Episodes include:
Mega-City One, 2144 AD. This vast urban hell on the east coast of post-apocalyptic North America is home to over 180 million citizens, with the irradiated wasteland of the Cursed Earth to the west.
Crime is rampant, and stemming the tide of chaos are the Judges, law-enforcers empowered to dispense instant justice. Toughest of them all is Judge Dredd – he is the Law!
Brit-Cit, 2147 AD. Much like its Mega-City counterpart, Brit-Cit Justice Department has its various divisions, from Tek to plainclothes, Tactical to Psi, and one of its more prickly operatives in the latter is Lillian Storm, who has the ability to talk to the dead, and is always accompanied by her ghostly helpers, the spirits of children that have been with her since a demonic ritual...
Brit-Cit, 2144 AD. A freelance paranormal troubleshooter and exorcist for the Vatican, Devlin Waugh is the world’s foremost supernatural investigator.
Despite becoming a vampire after getting bitten tackling an outbreak in an underwater prison, Devlin continues to enjoy the finer things in life.
Now, after a trip to Hell, he must investigate the curse on his bloodline...
After the events on the Mayflower, in which the Dark Judges were ejected into space, they ended up on the colony world of Dominion, which they proceeded to decimate.
When MegaCity marines were sent in, assisted by survivor Rosco, the planet was destroyed. Then they were taken to Thanatopia, home to death cult, where they were worshipped like gods...
Mega-City One, 2144 AD. Skysurfing is one of the most popular pastimes in the twenty-second century metropolis, a sport that requires a great deal of skill and agility. Young Zane Perks is a particularly gifted surfer, and won a place to be in a movie recreating the famous Supersurf 7. But the film was a scam, and the surfers either died or were arrested. Zane is facing cube-time...
Supplement episodes include:
Robin Smith joined the Nerve Centre in 1978, initially as the art assistant.
In the days before desktop publishing, a title like 2000 AD was assembled by hand before being delivered to the printers – editorial pages were physically laid out and pasted, strip pages were brought in for lettering.
Having an in-house art department meant the comic could maintain a level of design consistency from week to week while also building a rapport with the freelancers, giving them briefs to work from that fitted
with the stylistic choices of the title.
Smith would graduate to art editor over the following six years, during a period considered by most to be the Galaxy’s Greatest’s golden era. The early eighties saw 2000 AD capture the zeitgeist, and with Judge Dredd,
Strontium Dog, Rogue Trooper, Sláine and more firing on all cylinders it became the country’s most exciting and innovative comic. Its covers played no small part in its appeal, and one of Smith’s duties was to lay out
a cover design to pass to an artist, who would work it up into the finished product. This collection of some of his cover layouts show just how integral his ideas were to some of 2000 AD’s most famous and revered covers, and it’s a fascinating glimpse into the creative process
