Archive for the ‘Art’ Category

Opening Scene of Valerian and the City of a Thousand Planets

January 22, 2018

And now for something a bit positive and optimistic, before I start blogging about the grim, serious stuff later. I found the opening scene to last year’s Luc Besson SF film, Valerian and the City of a Thousand Planets over on YouTube. Besson was the director of the SF epic, The Fifth Element way back in the 1990s. This clip from Valerian shows the development of something, which looks remarkably like the International Space Station, into a massive, orbital space complex. I like it because it shows a succession of human nations coming through the airlocks, followed by a variety of alien races, to greet each other in peace and friendship. The musical backing is David Bowie’s ‘Space Oddity’, appropriately enough, though the scenes of people and aliens shaking hands in welcome reminds me more of the line from Louis Armstrong’s ‘Wonderful World’: ‘I see friends shakin’ hands, sayin’ ‘How do you do?” This was used at the end of the BBC TV version of the Hitch-Hiker’s Guide to the Galaxy back in the 1980s.

As for people meeting and becoming friends with alien races, that was one of the elements that made Star Trek so popular. It showed that, despite our current problems, humanity would survive, flourish and go on to explore the universe. And that meant all humanity, with people of different races, Black, Asian, and Russians from the other side of the-then current ideological divide, and aliens, like Spock. Gene Roddenberry in his vision for the show stated that he didn’t want there to be an alien race we couldn’t possible deal with. And so in The Next Generation they created the Borg, which originally humanity couldn’t deal with. You either fought them, ran away, or were assimilated.

Alien invasion, or some other insidious threat from beyond the stars is a staple of SF, and has been ever since H.G. Wells’ War of the Worlds. But there’s another aspect to humanity’s fascination with aliens which counterbalances this. That apart from enemies, we will also make new friends. It’s the driving psychological motive behind the various UFO contactee encounters in the 1950s, when people claimed that they’d been taken aboard alien spacecraft by benevolent space brothers, to be given a message of peace and cosmic brotherhood. And it’s also why there have been any number of SF stories and paintings set in space bars, like the Cantina sequence in Star Wars.

And in this clip here, I particularly like the bit where the human shaking hands with one of the aliens is left with slime on his hand. It’s just a bit gross, but it is funny.

I wanted to see Valerian and the City of a Thousand Planets when it came out last year, but unfortunately circumstances got in the way. I heard that it flopped. One reason for this, apparently, was because it came from a French comic strip, which no-one in America had ever heard of. I’m not sure if that’s the reason, and sometimes perfectly good films fall flat at the box office for no discernible reason at all, except that they didn’t appeal at that moment. Anyway, I want to get hold of it on DVD so that I can judge for myself whether it’s any good, rather than just take what the critics said.

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The Painter of Cyberspace: The Art of Jurgen Ziewe

January 20, 2018

Earlier this week there was a piece in the press announcing that the Turner Prize Committee had decided to go public early about which artworks and artist they were considering. I have strong feeling, like many people, about the Turner Prize. Many of the works seem simply designed to shock, with nothing more substantial underneath. Those that aren’t, are simply banal. It’s highbrow kitsch, which says nothing while claiming that it actually does. And I think modern fine art has reached a dead end. it’s anti-art, which constantly raves about Duchamps’ urinal nailed to a piece of canvas. Duchamps did it to make the point that whatever the artist claimed to be art, was art. It’s over a century old, and the joke’s well past it’s sell-by date. It was always an adolescent, childish prank anyway. To some of these art experts, it’s a hallowed artistic statement that must not be blasphemed in any way. You remember those Chinese guys, who were arrested when they jumped up and down on Tracey Emin’s ‘My Bed’? The same two were planning to urinate in Duchamps’ urinal. Which I feel is in keeping with the piece itself, but the mere thought horrified the keepers of official art.

The real artistic boundaries are being pushed, in my opinion, not by the fine artists, or at least, not by those fine artists currently pushed by the very small clique that defines what ‘official’ art is, like Nicholas Serota. Rather, they’re being pushed by commercial artists and film makers, often inspired by the worlds of Fantasy and SF, using computer graphics. One of the foremost of these, in my opinion, is the German artist Jurgen Ziewe. Ziewe lives over here, and has an English wife. And we are fortunate to have such a talented artist. I do wonder what will happen to other talented EU migrants like him after Brexit, who can’t stay in this country because they aren’t married. We’re going to lose a lot of very talented people.

Ziewe uses computer graphics, including Virtual models of humans and objects, and fractals, to create prismatic, Virtual, interior worlds full of robots, strange creatures, synthetic humans, fairies, wizards, witches, priestesses and temples. He started out making cards showing dolphins under cosmic skies. He’s a very spiritual guy, in a New Age-y sense, and his work is inspired by concepts from Theosophy and C.G. Jung. Here’s some of the picture from Nigel Suckling’s book about his art, New Territories: The Computer Visions of Jurgen Ziewe (Paper Tiger, 1997).

