminal robots to keep the robot police busy, thus saving innocent people from being arrested. However, the matched conflict between the robot police and robot criminals creates an all-out war which kills scores
D.R. & Quinch
D. R. & Quinch is a comic strip about two delinquent alien drop-outs. It was created by Alan Moore and Alan Davis for the British weekly comics anthology 2000 AD, it first appeared in 1983. D. R. and Quinch began in 2000 AD as a one-off comic in the Time Twisters series titled “D. R. and Quinch Have Fun On Earth”. The characters were meant to only appear once but they proved so popular that they were given their own semi-regular series; the strip was the tale of how two alien teenage students Waldo "D. R." Dobbs, a scheming criminal mastermind, Ernest Errol Quinch, his muscular purple skinned companion in crime, have influenced Earth's history in various anarchic ways. D. R. and Quinch were inspired by the National Lampoon characters O. C. and Stiggs. The film Animal House has been cited as an influence. Alan Davis took visual inspiration from the cartoon style of Leo Baxendale’s Grimly Feendish. Alan Moore has described D. R. & Quinch as belonging to the tradition of British teenage delinquency comics, comparable to Dennis the Menace except with “a thermonuclear capacity”.
D. R. & Quinch's anarchic humour was popular with its original audience but Alan Moore has expressed discomfort with how it exploits violence for comic effect, claiming that it has no “lasting or redeeming social value”. The series has had a strong reputation, it stands out as something so different when compared to the rest of Moore’s body of work that it is worthy of attention. It has been called the "absurd, delightfully vicious other side of Halo Jones". Writing for Time Douglas Wolk has described it as, for the majority of its run, "one of the funniest comics ever" and Neil Gaiman has credited it with being one of the greatest 2000 AD stories; the pair's last strip, "D. R. and Quinch Go to Hollywood" ran from progs 363 to 367 and is considered to be Moore and Davis's finest D. R. and Quinch story. However, at the time, the Moore/Davis partnership was undergoing strain due to Moore refusing permission for their Captain Britain work to be reprinted; the pair's last D. R. and Quinch work together was in the 2000 AD Sci-Fi Special in 1985.
D. R. and Quinch continued to appear in 2000 AD from progs 525-534 in the form of Agony Aunts with readers sending in letters with personal problems solved by D. R. and Quinch in their own way. One such column was hijacked by D. R.'s girlfriend Crazy Chrissy. In 1986 Titan Books released a collection of all D. R. and Quinch stories from 2000 AD called D. R. and Quinch's Totally Awesome Guide To Life. It became one of Titan's best selling books in their lines of 2000 AD reprints; the book went out of print several times and it has since been collected as The Complete D. R. and Quinch in 2001. In 2018, INDIO comics will release a story, "D. R. & Quinch Hijack Free Comic Book Day", which will be part of a "2000 AD Regened" all-ages comic created for Free Comic Book Day. The strip has been created by Owen Michael Colin Bell. "Time Twisters: D. R. and Quinch Have Fun On Earth" "D. R. and Quinch Go Straight" "D. R. and Quinch Go Girl Crazy" "D. R. and Quinch Get Drafted" "D. R. and Quinch Go to Hollywood" "D. R. and Quinch Get Back to Nature" "D.
R. & Quinch's Incredibly Excruciating Agony Page" "D. R. & Quinch Hijack Free Comic Book Day" There have been three trade paperbacks: D. R. and Quinch's Totally Awesome Guide To Life which contains only the Moore/Davis stories in original black and white The Complete D. R. and Quinch which contains all of the above stories in original black and white D. R. and Quinch - Definitive Edition which contains only the Moore/Davis stories in color The Complete D. R. & Quinch 2000AD Online profile D. R. and Quinch Have Fun On Earth, the first story from issue 317 of 2000AD. The 2000 AD A. B. C. #29: D. R. & Quinch at YouTube
Grant Morrison, MBE is a Scottish comic book writer and playwright. He is known for his nonlinear narratives and countercultural leanings in his runs on titles including DC Comics's Animal Man, Batman, JLA, Action Comics, All-Star Superman, Vertigo's The Invisibles, Fleetway's 2000 AD, he is the current editor-in-chief of Heavy Metal. He is the co-creator of the Syfy TV series Happy! starring Christopher Meloni and Patton Oswalt. Grant Morrison was born in Glasgow, Scotland in 1960, he was educated at Allan Glen's School where his first portfolio of art was rejected by his careers guidance teacher, who encouraged him to work in a bank. His first published works were Gideon Stargrave strips for Near Myths in 1978, one of the first British alternative comics, his work appeared in four of the five issues of Near Myths and he was suitably encouraged to find more comic work. This included a weekly comic strip, Captain Clyde, an unemployed superhero based in Glasgow, for The Govan Press, a local newspaper, plus various issues of DC Thomson's Starblazer, a science fiction version of that company's Commando title.
