2000 AD is a weekly British science fiction-oriented comic magazine. As a comics anthology it serialises stories in each issue (known as "progs") and was first published by IPC Magazines in 1977, the first issue dated 26 February. Since 2000 it has been published by Rebellion Developments. 2000 AD is most noted for its Judge Dredd stories, and has been contributed to by a number of artists and writers who became renowned in the field internationally, such as Alan Moore, Dave Gibbons, Grant Morrison, Brian Bolland, Mike McMahon, John Wagner, Alan Grant and Garth Ennis. Other series in 2000 AD include Rogue Trooper, Sláine, Strontium Dog, ABC Warriors, Nemesis the Warlock and Nikolai Dante. History 2000 AD was initially published by IPC Magazines. IPC then shifted the title to its Fleetway comics subsidiary, which was sold to Robert Maxwell in 1987 and then to Egmont UK in 1991. Fleetway continued to produce the title until 2000, when it was bought by Rebellion Developments. 1970s Pre-publication In December 1975, Kelvin Gosnell, a sub-editor at IPC Magazines, read an article in the London Evening Standard about a wave of forthcoming science fiction films, and suggested that the company might get on the bandwagon by launching a science fiction comic. IPC publisher John Sanders asked Pat Mills, a freelance writer and editor who had created Battle Picture Weekly and Action, to develop it. Mills brought fellow freelancer John Wagner on board as script adviser and the pair began to develop characters. The then-futuristic name 2000 AD was chosen by John Sanders, as no-one involved expected the comic to last that long. The original logo and overall look of the comic were designed by art assistant Doug Church. Mills' experiences with Battle and Action in particular had taught him that readers responded to his anti-authoritarian attitudes. Wagner, who had written a Dirty Harry-inspired tough cop called One-Eyed Jack for Valiant, saw that readers also responded to authority figures, and developed a character that took the concept to its logical extreme, imagining an ultra-violent lawman patrolling a future New York with the power to arrest, sentence, and if required execute criminals on the spot. This would allow the new comic to be as violent as Action had been – a comic which had generated much controversy – but without attracting criticism, because the violence would be committed by an officer of the law. As Sanders