The Fairy Queen

Picnic In Cyberspace

Journey of a Virtual Traveller

Apart from Ziewe, other artists working in film and television have also been using the concepts of computer graphics. One of the features of the BBC TV version of the Hitch-Hiker’s Guide to the Galaxy that most impressed me in the late ’70s or early 1980s were the, ahem, computer graphics for the pieces of information provided by the Book. In fact, they were hand drawn, because the computers at the time simply weren’t up to the task of creating pictures that detailed. But the art produced as ‘computer graphics’, was superb, and those, who watched the show were deeply impressed. As an example, here’s a piece from YouTube of the Book describing Vogon poetry.

Further examples can be seen in pop videos. Like this one from the American electro-pop band, Information Society, which uses scrolling alphanumerics to suggest passage through cyberspace in a computer game, made for their track, ‘The Prize’.

Other artistic explorations of medically or cybernetically enhanced vision can be seen in the films Pitch Black and The Chronicles of Riddick and the last of trilogy, entitled simply Riddick. Richard Riddick, the anti-hero in these movies, is a violent criminal, a murderer, who somehow ends up doing the right thing. While in slam for his crimes, he paid the prison doctor 20 menthol cigarettes to have his eyes surgically altered, ‘polished’, so that he could see in the dark. In these flicks, we so bits of the action through his eyes. The scene in Pitch Black, where he sees the predatory aliens pouring out of their underground lairs after the marooned crew of a crashed colony spacecraft, is awesomely beautiful. This is the trailer for the movie.

And this is the trailer for The Chronicles of Riddick.

In this movie, the Necromongers use visioners, cybernetically adapted humans, to seek and visually examine areas that are difficult or impossible for normal human eyes to see clearly. And the brief scenes, in which the audience is shown what they see, are also stunning.

But this is low, commercial art, and so unlikely to find any praise by the High Art people, no matter how popular it is, or how technically sophisticated and visually inspired. The best comment on this kind of artistic snobbery comes from the American SF/Fantasy artist and book illustrator, Bob Eggleton.

Being a commercial artist is itself a kind of pigeonhole in the art world, but it is not a label that troubles him. ‘Commercialism for the sake of commercialism is not a sin. What I hate is commercialism packaged as fine art. That’s what Abstract Expressionism about, you’re buying into a trend much of the time. There’s nothing wrong with any kind of art, provided the artist believes in what they’re doing.’

From Nigel Suckling, with introduction by Gregory Benford, Alien Horizons: The Fantastic Art of Bob Eggleton (Paper Tiger, 1995) page 83.

And the YBAs, such as Damian Hirst, Tracey Emin and Chris Offili, were very commercial, as was Salvador Dali long before them. This was pointed out on a programme on the great surrealist on Radio 4 several years ago by Malcolm MacLaren, the genius – well, he obviously thought he was – behind the Sex Pistols.

And here’s Eggleton’s picture of Great Cthulhu, painted for Weird Tales magazine, for all the Lovecraft fans out there.

I realised I’ve digressed a little way from the central topic of this post, the fantastic computer art of Jurgen Ziewe. But these are related issues, showing the way computers, robots, space and high technology – the stuff of Science Fiction – is pushing artistic boundaries in ways that the official fine art of Conceptualism really isn’t doing. I’m also exploring a few ideas here for a much longer article, or series of articles, I intend to do on this sometime.

Flying Saucer Art from 60s and 70s Comics

January 20, 2018

More fun SF art. This selection of covers for UFO and Flying Saucer comics, most of which seem to have been published by Gold Key, comes from the book Saucer Attack by Eric and Leif Nesheim, published by General Publishing Press in 1997. Subtitle, ‘Popular Culture in the Age of flying Saucers’, the book looks at the books, films, toys, TV series, hymns, pulp magazine short stories, comics, and, of course, the Mars Attacks bubblegum cards, which appeared following Kenneth Arnold’s sighting in 1947 of the unknown aircraft, which flew ‘like saucers skipped across water’. The SF pulp published in the 1920s to early 40s also depict strange, saucer-like alien and human spaceships, showing the pop cultural influences on the UFO phenomenon and its imagery as it would develop later.

The text at the bottom of the page reads

Sci-Fi and UFO storylines struggled as the -60s wore on. Some managed to survive- like UFO Flying Saucers, which lasted into the mid-70s with several reprint issues that featured earlier stories.

The scanned image on this page is probably too small for most of our to read comfortably. To make it larger, click on the image.

SF Art: Planet of the Knob Heads

January 15, 2018

There are some stories whose titles alone bring joy and pleasure. One of these is the Jack Vance fantasy novel, Servants of the Wankh, which for some strange reason had another title when it was published over here in Blighty. Another is ‘Planet of the Knob Heads’, which a friend told me about years ago as an example of a story with an unintentionally hilarious title. I found it a little while ago in one of the pulp magazines in the SF section of one of the secondhand bookshops in Cheltenham. Unfortunately, when I came back to look for it later, that section had moved around and the stock had grown, so I’d lost it. But it’s there somewhere, so who knows, I might be able to find it again sometime in the future.

