Posts Tagged ‘Frank Bellamy’

Pat Mills: Be Pure! Be Vigilant! Behave! 2000AD and Judge Dredd: The Secret History: Part One

March 30, 2018

Pat Mills is the creator and founding editor of 2000AD, and this is history of the comic as he remembers it, although he recognises that others’ memories may be different and contradict his. It takes its title from the watchwords of his most popular villain: Torquemada, the ultimate Fascist Grand Master of Termight, in a feudal age of space travel, violence and magic far in the future. The book is divided into three sections, each named after one of Torquemada’s three commands. The slogan even turned up on the Berlin wall, which figures. The East Germans had been living under a dictatorship not too different from Torquemada’s. It was anti-racist and anti-Fascist, but still very much a police state, where the country was watched and dissent ruthlessly crushed. A friend of mine also told me that the slogan was used by Adolf Hitler in a speech he gave to the Bund Deutscher Madel, or German Maids’ League, the female equivalent of the Hitler Youth. Which also figures. Torquemada wanted to exterminate every intelligent alien race in the Galaxy, and was constantly making speeches exhorting humans not to ‘have truck with deviant, dally with the succubus’ and so on. In other words, no racial mixing. Which was definitely what the Nazis were trying to indoctrinate these girls with.

The book tells how Mills and John Wagner got sick of grinding out stories in a garden shed, lit by paraffin lamps, and moved to London to revolutionise British comics with creation of Battle, Action and 2000AD – the Galaxy’s greatest comic. At this stage of their career, Mills and Wagner were so poor that they couldn’t afford new typing paper after they ran out, and so at one point ended typing them up on tracing paper. The economics of writing stories was such that to make ends meet, you had to write several stories very quickly in a matter of days.

It is this attitude, and the British industry’s contemptible treatment of comics creators, that Mills returns to criticise throughout this book, making a very strong and convincing case that it is these attitudes that have caused the decline in comics in Britain in contrast to France, where they are flourishing. In Britain, comics creators do not own the rights to creations. They can be given to other writers and artists, and their creators are not paid royalties for them. In France, the reverse is true, and so comics creators spend years, decades, writing and drawing some of the greatest strips in the world. Think of such comic greats as Moebius, Caza, and Enki Bilal, and the rest of them, who came out of Metal Hurlant and les Humanoides Associes.

He also had to cope with the lack of interest in any reform from the old guard, who were quite simply just content to go on as they always had, until the industry finally collapsed and they were made unemployed or drew their pensions. They were shocked when Mills bought several books on science, because he was writing and editing a science fiction comic. This was too much for company management, who found the idea of doing research for a children’s comic ridiculous. And then there’s the issue of the studied contempt the management treated artists’ work. They used them on dartboards, or to plug drains. Several artists told Mills flatly that they weren’t going to work him as IPC was the company that closed down Frank Bellamy’s studio. Bellamy, along with Frank Hampson, was the awesome artist who worked on the classic Dan Dare. And his artwork was treated in the same contemptible fashion. As a result, much of it has been lost, although its still a massive favourite at fan conventions and when it comes on the market, rightly fetches high sums.

Mills tells the story of how he came to create favourite 2000AD characters like Judge Dredd, Nemesis the Warlock, Slaine and Finn. He champions the work of artists, who he feels have been unfairly neglected, or even vilified. They include Belardinelli for his contribution to the Slaine strip, which he is proud to have had put back into Titan’s reprints of the strip, as well as SMS, David Bircham, and Fay Dalton. SMS is a superb artist, whose work has appeared on the cover of Interzone, amongst others. He drew the ABC Warriors strip when they were trying to save Termight and the universe from destruction from an artificial black hole, created by Terra’s engineers to give them quick access to space and the Galaxy. One of the results was a whole city like the dimension-twisting drawings of the zarjaz Max Escher. Fay Dalton won a £1,000 prize in a competition to get more women into comics. She draws and paints in a retro style, looking back to the glamour of the 50s. She didn’t last long. It was too sexy for the puritanical Thargs. Then there was the sheer abuse some fans meted out to John Hicklenton, another awesome artist best known for his work on Nemesis the Warlock. Hicklenton was stricken with MS, and sadly ended his life in a Dignitas Clinic. His career and struggle with the condition was the subject of Channel 4 documentary a few years ago. His escape from this ‘medieval, terrorist disease’ was his art, and so it was particularly cruel that he should have subjected to often very coarse abuse.

Mills is also unhappy, and understandably so, about the way his then wife, and co-creator of Slaine, Angela Kincaid, was treated by the other writers and artists. She was the artist on the very first Slaine strip. This topped the reader’s polls that week, but she was very much excluded from the boy’s club of the other creators. No-one rang her up to congratulate her and she was ignored by them. This wouldn’t have occurred if she was a bloke.

