Posts Tagged ‘Judge Dredd’

Rishi Sunak Goes Social Credit

July 6, 2020

Zelo Street put up another piece yesterday showing the glaring hypocrisy of the Tory party and their lapdog press. According to the Absurder, the Resolution Foundation had been in talks with chancellor Rishi Sunak to give everyone in Britain vouchers to spend in shops and businesses. Adults would receive vouchers worth £500, while children would get half the amount, £250. Sunak was being urged to accept the scheme as it would stimulate the economy, which has been badly hit by the lockdown. The Tory papers the Heil and the Scum also reported this, and thought it was a great idea.

This contrasts very strongly with their attitude last May, when Jeremy Corbyn also floated the idea of giving the British people free money in UBI – Universal Basic Income. The Scum claimed that if everyone was given £70 a week, then this would raise the welfare bill from £188 billion to £288 billion a year. The Heil reported that when the scheme was tried out in Finland, it made people happier but didn’t improve employment levels and would prove ‘unsustainable’.

But it isn’t just Finland that is experimenting with UBI. It was introduced in Spain a few weeks ago as Mike reported on his blog. Spain is a poorer country than Britain, but their willingness to try it contradicts the government’s excuse for not doing so, which is that Britain can’t afford it.

But now Rishi Sunak is considering it, and the Tory papers are praising him for it, whereas they vilified Corbyn. Zelo Street commented

‘Clearly, since May last year, a “free money” handout has stopped being a ghastly socialist aberration, and is now an excellent wheeze. Cos Rishi will be doing it.

The press will do anything to flog more papers. Including a little socialism.’

https://zelo-street.blogspot.com/2020/07/government-handouts-yeah-but-no-but.html

Of course, the reason the right-wing press are supporting Sunak whereas they condemned Corbyn, is because the two men have very different reasons for recommending it. In Corbyn’s case it was a desire to help empower ordinary people and stop the poverty the Tories have inflicted on them through low wages, job insecurity and the murderous system of benefit cuts and sanctions. The Tories, by contrast, heartily despise the poor. In the interest of maintaining healthy profits, they have always pursued low wages and punishing the poor, the sick, the disabled and the unemployed with minimal state welfare provision. This is now for many people below the amount needed to keep body and soul together. Where it is available at all, that is. That’s if people are able to get it after waiting five weeks for their first payment, and not getting sanctioned for the flimsiest excuse. This is all done to reduce the tax bill for the 1 per cent. Those able to work must be kept poor and desperate so that they will accept any job and won’t be able to demand higher wages. As for the long-term unemployed and the disabled, they are biologically inferior ‘useless eaters’, exactly as the Nazis viewed them, who should be allowed to starve to death.

Sunak’s motive for embracing UBI is so that the proles can spend it, thus keeping businesses afloat and maintaining or boosting profits. It’s socialism for the rich, as modern corporatism has been described. Just as welfare benefits are cut or completely removed for working people and the poor, so corporatism rewards business, and particularly big business, through a system of subsidies and tax breaks. It’s why one book attacking this system was titled Take the Rich Off Welfare.

Sunak’s version of UBI also harks back to a similar scheme founded in the 1920s by the British officer, Major C.H. Douglas. Aware of the widespread poverty of his day, Douglas argued that it was ‘poverty in the midst of plenty’. The goods were available to satisfy people’s needs, but they were unable to afford them. He therefore recommended that the government should issue vouchers to solve this problem and enable people to buy the goods they desperately needed.

The idea has never really taken off. It was included among the policies Oswald Mosley adopted for his New Party after it split from Labour in the late ’20s and early ’30s. There was also a Social Credit party in British Columbia in Canada, though I believe that’s an extreme right-wing, anti-immigrant party for Anglophone Whites which doesn’t actually support the Social Credit economic policy.

I’ve also seen something extremely similar to Social Credit used as the basis for an SF story. In Frederick Pohl 1950’s novella, ‘The Midas Plague’, the poor are bombarded with expensive goods and services which they must use and consume. They are punished if they don’t. As a result, in terms of material conditions the position of rich and poor is reversed: the poor live opulent lives, while the rich, who have to own their own possessions, live much more austerely. The whole point of this is to keep the economy booming and industry expanding.