This is the art for it, which I found at the Sciencefictiongallery site over on Tumblr.

SF Art: Robot Evolution

January 14, 2018

I found this piece of SF art over at the sciencefictiongallery tumblr site. It looks like it’s the cover art to one of John Sladek’s two ‘Roderick’ books, Roderick, or The Education of a Young Machine, 1980, and its sequel, Roderick at Random, or Further Education of a Young Machine, both published by Granada in the UK.

It’s clearly based on all the illustrations showing the evolution of humanity from apes, through Australopithecus, Homo Erectus, the Neanderthals and finally to Cro Magnon people and ourselves. But instead of humans, they’re ape-like robots. At the moment scientists are busy trying to copy the behaviour and abilities of insects as a way of solving some of the complexities involved in robotic engineering, quite apart from the bipedal robots that have already been created. But this looks like it should be the way robots are evolving, rather than starting with machines modelled on ants and other insects.

Roger Dean and Nemesis the Warlock’s Gooney Birds

January 11, 2018

Long time readers of 2000 AD may remember the Gooney Birds. These were vast, predatory metal birds evolved from Concorde, that appeared in the second Nemesis the Warlock story, ‘Killerwatt’, back in Prog 178, when one of them attacked a train carrying the strip’s villain, Torquemada, as it passed overland.

Looking through the Sciencefictiongallery tumblr site, which shows pieces of classic and not so classic SF art, I came across this similar piccie by Roger Dean on the page for the 5th February 2014.

It isn’t quite the same thing. Dean’s picture is of a Blackbird spy plane, rather than Concorde, but the idea’s the same. The crowd at 2000 AD took some of their inspiration from the popular culture around them, including pop music. It was why the revived Dan Dare was made to look rather like Ziggy Stardust. The two earliest Nemesis the Warlock stories, ‘Terror Tube’ and ‘Killerwatt’, were published as part of a ‘Comic Rock’ series of strips, which were explicitly inspired by the pop music of the time. In the case of ‘Terror Tube’, this was the Jam’s ‘Going Underground’. In fact, the story had its origin in Mills and O’Neill wishing to stick two fingers up to the comic’s editor, Kevin Gosnell. Gosnell had censored a chase scene in the ‘Robusters’ strip on the grounds that it was too long. So when he was away on holiday, Mills and O’Neill created a story, ‘Terror Tube’, that was just one long chase. As the strip itself acknowledged in its titles, the second Nemesis story, ‘Killerwatt’, was suggested by the album ‘Killerwatts’.

Roger Dean is known for the superb artwork he did for various record sleeves. So you’re left wondering whether Dean’s depiction of the Blackbird spy plane as swooping bird of prey served as the inspiration for the Gooney Birds in the Nemesis the Warlock story, or if it was just an idea that was going around at the time, and which different artists had independently. Either way, ‘Killerwatt’ and its predecessor, ‘Terror Tube’, blew my teenage mind with their depiction of a ravaged, far-future Earth, populated by weird creatures and under the malign heel of Torquemada and Terminators. They provided a solid basis for the Nemesis the Warlock strip proper when this later appeared, and helped to make it one of 2000 AD’s most popular strips.

Torquemada: 2000 AD’s ‘Ultimate Fascist’ and a Prediction of the Rise of the Brextremists, Kippers and Trump

December 31, 2017

As you’ve probably gather from reading my previous posts about art robot Kevin O’Neill, I was and am a big fan of the ‘Nemesis the Warlock’ strip that ran in 2000 AD from 1980 through the 1990s. The villain of the piece was Torquemada, the former chief of the Tube police on an Earth thousands of years in the future. Outraged by the interbreeding between humans and their alien subjects, Torquemada overthrew the last, debauched emperor, founding an order of viciously genocidal knights, the Terminators. The construction of the linked White and Black Hole bypasses, giving Earth instant access to the Galaxy, also created terrible temporal catastrophes, resulting in creatures from even further into the future appearing in the present. These included the terrible gooney birds, giant predatory Concorde aircraft, which fed on the trains and anything else that travelled over Earth’s devastated surface. Torquemada and his Terminators blamed these disasters on aliens, killed human scientists and engineers, leading humanity into a new Dark Age. The Human race retreated underground, where the Terminators told them they would be safe from the terrible aliens threatening them. Terra was renamed ‘Termight’ – ‘Mighty Terra’, though Mills also gave it the name because the underground society resembled a massive termites’ nest. And Torquemada set up a corrupt, Fascistic, quasi-feudal society, which also included Orwellian elements from the classic 1984.

Pitched against Torquemada was the hero, Nemesis, an alien warlock. Horned and hooved, with magical powers, he resembled the Devil, and at one point, in conversation with his mad, cruel uncle Baal, he explicitly states that his powers are satanic. Nemesis is also the head of Credo, a human resistance movement dedicated to overthrowing Torquemada and restoring freedom and interspecies tolerance to Earth. Also resisting humanity’s aggressive expansion and extermination of other intelligent races were the Cabal, an alliance of various alien worlds.