Mills takes the time to correct a few myths. He was determined that it wouldn’t be a comic dominated by a main strip, which carried the others, like Captain Hurricane in Valiant. Instead, it was to be a comic of all main strips, including the revived Dan Dare, Mach 1, a superpowered secret agent based on The Six Million Dollar Man, and Shako. This was about a polar bear, who was being chased by the American army because it had swallowed a top secret, radioactive satellite that had crashed to Earth. He also talks about the creation of such fave strips as Ro-Busters, which became the ABC Warriors, and, of course, Nemesis the Warlock and the inspiration for Torquemada.

The evil Grand Master and Judge Dredd were based on two, viciously sadistic monks teaching at his old Roman Catholic school, and, he strongly hints, were paedophiles. One of them was yanked from teaching and sent to monastery in the Channel Islands to sort out his sexual appetites. He was later sacked, and returned briefly as a lay teacher, before being kicked again. The schoolboys made jokes about how the other monks on the island must be similarly depraved, and imagined what shipwrecked sailors would do. Coming up the beach to find the Brothers running towards them, they’d turn and head as quickly as possible back to the sea. But neither of the two were prosecuted. Other old boys have found literary outlets to express their pain and trauma at the hands of these monsters. Mills simply states that his is humiliating Torquemada.

Continued in Part Two.


Torygraph Journo’s Book on Interstellar Travel Through Artificial Black Holes

August 10, 2017

The Iron Sun: Crossing the Universe through Black Holes, Adrian Berry (London: Jonathan Cape 1977).

No, not the Iron Sky, which was a Finnish Science Fiction film that came out a few years ago, in which the Nazis secretly colonized the Moon, and fight an interplanetary war with an America governed by a female president, who bears a certain similarity to Sarah Palin. This is the Iron Sun, a book in which Telegraph journalist Adrian Berry explains his theory that it should be possible to explore space using artificial Black Holes to travel faster than light. Berry was a Fellow of the Royal Astronomical Society, a Senior Member of the British Interplanetary Society, and a member of the National Space Institute of America. According to the potted biography on the back flap of the dust jacket, he also covered two of the Moon Landings from Cape Kennedy and Houston. Along with this book, he also wrote The Next Ten Thousand Years and The Great Leap.

The latter book was published in the 1990s, and is also about interstellar travel and exploration. It’s a good book, though marred by Berry’s Libertarian politics. Towards the end of the book, he devotes an entire chapter to argue for Von Hayek’s daft and destructive economic ideas. So did a number of other space and extreme technology groups at the time. The transhumanists, the crazy people, who want to transform themselves into cyborgs, explore the Galaxy, and ultimately achieve immortality by uploading themselves into computers, were also very much into Von Hayek and Libertarianism. I have a feeling that this has gone by the way now. A friend of mine, who was also into it, told me a year or so ago that the Austrian economist is rather passe now. One of the leaders of the movement has said that Hayekian economics was just something they were into at the time, and they’re now distancing themselves from him, so that his ideas aren’t synonymous with the movement as a whole.

In this book, after taking the reader through Einstein’s Theory of Relativity and explaining what Black Holes are, Berry then advances his book’s central idea. This is that humanity will be able to use a fleet of automated Buzzard ramjets as cosmic bulldozers to create an artificial Black Hole of a particular size one light year from Earth. The Buzzard ramjet was a type of spaceship devised in the 1970s. Instead of taking its fuel with it into space, like conventional rockets and spacecraft, the ramjet would scoop up the necessary hydrogen for its nuclear fusion engines from the surrounding interstellar medium, in the same way that a high-performance ram jet sucks in the air it needs to reach supersonic velocities from the Earth’s atmosphere. It was an immensely popular idea amongst space scientists, SF fans and advocates of the human colonization of space, as it appeared a practical way of creating a spacecraft that could reach the very high speeds approaching that of light needed to cross space to the nearest stars within a few years, or tens of years, rather than centuries and millennia.

Berry believed that strong electromagnetic fields could be used to collect and push the necessary hydrogen atom ahead of the spacecraft. Once in place, the hydrogen and other gaseous material would be forced together into a single mass, until it was so large that it collapsed under its own gravity, forming a Black Hole.

It was Carl Sagan, who first suggested the possibility of using Black Holes as cosmic subways to travel across the universe faster than the speed of light. Einstein, Rosen and other scientists hypothesized that the gravity inside Black Holes was so massive, that not only did it crush matter out of existence, but it also created a wormhole through space and time to, well, elsewhere. An object, including a spaceship, could enter a Black Hole to travel through the wormhole, to exit from a White Hole somewhere else in the universe, or even in a different universe altogether.

