Misc

Digitising My Life in 2018

Life is digital. We’ve known that for a long time. Digital offers lots of convenience, but it brings with it complications. In particular, safe storage.

In 2018 I need to try to fix three or four problems/issues I have coming up.

1. Cloud Storage

As longtime readers might know, I have a couple of Synology NAS drives at home, each with a RAID 0 arrangement with pairs of matched hard drives storing my data. In total they store just over 4TB of data, with a further 1TB of headroom between the two NAS drives.

While I have local copies of music and other documents, space is really taken up by photos (in RAW format) and videos. As more devices move from HD to 4K, those video file sizes aren’t going to be coming down much any time soon.

All of this NAS drive storage is backed up to Amazon Cloud – more of which later.

Beyond this storage, I have a further 4TB drive of older files sitting on a new standalone 4TB external HD. This data is not backed up in the cloud, but is duplicated on a series of older “passport” sized portable HDs.

Amazon introduced its unlimited cloud storage system last year, and I jumped at spending £59.99 for a year’s worth of unlimited storage. I could use an app on my NAS drive to upload files in the background and keep the two in sync. My older NAS drive didn’t really work with this method, but I managed to create a virtual link between the two NAS drives from the drive that did work, and I safely backed up all my files.

But the writing was on the wall for the Amazon deal almost from the start. In the US, where they’d had the initiative for a longer time, Amazon had cancelled it because some users were storing vast quantities of data. It would only be a matter of time before Amazon UK followed suit, and sure enough, I got an email announcing the end of the scheme towards the end of last year.

Because Amazon will continue to store photos free of charge, I would only require 3TB of data for video and other files. Amazon prices that at £237 a year.

But that excludes my other 4TB of data. Even if some of that is also photos, I’m probably looking at 5TB at £400 a year to be fully backed up with Amazon.

So my first job is to find a robust backup provider that can help, ideally coming in at well below £400.

One alternative is to buy an 8TB external hard drive, sync my drives to it (I would estimate that will take at least a week), and then store that drive at work, returning it home fortnightly or monthly to do intermediate syncs.

Another suggestion via Twitter was:

I do kind of like the idea of this. In reality, I’m probably not going to find a friend with unlimited data willing to put my Raspberry Pi/USB HD combo under their stairs or wherever, but it’s definitely an idea. Nextcloud in particular seems interesting application to enable this.

I will continue to explore paid for options and see what I come up with.

2. Scanning Photos

Yes – just about every photo I take these days is digital, and even those shot on film get scans at the time, so I have digital copies of them. But I still have a few thousand (I think) printed photos.

Included amongst this is a historical archive of old Virgin Radio pictures – mostly press photos – saved from the bin around the time that Virgin Radio was rebranded as Absolute Radio.

I’ve been meaning to scan this trove for years. But I’ve always been stuck since although I have a reasonable scanner, it’s only USB 2.0 and doing a decent scan of a photo takes quite some time. Even if you place half a dozen or more photos on the flatbed at the time, it’s a painful process. Invariably I choose to scan at high quality – probably higher than I’ll ever need.

The other option would be to scan negatives – as I usually still have them. But that involves dust removal and other slow to process issues.

One popular alternative is to pay a third party company to do the scanning for me. That involves boxing the photos off, sending them off, and getting a digital download or USB stick back with the results. It’d safely cost me several hundred pounds.

My 2018 solution is to not be quite as fussy about the quality of my scans. Anything really worthwhile I may spend more time with. But in the main, we’re talking about photos that have barely seen the light of day since I took them (I’ve never really had physical photo albums).

I own a Fujitsu Scan Snap iX500 which I bought to scan a large number of documents. It’s really good at this, and I also save things like cycling or walking routes from magazines, or other things that might be useful to hang on to.

Importantly, it has a sheet feeder that means you can scan things pretty quickly. For documents I make searchable PDFs using optical character recognition at the time of the scan.

But I’d not used it for photos because – well – I was concerned about quality issues. But it will scan to 600 dpi, and while that might not be enough to print billboard sized photos from, it should be fine for regular use.

I will report back and let you know the findings.