The strip was possibly one of the weirdest 2000 AD had run, and was too weird for editor Kevin Gosnell, who hated it. But it was massively popular, at one point even rivalling the mighty Judge Dredd. Torquemada became British comics’ most popular villain, winning that category in the Eagle Award four years in a row. He was so popular that in the end I heard that they stopped submitting or accepting the character, in order to let others have a chance.

Torquemada speaks on the radio, in the strip that launched the character and Nemesis, ‘Going Underground’.

Looking back, I have mixed feelings about the strip. I still like it, but I’m not entirely comfortable with a hero, who has explicitly satanic characteristics, nor the villains, who are very much in the style of medieval Christian crusaders. Mills and O’Neill had had the misfortune to suffer brutal Roman Catholic education, and Mills states that where he grew up, everyone involved in the Roman Catholic establishment was corrupt. Everyone. They poured everything they hated about the bigotry and cruelty they had seen and experienced into the strip.

From a historians’ perspective, it’s not actually fair on the Roman Catholic church. Yes, medieval Christianity persecuted Jews, heretics and witches, and warred against Islam. But the great age of witch-hunting was in the 17th century, and cut across faith boundaries. Prof. Ronald Hutton, a History lecturer at Bristol Uni, who has studied the history of witchcraft and its modern revival – see his book Triumph of the Moon – has pointed out that the German Protestant states killed more witches than the Roman Catholics. And those accused of witchcraft in Italy had far better legal protection in the 16th century than those in Henry VIII’s England. You had a right to a lawyer and proper legal representation. If you couldn’t afford one, the court would appoint one for you. Torture was either outlawed, or very strictly regulated. There was a period of 50 years when the Holy Office was actually shut, because there were so few heretics and witches to hunt down.

As for the equation between medieval Roman Catholicism and Fascism, a graduate student, who taught medieval studies got annoyed at this glib stereotype. it kept being repeated by their students, and was historically wrong. This student came from a Protestant background, but was more or less a secular atheist, although one who appreciated the best of medieval Christian literature.

Underneath the personal experiences of Mills and O’Neill, the strip’s depiction of a future feudal society was also influenced by Protestant anti-Catholic polemic, and the theories of the 19th century French liberal, anti-Christian writer, Charles Michelet. It was Michelet, who first proposed that the witch-hunts were an attempt by patriarchal Christianity to wipe out an indigenous, matriarchal folk paganism. It’s a view that has strongly influenced feminist ecopaganism, although academic scholars like Hutton, and very many pagans have now rejected it as historically untrue.

The robes and masks worn by the Terminators recalled not only those worn by Spanish Catholic penitents during the Easter Day processions, but also the Klan, who are an Protestant organisation, which hates Roman Catholics as well Jews and Blacks.

There’s also the influence of John Wyndham’s classic SF novel, The Chrysalids. This is set in Labrador centuries in the future, after a nuclear war has devastated much of the world, except for a few isolated spots of civilisation. Society has regressed to that of 17th century Puritanism. The survivors are waging a war to restore and maintain the original form of their crops, animals and themselves. Mutants, including humans, are examined and destroyed at birth. As with the Terminators, their clothing is embroidered with religious symbols. In this case a cross. Just as Torquemada denounces aliens as ‘deviants’, so do the leaders of this puritanical regime describe human mutants. And like the pro-alien humans in Nemesis, a woman bearing a mutant child is suspected and punished for her perceived sexual deviancy.

In fact, the underlying anti-religious, anti-Christian elements in the strip didn’t bother me at the time. Mike and myself went to an Anglican church school here in Bristol, though the teaching staff also included people from other Christian denominations such as Methodism and Roman Catholicism. They had a real horror of sectarian bigotry and violence, sharpened by the war in Northern Ireland, and were keenly aware that Christians had done terrible things in the name of religion. I can remember hearing a poem on this subject, The Devil Carried a Crucifix, regularly being recited at school assembly, and the headmaster and school chaplain preaching explicitly against bigotry. At the same time, racial prejudice was also condemned. I can remember one poem, which denounced the colour bar in one of its lines, repeatedly turning up in the end of year services held at the church to which the school was attached.

I also have Roman Catholic relatives and neighbours, who were great people. They were committed to their face, but also bitterly opposed to sectarian bigotry and violence. And the Roman Catholic clergy serving my bit of Bristol were decent men and women, though some of those in other areas were much more sectarian. I’ve Protestant friends, who went on to study RE at a Roman Catholic college. Their experience was not Mills’ and O’Neill’s, though I also had relatives, who were estranged from the Church because they had suffered the same kind of strict, and violently repressive Roman Catholic education that they had.