We haven’t yet got to that point, and I don’t we ever will, if only because the wealthy ruling class, on whose behalf the Tories govern, are so against letting the poor get anything for free. Even when they need and deserve it. But unemployment is set to increase due to automation in the workplace. It’s been forecast that over the next 20 years about a 1/3 of jobs will be lost. 21st century Britain, and indeed much of the rest of the Developed World, could look like Judge Dredd’s MegaCity 1, where over 95 per cent of the population is unemployed and lives on welfare.

If that ever happens, then the government will need to implement something like Social Credit in order to give people both enough to live on and support business and industry.

Not that Sunak need go that far just yet. One of the reasons F.D. Roosevelt introduced state unemployment insurance for Americans as part of his New Deal was also to support industry. He, and liberal and socialist economists in Britain realized that if you give people money to support themselves during a recession, they will spend their way out of it. Both the poor, the unemployed and industry benefits. We could do the same now, by giving people a genuine living wage, raising unemployment and other benefits up to a level so that people can actually live on them and abolish the five-week waiting period and the sanctions system so that people don’t have to rely on food banks to save them from starvation.

But this would contradict the Tories’ favoured policies of keeping working people and the poor hungry and desperate.

Jewish Board of Deputies Accuses Nigel Farage of Anti-Semitism

June 30, 2020

Zelo Street reported yesterday that the Board of Deputies of British Jews had taken a break from accusing the Labour party to turn their ire on another British politico. This was Nigel Farage, Fuhrer and CEO of the Brexit Party. According to the Graoniad, the Board had accused the man 2000AD’s Judge Dredd satirised as ‘Bilious Barrage’ because

Farage’s airing of claims about plots to undermine national governments, and his references to Goldman Sachs and the financier George Soros, showed he was seeking to ‘trade in dog whistles’ … [he] was also condemned by the MPs who co-chair the all-party group against antisemitism”.

They then provide a series of examples from a recent tweet and interview with Newsweek magazine. In the tweet’s video message, the Fuhrage claimed that Britain was facing a wave of ‘cultural Marxism’. This is an idea that has its origins in Nazism, and their claim that Germany was being subverted by Jewish ‘Kulturbolschevismus’. Organisations funded by George Soros were also responsible for companies removing adverts for right-wing TV programmes. This was the trope of the ‘disloyal Jew’.

In the Newsweek article, Nige had ranted about ‘unelected globalists’ shaping the lives of the public based on recommendations from the big banks. ‘Globalists’ was a code word for ‘Jews’ or ‘Jewish bankers’. Goldman Sachs was the only bank he named, which followed another theme from the extreme right.

And Zelo Street also provided a few examples of his own to support the Board’s accusation. In another tweet, the Brexit Party’s Duce Faragissimo had praised Viktor Orban’s Hungary for standing up to the globalists, and wished we all did the same. He also talked about anti-Brexit plots backed by George Soros, including the campaign for a second referendum. Rants against the globalists featured regularly in his tweets. In one, he declared that we were all sick of threats from the globalists. This followed a statement that London was the world’s no. 1 financial centre, and Frankfurt only the 11th. We were, he also announced, heading toward a world where the democratic nation state had made a comeback against the globalists. Former US president Barack Obama, and Chancellor Merkel of Germany were ‘holding a losing party’ for the globalists. And then there was this series of comments about Goldman Sachs

Goldman Sachs and big business lost the referendum … Congratulations to former EU Commission President [José Manuel Barroso], now over at Goldman Sachs. Global corporatism! … If Goldman Sachs are leaving London for the US, why aren’t they going to their beloved European Union? … Goldman Sachs Chairman thinks those who want border controls are ‘xenophobic’. Badly out of touch”.

The Street noted that these snippets showed the Fuhrage being promoted by the Beeb, Sky News and the Heil. By doing so, they were also promoting anti-Semitism. The Street concluded

Serious anti-Semitism always comes from the far right. Nigel Farage is living proof of that.

See: https://zelo-street.blogspot.com/2020/06/nigel-farage-theres-real-anti-semitism.html

Farage’s rants and denunciations of the globalists, Goldman Sachs and George Soros are the latest forms of the anti-Semitic fears about Jewish bankers that first appeared in the Tsarist forgery, The Protocols of the Elders of Zion. They also have their roots in some of the conspiracy theories that emerged in the 1970s about the Bilderberg group and the Trilateral Commission. Many leading bankers, like Bernard Baruch, had backed the formation of the United Nations, Trilateral Commission and the elite Bilderberg group, which meets annually to discuss global politics. Thus the UN and the other organisations were seen as devices by which Jewish bankers sought world domination, culminating in a one-world dictatorship, the enslavement of gentiles and the extermination of the White race. Not all versions of this theory are necessarily quite so anti-Semitic. Some of them distinguish between Jewish bankers and the rest of the Jewish people, noting that some of the former, like the Rothschilds, advanced credit and loans to Nazi Germany even when the Nazis were persecuting the Jews. Other forms of the theory are more bonkers still. In one of them, the Trilateral Commission takes its name from the Trilateral ensign, the flag of the Grey aliens from Zeta Reticuli, with whom the US has made a Faustian pact. The aliens are allowed to abduct and experiment on humans in return for providing extraterrestrial technology like velcro.