[Update: Well I did a bit of a test run through with 800 Virgin Radio photos that I, er, acquired when the station rebranded as Absolute Radio, and it was fairly painless. The quality is decent and it didn’t take an inordinate amount of time to do. This should be very achievable.]

3. Digitising Video

I also have something approaching 100 MiniDV video tapes with various footage on them. While I’ve already captured and digitsed all my oldest Hi8 video footage, this MiniDV footage needs capturing. I have a working camera to play the tapes back from, but the only way to capture is in real time. In reality that means a dedicated PC (fortunately I have such a beast), and regularly running tapes through the camera to capture the material.

There are no short cuts for this one that I can see.

4. Supplemental

I found a load of 3.5″ floppy discs the other day. I suspect that there’s little to nothing I really need to keep from them, but I’ll probably pick up a cheap USB drive and run through them anyway. I’ll keep a handful for posterity, but probably ditch the others – especially the numerous covermount discs!

The other job I have is to properly digitise the family’s Super 8 films. Many years ago, I pointed a digital video camera at a projection screen and captured them that way. I have that now converted to mp4. But it’s dreadful quality. Again, third parties can do this, but the costs are high. I’ve been quoted £600-£1000. So at some point, getting a machine like this Reflecta Super 8 scanner might be a good idea. It looks like it’ll create HD video from footage, although a bit of post-production will be required to correct the frame rate.

5. Summary

One thing I’m aware of is that all the scanning and capturing from 2 and 3 will create a bigger haul to store in 1. Such is the way of these things.

I should also note that I still have unripped CDs to capture, old cassettes I might digitise, and never mind my ongoing DVD/BluRay collection just about none of which is in a pure digital format.

I can see format conversion and digitisation being a theme for the rest of my life somehow…

Note: Just because I’ve digitised something, it doesn’t mean I’ll be throwing the originals out. They don’t take an enormous amount of space, and it would be foolish to do so.

Stuck in Draft

If you follow this blog on a regular basis, you’ll know that my publishing can be a bit hit and miss. Certainly there’ll be something about UK radio ratings at least four times a year (RAJAR), and there’ll be some annotated Radio Times – especially at Christmas. But otherwise, it’s as and when I feel like it.

What you may not know is that sometimes I draft articles and then either don’t quite get around to completing them, or forget to hit publish all together. At time of writing, I have 85 pieces in my draft folder. The majority won’t see the light of day, but some probably should. So during the gap between Christmas and New Year, I’m going to publish a few that I’ve been meaning to post, even if they’re not always as timely as they might have been.

On Uber in London

(Note: This mostly comes from something I wrote on Facebook. So I thought I may as well broaden it out and publish it here.)

TFL has decided it will not award an operator licence to Uber from 30 September. In essence, it is saying that Uber must cease operations in London.

TFL says that the reason’s behind this Uber’s approach and a “lack of corporate responsibility in relation to a number of issues which have potential public safety and security implications.”

These include:

  • Its approach to reporting serious criminal offences.
  • Its approach to how medical cetificates are obtained.
  • It’s approach to how Enhanced Disclosure and Barring Service checks are obtained.
  • Its approach to explaining the use of Greyabll in London, software that could be used to block regulatory bodies from gaining full access to the app and prevent officials from undertaking regulatory or law enforcement duties.

In response, Uber released the following:

It speaks of 3.5m Londoner who use the app, and the 40,000 drivers they have on their books. They claim their drivers undergo the same background checks as black cab drivers, and that “Greyball” was never used in the UK “for the purposes cited by TFL.”

However I don’t think their response is quite a point by point rebuttal of TFL’s accusations. The Metropolitan Police, for example, say that Uber has in fact failed to report crimes, and claims that it is more worried about its reputation.

Uber’s response also doesn’t explicitly say that “Greyball” was not used in any shape in the UK.

Safety and regulatory issues aside, a lot of people are disappointed. Not the representatives of black cabs of course. They’re delighted.

But what of the 40,000 drivers. They’re going to lose their jobs are they not?

Well, not exactly. First of all, Uber goes out of its way to say that these are not jobs. Uber drivers are self-employed, and as such, have no real protection or employment rights. That obviously saves Uber a lot of money.