But Torquemada and the Terminators were far from being a veiled comment on atrocities committed by medieval Roman Catholicism. Torquemada modelled himself on Tomas de Torquemada, the leader of the Spanish Inquisition, whose bloody work he so much admired. But he also explicitly styled himself as the supreme Fascist. By fostering humanity’s hatred of aliens, he hoped to unite the human race so that they didn’t fight each other over differences in colour. But the character was also supposed to be the reincarnation of every persecuting bigot in European and American history. In one story, Torquemada becomes seriously ill, breaking out in vast, festering boils, because Nemesis’ lost son, Thoth, has used the tunnels dug by the Tube engineers to channel away the destructive energies of the White and Black Hole bypasses, to travel backwards in time to kill Torquemada’s previous incarnations. These include Adolf Hitler, natch, one of the notoriously murderous American cavalry officers, responsible for the butchery of innocent indigenous Americans in the Indian Wars, and finally Torquemada himself. Torquemada therefore travelled back in time to confront his former incarnation, and save himself from Thoth.

This was followed by another story, in which Torquemada himself travelled forward to the 20th century. Infected with time energy, Torquemada caused temporal disruptions and catastrophes in the London of the present. He found himself a job as a rack-renting landlord, before founding a Fascist political party. Using Brits’ fears that these disasters were caused by aliens, he became a successful politician and was elected to Number 10.

And one of Torque’s previous incarnations, recovered by Brother Mikron, his pet superscientist, using advanced technological hypnotic regression, was very familiar to British readers with an awareness of the history of Fascism in their country.

Torquemada as Hitler, and very Mosley-esque British Far Right politician. From Prog 524, 30th May 1987.

In the above page, Brother Mikron recovers Torquemada’s past incarnation as Hitler, but only after encountering a later incarnation, in which Torquemada was Sir Edwin Munday, the British prime minister, and leader of the New Empire Party. Munday/Torquemada goes off an a rant on public television, shouting

‘I’ll solve the youth problem! We’ll make our children respectable again! – with compulsory short back and sides! The return of National Service! Order and discipline’.

His name clearly recalls that of the far right, anti-immigration Monday Club in the Tory party, which was at the centre of continuing scandals during the 70s and 80s over the racism of some of its members, the most notorious of whom was Thatcher’s cabinet minister, Norman Tebbit. As a member of the aristocracy, Munday also draws on Sir Oswald Mosley, the leader of the British Union of Fascists and later Fascist movements.

Mosley unfurling his Fascist banner in the ’30s.

The rhetoric about youth is also very much that of the Tories around Maggie Thatcher, who really didn’t like long-haired liberals, hippies, punks and the other youth movements, who had sprung up at the time. They were calling for the return of National Service to stop the rise in youth crime and delinquency.

And this is now very much the attitude of the Kippers and Brextremists over here, who really do hanker after the old days of the British Empire, with all its pomp and authoritarianism. The last thing that incarnation of Torquemada says is

‘We’ll make our country great again!’

This is also based on the rhetoric of the Tories at the time, in which Thatcher was credited with turning around Britain’s decline and restoring her to her glory. In the general election that year, the Tory party election broadcasts showed old footage of Spitfires and Hurricanes racing around the sky shooting down Nazi planes, while an overexcited actor exclaimed ‘It’s great – to be great again!’

No, she didn’t make us great. She wrecked our economy and welfare state, and sold everything off to foreign firms, all the while ranting hypocritically about how she represented true British patriotism.

But it also recalls Trump’s rhetoric last year, during his election campaign. When he announced ‘We’ll make America great again!’ And he’s gone on to use the same neoliberalism as Reagan, Thatcher, and successive Democrat and New Labour leaders, backed with racist rhetoric and legislation supported by White supremacists.

Torquemada was one of 2000 AD’s greatest comments on sectarian bigotry and racism, with Torquemada as its very explicit symbol. Even after three decades, it’s central message about the nature of Fascism, imperialism and colonialism, and the western hankering for its return, remains acutely relevant.

Tharg’s Tribute to Kevin O’Neill: When the Comics Code Banned His Art

December 30, 2017

Yesterday in one of the posts I mentioned the dictatorial grip the Comics Code Authority had over American comics from the 1950s to the mid-1980s. The Code was sent up to reassure and protect the American public after the moral panic over Horror comics in the 1950s. This spread to comics as a whole, which were seen as subversive, morally corrupting and un-American. This included bizarre accusations of Fascism and deviant sexuality aimed at those stalwarts of popular American culture, Superman, Batman and Wonder Woman. The scare decimated the American comics industry, and nearly caused its total collapse.

The Code was set up to ensure that all comics were suitable for a child of seven to read. Its officials were unelected, and in many cases had right-wing views that showed absolutely no understanding of popular politics or culture. It was supposed to be a voluntary organisation, and there were comics creators who worked outside and often against the code. Like Robert Crumb and the underground scene, or the independents Like Dave Sim and Cerebus the Aardvark. In practice, however, those comics were well outside the mainstream, and were only available in head shops and specialist comics stores like Forbidden Planet and the late, lamented Forever People in Bristol.

