I wasn’t aware of this before but Rebellion and Studio Lain have been working together for a while now.
They’ve published translated versions of Absalom by Gordon Rennie and Tiernen Trevallion, Stickleback: England’s Glory by Ian Edginton and D’Israeli, Halo Jones by Alan Moore and Ian Gibson, and a hardback edition of ABC Warriors: Black Hole by Pat Mills, Simon Bisley, and SMS.
Next up are Alan Moore’s Future Shocks and Pat Mills Sláine the King.
Sláine the King is a treasure trove of incredible fantasy art from the likes of Glenn Fabry (Preacher), Mike Collins (Doctor Who), and David Pugh (Dan Dare).
Alan Moore’s Future Shocks collects the best short comic stories by the master of the genre, with art by Steve Dillon (Preacher), Bryan Talbot (Grandville), Ian Gibson (Halo Jones), Alan Davis (Captain Britain), Dave Gibbons (Watchmen), and more.
Jacek Wieckowski from Studio Lain said:
“In recent years, the comic book market here has grown substantially. We’ve started with titles we knew and loved – 2000 AD.
“We first came across 2000 AD’s publications back in the ‘80s, when Poland was still a “People’s Republic”. The real treasures were western publications. Back then, whatever we could get our hands on was worth its weight in gold. These were illegal copies (in whole or in part) published in (also illegal) fanzines, mostly punk and fantasy ones. That’s where we first saw Dredd, Halo Jones, Sláine and ABC Warriors. Even single pages, taken from just one or two Progs, were enough to get the imagination going. Now, it’s an entirely different market, with dozens of active publishing houses.
“We didn’t want to focus on just the classics. There are tons of great titles coming out in Britain all the time, and we’ve particularly enjoyed Absalom, so this was our next pick. There’s just us four – Arek, Jacek, Malgorzata and Damian, and we’re really happy that there’s a growing audience for British comics over here, and we hope that it will keep on growing!”
Ben Smith, head of books and comic books for Rebellion Publishing, said:
“The international appetite for 2000 AD is now bigger than it has been for decades, with interest in the early classics and the newer stories running at the same intensity. It’s a privilege to be able to share this amount of thrill power with a global audience.”