Personally I can see both good and bad sides of Uber. They’re revolutionary, but they’re also incendiary. They undercut everyone else in the market, but they do this by effectively subsidising each trip. They can’t burn cash forever, but if they kill the competition, then they have it to themselves.

Black cabs, on the other hand, are protectionist, and that too is unsustainable in the 21st century. Their pricing is too high (although their prices appear even worse if Uber rides are subsidised), and they seem to believe they have god-given rights to the roads ahead of nearly all other vehicles. (Cf. Objections to just about any and all cycle infrastructure).

But Uber users can relaxe. In reality, nothing will change.

Uber can appeal, and eventually win back its licence. It just needs to make some structural changes. All the things TFL called them out for are correctable, and should be corrected. They have behaved badly – driven from the top by a now ousted CEO.

Issues like reporting not reporting crimes would get any cab-firm banned. Uber should expect no difference. Just because you’re big, it does not give you carte blanche to behave as you like.

Uber will appeal this process for months and/or years; fixing the issues and remaining on London’s streets all the while.

Those 40,000 drivers will mostly carry on driving regardless of outcome. Lyft can fill the void if necessary – or all the local mini-cab firms that many of those drivers came from in the first place. But the structure of their work was no more secure as Uber drivers than someone on a zero hours contract working for Sports Direct.

In any case, there are other criticalities.

The number of private hire vehicles in London has skyrocketed, from 49,400 in 2009/10 to 87,400 in 2016/17. That creates congestion, and also has an impact on London’s abysmal air quality. Even a Toyota Prius burns petrol some of the time. Those volumes are unsustainable, and TFL is no doubt looking at ways to limit those numbers.

And like other groups, Uber’s long-term plan is to do away with human drivers altogether. How long it’ll be before we see self-driving cars on London’s complex street system is anyone’s guess. I’d expect it’ll be later rather than sooner given our medieval road layouts. But it’ll come, and Uber is spending big. And at that point it will revolutionise transport, and indeed, transport ownership. And jobs like driving will be gone forever.

Today We Are 15!

Somewhere over Hertfordshire

Happy Birthday me!

This blog is 15 today. This is probably only of academic interest to most people, but who says blogs don’t have legs?

Over time this blog has morphed and changed a bit. But I still enjoy using it as an outlet for writing about things that interest me. And yes, for showing off photos and videos.

I confess that unlike the tenth anniversary, I’ve not bought the blog a cake and some candles. I’ve not even done some lists. The best I can give you is the photos above and below that were taken locally yesterday.

Chase Farm Hospital

Phones in Cars

From today, increased penalties are applicable in the UK for people who use their phones in the car. Infringers will get 6 points on their licence and a £200 fine. Get caught twice and you’ll find yourself in magistrates’ court facing a fine and a ban. If you’re a new driver, then you risk having your licence revoked.

You can use hands free kits and headsets of course, but it’s illegal to use a handheld phone while driving a car.

As these fines come into place, here’s the latest Seat Leon advert currently airing on TV:

Watch from about 16 seconds.

While I couldn’t swear that the hand we see is that of the sole driver in the car, and there might be an argument over whether he’s “using” the phone, it’s clear that he’s checked the phone to discover it has a dead battery. And from the camera work, the implication is that the car’s moving.

I’m surprised this ad got past the BACC!

It’d have been perfectly simple to edit the ad so that he checks his phone before he pulls away. Yes wireless charging is cool, assuming your phone has it. But this ad is pretty poor and would seem to show illegal behaviour.

It’s pretty clear that lots of people do use phones illegally in their cars, endangering other road users and pedestrians, and that we need to do more to stop it.

So full marks for this campaign and the increased penalties that might make people think a bit more.

And Seat, you may want to rethink your advert.

Misleading Infographics

I find few things more annoying than thoroughly misleading infographics. At the weekend, I was flicking through the latest copy of The New Statesman, and came across an advertorial published by Western Union addressing overseas trade.

The most startling part of the two-page spread was an infographic showing the top UK export destinations.