I discussed how the Code rejected one issue of the Green Lantern Corps, written by Alan Moore and drawn by Kevin O’Neill, on the grounds that O’Neill’s artwork was too grotesque and disturbing for children. This was ironic, as he had been delighting children and adults with his monstrous aliens, mutants, robots and equally grotesque humans for years in the pages of 2000 AD. He was and remains one of comicdom’s favourite artists, and while the other artists who worked on the Nemesis the Warlock strip added the considerable talents to the tale of the Warlock and his foe, the human ‘Ultimate Fascist’ Grand Master Torquemada, I think much of the strip’s initial popularity came from his superb, bizarre artwork.

2000 AD duly paid tribute to him and his censorship by the Comics Code in their anniversary issue, Prog 500, published on 14 December 1986. In it, Tharg took a walk through the contents of his mind, reviewing the comic’s history and revisiting some of the characters that didn’t work. At the end he comes to Kevin O’Neill, who appears as a stunted, crazed sadist. O’Neill admonishes him for censoring the most extreme piece of violence in the strip. Tharg tries to reassure him by reminding him that he won the ‘ultimate accolade’ for which other comics creators all envy him: the day the Comics Code banned his art as totally unsuitable for children. To which O’Neill replies ‘Hmmph. You won’t get around me by flattery’. Unsatisfied, O’Neill then calls down Torquemade, who promptly beats Tharg up.

The different sections of that strip were written and drawn by the different artists and writers, who worked on the comic, so there were different credit cards for them for each section. That section ends with the credits reading ‘Script Therapy: Pat Mills. Art Therapy: Kev O’Neill. Letters: Steve Potter’. Which suggests that the letterer was the only sane one there.

Here’s a few panels.

The real O’Neill is, however, quite different from his portrayal in the strip. It’s been pointed out several times that the fans, who’ve met him, are often surprised that he doesn’t dress in black and silver like the Terminators. And the other rumours about him are also totally untrue. Like he only works at night using a quill pen in the light of candles, and has an occult temple in his basement. I met him at UKCAC 90 in Reading, where I queued with Mike to have him draw a character on the blank badges we’d been given for our fave artists to draw on. O’Neill at the time was a wearing a ‘Solidarity for Nicaragua’ T-shirt, which a left-wing friend of mine at college also wore. He also was wearing a brown leather jacket, and his facial features at the time reminded me a bit of John Hurt. He was affable, enthusiastic, full of nervous energy and completely unthreatening. If you seem him now at comic conventions or footage of them on YouTube, or the occasional interview for television, he’s obviously older and balder, as effects so many of us eventually. He comes across as genial and entertaining British gent, completely unlike the berserk monstrosities that rampage across his strips down the years. Even when he’s telling the stories about how he and Pat Mills went as far as they could in savaging American superhero comics and right-wing, superpatriotic American politics in the violent and nihilistic Marshal Law. Actors, writers and artists aren’t their creations. Fortunately.

Robohunter: 2000 AD’s Warning about Crazed Robots?

December 29, 2017

Now for something a bit lighter. What struck me watching Six Robots and Us on BBC 2 last night, was how similar the real robots given to the six families to help them with their problems resembled the demented machines drawn by art robot Ian Gibson for 2000 AD’s ‘Robohunter’ strip. Written by script droid John Wagner, who was Pat Mills’ partner in crime behind Judge Dredd, ‘Robohunter’ was about a future private detective, Sam Slade, who specialised in hunting down rogue robots. In his first adventure, Slade is sent to Verdus, a planet colonised by robots ready for eventual human occupation. But the robots have developed so rapidly, that they now exceed humans in strength and intelligence. Programmed to regard humans as their superiors, they simply don’t recognise the inferior organic beings that turn up as humans, and so incarcerate as experimental animals in concentration camps.

‘Robohunter’ was one of my favourite strips in 2000 AD. It was Science Fiction, but had the wit and style of an old-fashioned hardboiled detective thriller from the thirties or forties. Slade – ‘that’s S-L-A-Y-E-D to you’ was something like a futuristic Sam Spade. Which meant that he was frequently being beaten up by the villains, before fighting his way out with a few laconic witticisms. And the robots drawn by Gibson were imaginative and convincing, with the same type of cartoony features as the robots used in Six Robots and Us.

And like very many of the other strips in 2000 AD, ‘Robohunter’ was also sharply satirical. Here’s Wagner’s and Gibson’s take on the British parliament, from the collected strips Robo-Hunter: Verdus, by John Wagner, Ian Gibson, Jose Luis Ferrer and Jose Casanovas, published by Rebellion/ 2000 AD.

Okay, so the robots sent to the families weren’t demented killing machines intent on enslaving us. In fact the Shopbot sent to a supermarket in Glasgow offered people hugs. One of the store workers observed shrewdly that he had nothing against the machine, as long as it didn’t put human employees out of a job. Quite.

And some of them actually didn’t work very well. The Carebot sent in to look after a lady with MS, thus allowing her husband some time away from looking after her, actually couldn’t physically help her. It could only remind her and her husband when she needed to take her medicine and to call him on the mobile if there was something wrong. Unfortunately, it used the internet, and so the moment the husband was out of wifi range, the connection went down and it was more or less useless.