Morrison spent much of the early 1980s touring and recording with his band The Mixers writing Starblazer for D. C. Thomson and contributing to various UK indie titles. In 1982 he submitted a proposal involving the Justice League of America and Jack Kirby's New Gods entitled Second Coming to DC Comics, but it was not commissioned. After writing The Liberators for Dez Skinn's Warrior in 1985, he started work for Marvel UK the following year. There he wrote a number of comic strips for Doctor Who Magazine, his final one a collaboration with a then-teenage Bryan Hitch, as well as a run on the Zoids strip in Spider-Man and Zoids. 1986 saw publication of Morrison's first of several two- or three-page Future Shocks for 2000AD. Morrison's first continuing serial began in 2000 AD in 1987, when he and Steve Yeowell created Zenith. Morrison's work on Zenith brought him to the attention of DC Comics, they accepted his proposals for Animal Man, a little-known character from DC's past whose most notable recent appearance was a cameo in the Crisis on Infinite Earths limited series, for a 48-page Batman one-shot that would become Arkham Asylum: A Serious House on Serious Earth.
Animal Man put Morrison in line with the so-called "British Invasion" of American comics, along with such writers as Neil Gaiman, Peter Milligan, Jamie Delano and Alan Moore, who had launched the "invasion" with his work on Swamp Thing. After impressing with Animal Man, Morrison was asked to take over Doom Patrol, starting his surreal take on the superhero genre with issue No. 19 in 1989. Morrison's Doom Patrol introduced concepts such as dadaism and the writings of Jorge Luis Borges into his first several issues. DC published Arkham Asylum: A Serious House on Serious Earth in 1989 as a 128-page graphic novel painted by Dave McKean. Comics historian Les Daniels observed in 1995 that "Arkham Asylum was an unprecedented success, selling 182,166 copies in hardcover and another 85,047 in paperback."While working for DC Comics in America, Morrison kept contributing to British indie titles, writing St. Swithin's Day for Trident Comics. St. Swithin's Day's anti-Margaret Thatcher themes proved controversial, provoking a small tabloid press reaction and a complaint from Conservative MP Teddy Taylor.
The controversy continued with the publication of The New Adventures of Hitler in Scottish music and lifestyle magazine Cut in 1989, due to its use of Adolf Hitler as its lead character. The strip was unfinished when Cut folded, was reprinted and completed in Fleetway's 2000 AD spin-off title Crisis. Morrison returned to Batman with the "Gothic" story arc in issues 6–10 of the Batman title Batman: Legends of the Dark Knight; the early 1990s saw Morrison revamping Kid Eternity for DC with artist Duncan Fegredo, Dan Dare, with artist Rian Hughes. Morrison coloured Dare's bright future with Thatcherism in Fleetway's Revolver. In 1991 Morrison wrote Bible John-A Forensic Meditation for Fleetway's Crisis, based on an analysis of possible motivations for the crimes of the serial killer Bible John. Covering similar themes to Alan Moore and Eddie Campbell's From Hell, the work utilised cut-up techniques, a Ouija board and collage rather than conventional panels to tell the story. In 1993 Morrison, fellow Glaswegian comic writer Mark Millar and John Smith were asked to reinvigorate 2000 AD for an eight-week run called "The Summer Offensive".
Morrison wrote Judge Dredd and Really and Truly, co-wrote the controversial Big Dave with Millar. DC Comics launched its Vertigo imprint in 1993, publishing several of Morrison's creator-owned projects, such as the steampunk mini-series Sebastian O and the graphic novel The Mystery Play. 1995 saw the release of Kill Your Boyfriend, with artist Philip Bond published as a Vertigo Voices one-shot. In 1996 Morrison wrote Flex Mentallo, a Doom Patrol spin-off with art by Frank Quitely, returned to DC Universe superheroics with the short-lived Aztek, co-written with Mark Millar. In 1996, Morrison was given the Justice League of America to revamp as JLA, a comic book that gathered the "Big Seven" superheroes of the DC universe into one team; this run returned the title back to best-selling status. Morrison wrote several issues of The Flash with Mark Millar, as well as DC's crossover event of 1998, the four-issue mini-series DC One Million, in addition to plotting many of the multiple crossovers. With the three volumes of the creator-owned The Invisibles, Morrison started his largest and most important work.
The Invisibles combined political, pop- and sub-cultural references. Tapping into pre-millennial tension, the work was influenced