Now leaving aside the suggestion that WU Edge seems to present itself as the main route for this trade to be taking place, the most startling thing that instantly struck me was the scale of the US compared with everyone else. The size of the circle is significantly larger than any other circle on the page.

But hang on. If the US is worth $66.5bn, and Germany is worth $46.4bn (about 70% of the US), why does the German circle not look like it’s about 70% of the US one?

Let’s find out.

First of all, there are sometimes optical illusions, so I took a ruler out and roughly measured the diameters of the circles on the paper. (All more measurements and calculations from here on are a bit rough, with lots of rounding. However, the principles are correct.)

So the US circle is 28mm across, whereas Germany is 20mm, Switzerland 13mm and so on.

My suspicion is that they’ve sized these circles according to diameter or radius rather than area. Let’s see if I’m correct. Bearing in my mind I’m measuring roughly, here are my results:

If we assume a diameter of 28mm is equivalent to $66.5bn. then you can see that broadly speaking the other widths are in line with the printed numbers on the page give or take the odd billion.

But that’s a wrong way to do things!

If we were being presented with a bar chart, then the length of the bar would be fine. But we have circles here, and if we use radius (or diameter) as our measure, then the area increases exponentially. That’s because, as any schoolboy knows A = Πr2 (or Area = Π x radius2).

To show how this misleads, consider the US circle. The area of that 28mm circle (14mm diameter) is 616mm2.

That implies that $1bn = 9.3mm2.

But if we work back from that, then Germany’s circle should be 23.4mm rather than the 20mm it actually is.

That might seem a small difference, but with a circle it’s suddenly larger as this hand drawn (no compasses available) image shows.

More to the point, if you take a smaller example like China which in the printed chart has a width of 12mm, the calculations show that is should have a width of about 18mm.

An 18mm circle compared with a 12mm circle is significantly larger in appearance.

I’m not saying that anyone politically wanted to make the US look larger than the other countries, but misuse of circles, not taking into account radius, actively makes that impression.

Infographics are great, if they handle data responsibly.

This was a bad example and as a consequence presents a highly misleading picture.

“A portion of the proceeds”

This may seem unfair with respect to charitable giving, but I wonder if there are any more mealy-mouthed phrases than, “A portion of the proceeds”?

You hear this regularly when people are going to be donating something to a charity. The issue is that a “portion” might be anything from $0.01 to 99% of the revenues raised.

Intrinsically, many of us feel good about ourselves when we buy something knowing that there’s a charitable element attached. Do I favour product A over product B because there’s a charitable element with the former? Quite possibly.

And it’s not as though the companies concerned aren’t doing it, at least partially for genuine reasons. Many businesses have specific charities or foundations that they support, occasionally very generously.

But I much prefer an open and honest discussion about what proportion of proceeds are actually going to a charity. If you say a “portion of the proceeds,” I want to know what that means:


  • Is it a set amount per product, and if so what amount is it?

  • Is it a portion of the sale amount of a product? E.g. 50p for each item sold?

  • Is it a portion of the profits of sale?

  • If based on profits, when does something go into profit? (Entertainment products like books, music and films have notoriously opaque accounting practices, meaning that enterprises that look to all the world as profitable, haven’t in fact become profitable in the eyes of the publisher.)

  • Is it a lump sum that’s being donated?

  • Is there a cap to how much can be donated?

  • Is a business or organisation gaining a tax advantage by donating?

Instead of saying, “A portion of the proceeds,” is going to a good cause, I want to know an amount per unit sold, even if it’s capped, or a percentage. Because if you make a big deal about giving 0.05% of your net profits to a particular cause, I’m not going to think quite so highly of you. (Although admittedly, if you’re Apple, that 0.05% of $45.7bn is still a very sizeable $22.9m pa.)

Tube Strike Day

An all-out London tube strike seems to be quite a rare thing these days. While individual lines can be affected, or a percentage of services disrupted, the full network doesn’t go down all that often.

But today is one of those days when nearly the entire network has stopped working.

For many it’s a question of whether or not they actually need to be in the office. “WFH” or Working From Home is much more common these days, with many able to work one or more days away from their workplace on a regular basis. A laptop, mobile and internet connection, and you’re all set.