So they’re not quite like the robots in ‘Robohunter’ just yet. But we have been warned!

Kevin Logan on Milo Yiannopolis’ Editor’s Notes

December 29, 2017

I’ve been avoiding talking too much about politics this week as I simply haven’t had the strength to tackle the issues in as much detail as they deserve. Quite apart from the fact that the issues that have been raised in the media this week – the continuing running down of the NHS, the growth of food banks, homelessness and grinding poverty, all to make the poor poorer and inflate the already bloated incomes of the Tory elite, all make me absolutely furious. I’ve been feeling so under the weather that, quite simply, I couldn’t face blogging about them and making myself feel worse mentally as well as physically.

But this is slightly different.

Slate has published a piece about the guidance notes Alt-Right Trumpist cheerleader Milo Yiannopolis has got from his publishers at Simon and Schuster. In this short video, scourge of anti-feminists, racists and general Nazis Kevin Logan goes through the notes, and it’s hilarious.

There are pages and pages of them. And the more you read, the funnier it gets.

You remember Milo Yiannopolis? He was one of the rising stars of the Alt-Right. He’s anti-feminist, anti-immigration and in many peoples’ eyes, racist, although he’s denied that he actually has any Nazi connections. All this despite the fact that he was filmed in a bar getting Hitler salutes from a party of Alt-Right fans.

He was the IT correspondent for Breitbart, many of whose founders, managers and leading staff are racists, and have been described as such by the anti-racism, anti-religious extremism organisation and site Hope Not Hate. Yiannopolis has constantly denied that he’s racist or bigoted by playing the race and sexuality card. He’s half-Jewish, gay, and his partner is Black. And so he argues that he can’t possibly be prejudiced against people of different ethnicities and gays. Well, possibly. But he has said some extremely bigoted, racist and homophobic comments, quite apart from his anti-feminism.

He describes himself as ‘a virtuous troll’. Others just call him a troll. That’s all he is. He’s only good at writing deliberately offensive material, but is otherwise completely unremarkable. But he’s British public school elite, and so Americans, who should know much better, assume that somehow he’s more cultured, knowledgeable, better educated and insightful than he actually is. Sam Seder commented on Yiannopolis that if he wasn’t British, nobody would take any notice of him. I think it’s a fair comment. But it does show the snobbery that goes with class and accent. Incidentally, when I was a kid reading comics, my favourite characters were the Thing in the Fantastic Four, and Powerman, in Powerman and Iron Fist. And it was partly because of their accents. Stan Lee has a terrible memory, and to help him remember which character said what, he used to give them different voices, sometimes based on who was in the media at the time. He made the Thing talk like Jimmy Durante. He was a space pilot, but his speech was that of New York working class. I liked him because he was kind of a blue-collar joe, like my family.

The same with Powerman. He was a Black superhero, real name Luke Cage, who had been subjected to unethical medical experiments to create a superman by a corrupt prison governor after being wrongly convicted. I didn’t understand the racial politics around the strip, but liked the character because he was another lower class character with a working class voice. He also had the same direct approach as the Thing in dealing with supervillains. Whereas Mr. Fantastic, the leader of the Fantastic Four, and Cage’s martial artist partner in fighting crime, Iron Fist would debate philosophically how to deal with the latest threat to the world and the cosmos, according to the demands of reason and science in the case of Mr. Fantastic, and ancient Chinese mystical traditions, in Iron Fists’, the Thing and Powerman simply saw another megalomaniac, who needed to be hit hard until they cried for mercy and stopped trying to take over the world or the universe.

But I digress. Back to Milo. Milo was due to have a book published, but this fell through after he appeared on Joe Rogan’s show defending child abuse. Yiannopolis had been sexually abused himself by a paedophile Roman Catholic priest, but believed that he had been the predator in that situation. From what I understand, the victims of sexual abuse often unfairly blame themselves for their assault, so I’m quite prepared to believe that something like that happened to Yiannopolis. What was unusual – and revolting – was that Yiannopolis appeared to feel no guilt and regret at all about the incident.

Very, very many people were rightly disgust. He got sacked from Breitbart, along with a lot of other companies, his speaking tour had to be cancelled, and the book deal he had managed to finagle fell through.

Well, as Sergeant Major Shut Up used to say on It Ain’t ‘Alf Hot, Mum, ‘Oh, dear. How sad. Never mind.’ It couldn’t happen to a nicer bloke, and Yiannopolis got a taste of the kind invective and vitriol he poured on the ‘SJWs’ and the Left.

He appeared later on to ‘clarify’ his statement – not an apology – saying that he now knew he was the victim of child abuse, and stating that he didn’t promote or approve of the sexual abuse of children. But the damage was done.

Now it seems Yiannopolis’ book deal is back on, though Simon and Schuster really aren’t happy with the manuscript.