I wouldn’t like to say that Farage is definitely an anti-Semite, but his rhetoric and beliefs about evil globalists comprising banks like Goldman Sachs and the Jewish financier George Soros are certainly part of a series of conspiracy theories, some of which are viciously anti-Semitic.

The Board is right to denounce Farage for spouting these theories. However, this hasn’t changed my mind about the Board as a whole. Most of its accusations of anti-Semitism, along with those of the Campaign Against Anti-Semitism, the Jewish Leadership Council, the Chief Rabbinate and their allies in the Labour Party, the Jewish Labour Movement and Labour Friends of Israel, have been directed against Labour, its former leaders Jeremy Corbyn and Ed Miliband, and Corbyn’s followers. They have done so not out of concern about real anti-Semitism, but from a determination to defend Israel and its barbarous ethnic cleansing of the Palestinians from criticism. At the same time the Board denounced the Fuhrage yesterday, it was also attacking Labour’s shadow foreign secretary, Lisa Nandy, for demanding the government impose a block on the import of goods manufactured in the Occupied Territories if Israel begins its planned annexation of a third of the West Bank tomorrow.

It looks to me that the Board’s accusation of Farage for anti-Semitism is intended to soothe its left-wing critics by showing them that it doesn’t just attack the Labour Party. It really does attack other parties for anti-Semitism, really. But this doesn’t change the fact that the Board seems packed with Tories and Tory supporters. And it doesn’t change the fact that Board’s chief motivation for its attacks on the Labour Party is simply an attempt to excuse the inexcusable and defend entirely reasonable and proper criticism of Israel.

The Board is right to accuse Farage. But its accusations against the Labour Party are still wrong and politically motivated.

 

 

Trailer for Movie of HP Lovecraft’s ‘The Colour out of Space’

November 8, 2019

I found this trailer for a forthcoming movie version of H.P. Lovecraft’s short story, The Colour out of Space, over on YouTube. It stars Nicholas Cage and is directed by Richard Stanley.

Lovecraft was a master of cosmic horror, and the creator of the Cthulu mythos about malign, alien gods that seeped down from the stars untold aeons ago. Although they were banished from Earth by the ancient Elder Races, they are constantly seeking ways back. And when the stars are right, and the sunken city of R’lyeh rises from the deep, Cthulhu, the bat-winged, octopus-headed god will rule over a mankind reveling and killing. And in untold aeons even death may die.

The trailer says it marks the return of Stanley to directing. This is welcome news. He made an excellent film about a berserk robot going on the rampage in a decaying future, Hardware, back in 1989.  2000AD sued and won for plagiarism, as the film’s plot appeared to be stolen from a short story from comic, ‘Shocc!’, drawn by the master of macabre art, Kevin O’Neill. This was about an explorer, who finds a war robot and gives it to his girlfriend. It then comes back to life, and goes on the rampage. The film has cameos with Lemmy, a member of the Goth band The Mission, and Iggy Pop as the DJ, Angry Bob, and the soundtrack includes Motorhead’s ‘Ace of Spades’, The Mission’s ‘Power’ and Pil’s ‘Order of Death’. There’s a reference to the earlier film in the trailer. A shot of the family’s kitchen shows a framed Biblical quotation, ‘No flesh shall be spared’. This was also used in Hardware to explain the B.A.A.L. robot’s genocidal mission to exterminate all humanity.