It certainly felt that many must be doing this when I started my commute on a Great Northern train. Aware that people who might otherwise use a tube may travel over to use the national rail service, I was prepared for crowds. But in fact the carriage felt slightly emptier than usual.

The train did fill up though, and by the time we reached Finsbury Park – where hundreds usually disembark – we were instead joined by locals who were looking for a train onwards to King’s Cross. Ordinarily my trains would head underground from here, by way of Drayton Park, and into Moorgate. But those are all shared Underground stations, and therefore they were shut. So trains were all redirected to King’s Cross.

This had the knock-on effect of our train becoming a bit like planes circling Heathrow in a landing pattern at a busy time, patiently awaiting a slot. There are 12 platforms at King’s Cross (Platforms 1-11 and, of course, Platform 0), and they’re ordinarily pretty full. Adding dozens of local commuter services into the mix isn’t easy to manage.

From King’s Cross it was more chaotic. I calmly unfolded my Brompton and then had to navigate hundreds of nomadic commuters, looking lost in an unfamiliar place, and with their noses buried into Google Maps on their smartphones as they worked out their onwards routes.

If you’re a black cab, mini-cab or Uber driver, you’re on duty today, and the roads outside King’s Cross were jammed up with cabs. A long queue of people snaked back at the taxi rank, but it was the weight of traffic rather than lack of cabs that kept the line stationary.

Crossing the Euston Road from King’s Cross without using the underpass is pretty fraught at the best of times. But with the tube station shut it appeared that the underpass was closed as well. Crossing the road means navigating as many as four sets of traffic lights – all separately. Cars have the priority here, not people. My fellow cyclists and I had to use the combined might of all our bells to stop people walking into the road when the lights turned red for pedestrians and ours green.

Many may have hoped to use hire bikes. TFL have upped the number of docks around King’s Cross of late, but they were all empty when I passed, all the spares kept in a nearby warehouse having been hired out. There were still a few bikes temptingly sat in their docks, but as you got nearer, a tell-tale red light showed that they were damaged in some way and not working.

The back streets of Bloomsbury are well suited to cycling, but wayward pedestrians meant there was a constant requirement to “keep your wits about you” as then Mayor Boris Johnson once said untruly of Elephant and Castle.

Walking whilst simultaneously reading your phone is a bad mix at the best of times.

Cars and other motor traffic were less of a problem, for the most part because they were all stationary. I would imagine that for the most part walking rather than taking a bus or car would have been the better bet today.

Some people still took a few too many risks – either because they didn’t usually cycle, or were impatient and late for work. That doesn’t really excuse playing chicken with a car when you’re on a bike. There’s only ever one winner in that game. And nipping behind a reversing lorry, as I saw several do, isn’t too smart either.

If you had managed to pick up a hire bike, you had one further issue – full docks in central London.

Broadly speaking, bike hire commuters come in from a ring around outer London, and dock their bikes near their workplaces in the middle of town. The reverse then happens in the evening. TFL try to manage this by shifting bikes around and freeing up spaces as necessary, but there’s a natural equilibrium usually reached – just enough central docks to manage the commuters. On a day like today, everything is disrupted. I was seeing people looking lost and confused at full docks, vainly attempting to find somewhere with space. A colleague had to travel to Regent’s Park, a good half an hour away, to find somewhere to dock his bike.

At work, talk was about how people “beat” the strike. Walking, for the most part. Someone mentioned their partner paying 4.8x “Surge pricing” on Uber. I bet most of that trip was spent stationary too.

BBC London posted a video that perhaps showed why driving around London doesn’t work:

The population of London increases by 10,000 every single month.

(It’s at 8.7m up 469,000 in four years.)

That explains why we need increased and greater diversity in our transport. Roads get clogged instantly with motor traffic, so that doesn’t work. Cycle lanes do work, and there’s scope for a massive increase in the number of cyclists on the roads. But we could also do with more secure parking facilities.

That’s also why Crossrail is essential, and we need to get a move on with Crossrail 2.

It also means that petty squabbles over who runs London’s transport are ridiculous. One organisation – TFL – needs to be in charge of as much of it as possible, whatever our cyclist-hitting Transport Secretary thinks.