The Black Hole would be built a light year away, as this would be a safe but accessible distance. The construction ships would be automated as they would not be able to pull back once construction of the Black Hole was underway, and would be allowed to fall into it.

Berry admits there is one problem with his scheme: no-one knows how far away, nor in what direction, the resulting wormhole would extend. He therefore argues that the first astronauts to use the new wormhole would also have their own fleet of construction vessels, in order to build another Black Hole at their destination, which would create the White Hole needed for them to return to the Solar System. The process would take about forty years.

He explains the details of his proposal in a fictitious interview. There’s also an epilogue, and three appendices, in which he gives further information on Black Holes, including the navigable apertures created by Black Holes of varying sizes.

It says something for the optimism about the future of spaceflight in the 1970s that Berry considers that we should have the capability to do all this sometime around 2050. The 1970s were the decade when it seemed almost anything was possible after the Moon Landings, and astronomers and writers like Sir Patrick Moore seriously predicted that by now we’d have bases and colonies on the Moon and Mars, holidays in space, orbital habitats at the L5 points, as suggested by Gerald O’Neill, and would be gradually expanding into the rest of the Solar System.

If only that had happened!

Despite the formation of public groups, like the Mars Society and the Space Frontier Foundation, for the colonization of space, humans so far seem stuck in Low Earth Orbit. There have been plans over the past few years for crewed missions to return to the Moon, and to Mars, but these haven’t materialized. NASA is planning an expedition to the Red Planet in the 2030s, but I’m really not confident about that every happening. And if it’s a struggle for us to get to Mars, sixty or seventy years after the Moon Landings, it’s going to be impossible for us to build a Black Hole.

Part of the problem is the difficulty of building a viable Buzzard ramjet. After the idea was proposed, someone worked out that the interstellar medium was so rarified that the vehicle would need a ramscoop 3,000 miles long to collect all the gas it would need. I’m not sure if this makes it completely impossible – after all, firms like the Hanson Trust back in the 1980s tried selling themselves to the general public with commercials telling the world that they made enough plastic chairs to go round the Earth so many times. And it might be possible to develop superlight materials for the scoop so that it would not be impossibly heavy. Such a material would similar to the mylar suggested for the solar sails for the Starwisp mission. This is a suggested mission to send a 50 kilo instrument package to Alpha Centauri in a journey lasting thirty years or so. And the construction of a space elevator, which would have to be of a light material strong enough to take the weight of cable cars and carry them tens of thousands of mile into space out of the Earth’s gravity well seems to me to present even greater problems. But even if a ramscoop of that size isn’t impossible, it would be very, very difficult and extremely expensive.

Not all scientists are convinced that it should be possible to use wormholes in this manner anyway. Philip’s Astronomy Encyclopedia state that one particular type of Black Hole, rotating Kerr Black Holes, which don’t have the singularity that eventually destroys all the matter passing through it, ‘have fascinating implications for hypothetical space travel to other universes’. (‘Black Holes, p. 57). However, the entry for ‘Wormholes’ states that, although they’re predicted by Einstein, ‘such wormholes cannot exist in reality, since the occurrence of white holes is forbidden by the second law of thermodynamics.’ (p. 440). On the other hand, Russian physicists have shown that it’s possible to create a wormhole a few light years in extent, though this would take more energy than is currently available in the universe.

I hope that it may one day be possible to construct such wormhole subway routes through the cosmos, as suggested by Sagan. I also wonder if the book may also have influenced comic writer Pat Mills in the creation of the Black Hole and White Hole bypasses for Termight – Earth thousands of years in the future – in the Nemesis the Warlock Strip in 2000 AD. This was an artificial Black Hole and its White Hole counterpart, constructed by Earth’s engineers to provide instantaneous access to space. ‘Nemesis the Warlock’ appeared about 1979, and while it’s definitely Science Fantasy, Mills actually did some reading in science as research for the comic. He said in an interview nearly four decades ago that he shocked the comic’s management because he bought a whole stack of books on science and then invoiced the comic company for them as research. He was annoyed that the attitude to comics at the time was so low, that the idea of doing basic research for them was looked upon with horror. Ah, how things changed after Frank Bellamy and ‘Dan Dare’. Bellamy’s studio for Britain’s greatest space hero, with the exception of Judge Dredd, included a model maker and researchers. Unfortunately, this was all cut away as an unnecessary expense when the Eagle changed hands. Sales had fallen, and the comic was then making a loss. Hence the decision to cut down the number of staff in the studio. But it does show the initial commitment to quality of strip’s creators, and Dare and Bellamy’s superb artwork are still admired as one of the greatest pieces of British comic art and literature.