Comments include recommendations that he remove the jokes about Black men’s willies, doesn’t call people ‘cucks’, and stop sneering at ugly people. One of these is particularly hilarious, as his editor writes that you can’t claim that ugly people are attracted to the Left. ‘Have you seen the crowd at a Trump rally?’ Quite. I saw the front row of the crowd at BBC coverage of the Tory party convention one year, and they were positively horrific. It seemed to be full of old school country squire types, as drawn by Gerald Scarfe at his most splenetic.

The guidance goes on with comments like ‘No, I will not tolerate you describing a whole class of people as mentally retarded’, and then factual corrections. Like ‘This never happened’. ‘This never happened too.’ ‘No, you’re repeating fake news. There was no Satanism, no blood and no semen’. At one point the editor demands that an entire chapter be excised because it’s just off-topic and offensive.

Here’s the video.

There probably isn’t anything unusual in the amount of editing that Simon and Schuster require. Mainstream publishing houses often request changes or alteration to the manuscript. It happens to the best writers and academics. Years ago I read an interview with the editors of some of the authors of the world’s most influential books. One of them was Germaine Greer’s. Greer had sent in a manuscript about cross-dressing in Shakespeare. A fair enough subject, as there’s a lot of female characters disguising themselves as boys in the Bard’s plays. But she had the insight that Greer was far more interested in gender roles, and suggested she write about that instead. And the result was The Female Eunuch.

At a much lower level of literature, Private Eye had a good chortle about one of ‘Master Storyteller’ Jeffrey Archer’s tawdry epics. Apparently the gossip was that it went through seven rewrites. Ian Fleming’s editor for the Bond books, according to one TV documentary, was a gay man with a keen interest in dressing well. Which is why some of the sex in Bond was less explicit than Fleming intended, but also why Bond became suave, stylish dresser fighting supervillains in impeccably cut dinner suits.

No shame in any of this, then. But what makes it funny is that it’s happened to Yiannopolis, who seems to have been too much of an egotist to think that anything like it could ever really happen to him. Looking through the comments, it’s also clear that the editor really doesn’t like his bigotry, and the invective he spews against racial minorities and the disadvantaged. I got the impression that he or she really didn’t want to have anything to do with book, but has presumably been told they had to work with Yiannopolis because the publishers were going to put it out anyway, no matter what anyone else in the company felt.

And the editor’s clear dislike of his bigotry is a problem for Yiannopolis, because he’s a troll, and that’s just about all he does: pour out sneers, scorn and abuse, like a male version of Anne Coulter, another right-winger, who’s far less intelligent than she thinks she is. And I know that grammatically standards are a bit looser now than they were a few years ago, but when you have the comment ‘This is not a sentence’, it’s clear that Yiannopolis is failing at one of the basic demands of any writer from the editors of small press magazines to the biggest publishing houses and newspapers and magazines. They all insist that you should write properly in grammatically correct sentences. But Yiannopolis has shown that he can’t do that either.

As for the kind of literary snobbery that used to look down very hard on comics and graphic novels, while promoting opinionated bigots like Yiannopolis as ‘serious’ writers, my recommendation is that if you’re given a choice between going to comics convention or seeing Milo, go to the comics convention. You’ll be with nicer people, the comics creators on the panels are very good speakers, and themselves often very literate and cultured. I can remember seeing Charles Vess at the UKCAC Convention in Reading in 1990. Vess is a comics artist, but he’s also produced cover art for SF novels. He gave a fascinating talk about the great artists that have influenced him with slides. And one of the highlights was listening to the publisher of DC, Roy Kanigher, who was very broad New York. Didn’t matter. He was genuinely funny, to the point where the interviewer lost control of the proceedings and Kanigher had the crowd behind him all the way.

Which shows what a lot of people really know already: just because someone’s got a British public school accent, does not make them a genius, or that they’re capable of producing anything worth reading. Comics at their best can be brilliant. They open up children’s and adults’ imaginations, the art can be frankly amazing and quite often the deal with difficult, complex issues in imaginative ways. Think of Neil Gaiman, who started off as one of the writers at 2000 AD before writing the Sandman strip for DC. Or Alan Moore.

Yiannopolis is the opposite. All he does is preach hate, trying to get us to hate our Black, Asian and Latin brothers and sisters, despise the poor, and tell women to know their place. He has no more right to be published, regardless of his notoriety, than anyone else. And the editor’s demand for amendments show it.

Oh, and as regarding publishing fake news, he’d have had far less sympathy from Mike, if by some misfortune Mike had found himself as Yiannopolis’ editor. Proper journalists are expected to check their facts, which Mike was always very keen on. It was he was respected by the people he actually dealt when he was working as a journalist. The problem often comes higher up, at the level of the newspaper editors and publishers. In the case of Rupert Murdoch, I’ve read account of his behaviour at meetings with his legal staff that shows that Murdoch actually doesn’t care about publishing libellous material, if the amount of the fine will be lower than the number of extra copies of the paper the fake news will sale. Fortunately it appears that Simon and Schusters’ editors don’t quite have that attitude. But who knows for how long this will last under Trump. The man is determined to single-handedly destroy everything genuinely great and noble in American culture.