Days like today remind Londoners how much transport is on something of a knife edge in keeping the city working.

Editorial Note

Looking at my WordPress dashboard, I see that I have over 100 posts in draft form – saved, but unpublished.

This is clearly ridiculous.

Now it’s true that many of them are only very slightly sketched out, but others are full pieces that I, for whatever reason, never quite got around to publishing. So I’m going to have a bit of a clear out. That may well mean that I higher than usual volume of stuff is going to appear here over the coming days and weeks.

Either that, or I will lose interest in the task at hand altogether…

Future Shock: The Story of 2000AD

The comic, 2000AD, was launched in 1977 when I was 7 years old. While I read a fair few comics when I was young, I can’t say that I was reading 2000AD from the very start. It was more about The Beano at that time, which I’d begin to buy with my pocket money on a semi-regular basis. I remember that the 1978 Beano Book was the first of their annuals that I owned. It would become very well thumbed, as would be the Summer Specials. Otherwise it might occasionally be the Dandy, or perhaps Whizzer & Chips.

As I got a little older, I progressed to Warlord. Quite why a comic full of Second World War stories was relatively popular in the late seventies isn’t entirely obvious to me now. But as kids we’d eat up Bank Holiday screenings of films like The Guns of Navarone, Where Eagles Dare and The Great Escape. At primary school we’d re-enact scenes from these films, throwing dirt around to create dust cloud “explosions.”

(Warlord, Wikipedia tells me, lasted all the way through until 1986. But perhaps more staggering is the ongoing publication of its DC Thomson stablemate Commando. These comics, in compact form, continue tell tales of derring-do from the second war, each book having a self-contained story.

While I understand that there’s a certain kitsch appeal, which was probably why some compilation books were published a few years ago, and could be seen in Waterstones up and down the country, I can only think that it’s readership now is fairly elderly. It reminds me that Bauer Media had to close down a magazine called Der Landser while it was completing the purchase of Absolute Radio in 2013. That magazine seemed to be aimed at an elderly audience who were proud of their military heritage, but were not – the publisher argued – Nazi sympathisers.

As of 2013, Commando was still selling nearly 10,000 copies a month.

And today DC Thomson is still publishing 4 issues a fortnight, and you can get digital downloads too!)

But back to 2000AD. I’d probably read a few copies of it here and there. My brother had started reading the relaunched Eagle. But sometime around 1984 I started to get into a bit more purposefully. I know it was around this time because the second part of a fantastic story – The Ballad of Halo Jones – was just starting to be published.

I’d missed part one, so I started to hunt it out. I made my first visits to Forbidden Planet, which was then hidden away off Denmark Street.

I started to catch up on Judge Dredd too. Because some of the older Dredd stories were being republished in US editions, I was picking up some of those and reading up on key stories like The Cursed Earth, the Judge Child, and The Apocalypse War. I queued to get a copy of the first compilation of Halo Jones stories signed by writer Alan Moore and artist Ian Gibson, and I had a Halo Jones T-shirt.

By now I was buying plastic bags to put my comics in, because I knew that was the way that you needed to keep your comics pristine.

In the wider realm, I was playing role playing games with my friends, and I bought a copy of the Judge Dredd roleplaying game. You could buy metal figures (I note from my nephew’s models, that today it’s more likely that you’ll be painting plastic). I fashioned polystyrene boxes, found around the back of the local Currys and Laskys, into a section of Mega-City One. I bought the ZX Spectrum Judge Dredd game – although I don’t remember it as being any good.

2000AD got me into comics.

I was more of a British comic reader than anything. But I was aware that changes were afoot. I started to pick up copies of Swamp Thing because I knew Alan Moore was writing it. Then came things like The Dark Knight Returns, Hellblazer and Watchmen. I started to learn who Neil Gaiman was, and would look for Vertigo titles. It was a good time for comics. Forbidden Planet had moved to larger premises and I was visiting it and other comic shops in London more frequently.

My comic habit only really slowed down when I reached university. With less access to comics, and plenty of other things to do, it took a back seat. From then on I became an occasional comic reader – always wanting to know what was happening and who were the big names. But the choice was vast.

And that about sums up my comic reading today. I’ll pick up a graphic novel now and again, or a short run series. I still enjoy a wander around Forbidden Planet (still in roughly the same part of London, but in much bigger premises at the top of Shaftesbury Avenue). And I’m pleased to see that 2000AD still survives even though I’ve not read a copy for quite a while.

This is all a very long introduction to the fact that I’ve recently watched Future Shock: The Story of 2000AD. I’d known that this was coming since over the past 18 months or more, I’ve had a steady stream of emails alerting me to the various interviews that the producers had been carrying out. They really had trawled wide and deep for this definitive history of the comic.

I knew a little of the fact that Action comic had preceded it, and had ended up being shut down after it had created a scandal, but beyond that my knowledge came from years of reading the comic on and off. The documentary details how the comic was created and the lack of support they had from the publishers almost from the start, since this was doing things that other comics weren’t.

In many respects it changed the mold of British comics. Aside from the smart way it could talk to both a younger audience by giving them action and explosions, it also held an older audience with wry takes on the politics of the day. The documentary pretty accurately reflects that.

Some of the stories in the documentary, I vaguely knew. It was certainly unusual that 2000AD credited its writers and artists. But as the film shows, this did mean that the top talent could be poached relatively easily – especially when DC Comics came calling, literally setting up shop in a hotel suite and inviting everyone to come along to them. Of course those same people then led the US comic invasion that completely shook up US comics at the time.

Then there was the fact that lack of intellectual property began to become a much bigger issue. The single most painful part of the film for me was when Neil Gaiman related how Alan Moore had explained to him where future Halo Jones would take the series. The character’s entire life. But he didn’t own the rights – he’d signed these over to IPC (at the time) and if anyone profited from the characters it was the publishers. Moore, of course, had lots of run-ins with comic publishers, notably including DC Comics from whom he refuses to even cash cheques for films like V for Vendetta and Watchmen, when they got made into films. Interestingly, it’s not totally clear that even today, if you create a new story for 2000AD, that they don’t own the rights. More than one contributor said that they hold back their best stuff for a publisher like Image who will let them keep more ownership.

Alan Moore, incidentally, is probably the main person missing from the film which is a shame as he’s such an entertaining character. But this is a film about Pat Mills really – he holds the entire structure of the piece together having been there at the very start, and still contributing to this day.

If there’s one part of the story which is covered – although glossed over quite quickly – it was the late nineties. I’d certainly lost track of the comic at that time, but there seemed to have been an attempt to replicate “lads mags” in comic form. The film is fairly honest about this period, including significant contributions from then editor Dave Bishop, who was not universally liked.

In 2000, the title was sold by its then owners Fleetway, to Rebellion. Primarily a video games developer, they are portrayed – probably quite fairly – as the first owner of the title who really understood what it stood for. It certainly seems to have prospered in that time, and current editor Matt Smith has been editing the title since 2002 – a remarkable period of stability.

The documentary shows how the title continues to develop new writers. Indeed it makes the very valid point that aside from 2000AD, every other comic on UK bookshelves today are franchises meaning that there’s no room left for original characters.

Perhaps the one part of story that seems to be missing from the documentary is the effect it had on the wider comic scene in the UK. There was a period where other titles like Deadline (home of Tank Girl), Crisis and Revolver were being published. While none of these lasted that long, many of the same writers could found working for these titles too. It was an exciting period for British comics.

Overall the documentary really is very good and very even handed. It’s not all wonderful, and it leaves you thinking that perhaps some of the participants aren’t so enamoured of some of the other ones. But the film makes a strong case for 2000AD having strongly influenced vast swathes of what’s come since, up to and including the Marvel Cinematic Universe.

And I came away thinking, I really do need to pick up a few recent copies of 2000AD as the comic reaches its 40th anniversary in 2017.

And if you’ve never read it, then I do recommend picking up a copy of The Ballad of Halo Jones, either in print or digitally. If you’ve ever been intrigued by the favicon I use for this site, it’ll at least explain my “inspiration.”