Stanley disappeared from directing movies, although he continued to make documentaries and pop videos, after the debacle of a version of H.G. Wells’ The Island of Dr. Moreau. Stanley originally intended it to be a relatively low budget film, but the studio wanted a big star. Stanley chose Marlon Brando. Big mistake. Once in the movie, Brando proceeded to do his best to wreck it through bizarre demands and massively arrogant behaviour. There was a documentary made about this whole shambles a few years ago. One of the actresses provided an example of Brando’s weird, cavalier attitude to the film. She went to him to ask the great Hollywood star for acting tips. He told her to carry on doing whatever she liked, because it didn’t matter as the film would be shut down in three weeks anyway. He also asked a member of the production crew if they should ‘f**k with’ one of the producers. When the man asked why, as the producer was a good guy, Brando made a very lame excuse. It’s pretty clear from this that Brando didn’t have any respect for the film. With costs and time overrunning, Stanley was sacked, and a veteran Hollywood director brought in instead to salvage something from the mess. The result apparently is a competent film, but it’s not the really amazing movie that would have appeared if Stanley had been able to complete it according to his vision.

It’s a pity that there was that plagiarism case between 2000AD and Stanley over Hardware. 2000AD want to produce films based on their characters. Two films have been made of ‘Judge Dredd’, but both have performed less than expected at the box office. The most recent, 2012’s Dredd, starring Karl Urban, was a critical success. There’s too much enmity there, but I’d say that if anyone could direct a great movie based on 2000AD’s cast of heroes, Stanley is the man for the job.

Looking at the trailer for the movie, it seems to have rejected Lovecraft’s original plot for the Hollywood cliche of a happy American family that moves into a rural area, only to find something sinister and threatening. It’s a long time since I read the original story, but I don’t think it’s the one Lovecraft wrote. Still, it looks like it could be a really good film, even if it is somewhat less than faithful to Lovecraft.

And to show everyone what Stanley’s Hardware was like, here’s a video for Pil’s ‘Order of Death’ using clips from the film from Hert Zollner’s channel on YouTube.

Enjoy!

Prof Simon on the Technology of Blade Runner that Exists Today

November 7, 2019

This is another fascinating video from Professor Simon Holland. As I said in an earlier blog piece, November 2019 is the date Ridley Scott’s SF classic Blade Runner is set, based on the book Do Androids Dream of Electric Sheep by Philip K. Dick. Prof Simon here examines some of the technology that has now been developed, which is similar to that of the movie. This includes robots, flying cars and ‘a polaroid which allows you to see round corners’.

He begins with robots, stating that most of them have been developed by the pornography industry. These are the Real Dolls, androids which have been designed to look like real women. There’s a few photographs of these, shown with their owners or manufacturers. Mercifully, both have their clothes on. But some have also been developed by the military, and these, Prof Simon says, comparing them to Blade Runner’s replicants, are scarier. The robots shown at this point are the humanoid – roughly – and quadrupedal machines developed by the American firm, Boston Dynamics. A gun-toting humanoid robot shows its shooting skills in a range out in the deserts. Despite being repeatedly struck and pushed over by a man with a hockey stick, the robot manages to hit its target. When the pistol it’s using runs out of ammo, they throw it a rifle, which it catches with both hands and then proceeds to use. Another humanoid robot is shown carefully walking along a stony path simulating rough terrain, while one is also shown trying to pick up a box while another man with a hockey stick knocks the box away and tries to knock the robot over.  The quadrupedal robots include the Big Dog machine and related robots, which got their name because they look somewhat like headless mechanical dogs. Big Dog was designed for carrying equipment, and one is shown with four saddlebags walking around trying not to be forced over. Two lines of similar machines are shown pulling a truck.

The ‘polaroid that sees round corners’ is also shown, and it appears to be a mobile app. He also shows photographs of a number of flying cars that have been developed. As for the taxis on demand that appear in the movie, he quips that he’ll just call Uber.

But he also raises the important point about why our expectations of the future are inaccurate. He argues that it’s because we’ve forgotten how very different the world was back in the 1960s when the book was written. This is shown through another set of photographs of the fashion of the period, though I think they come more from the 1970s. Certain the pic of John Travolta and Olivia Newton-John from Saturday Night Fever does. He goes on to point out how we have technology that was unknown when he was growing up – computers are everywhere and cursive handwriting a thing of the past. We evolve into the future, rather than making quantum leaps into it. He also cheerfully observes that he shares a Blade Runner obsession with his younger, near-lookalike, Adam Savage.

At the end of the video he examines an interesting photo he’s been sent by a viewer. This is a photo of the Earth from space, with a mark that looks like a UFO. But it isn’t. Unlike today’s digital cameras, those used by the astronauts used photosensitive film, which could get marked and spoiled by dust. This is what’s happened to the photo here.

Prof Simon is a genial, entertaining host, and it’s fascinating that some of the technology featured in Blade Runner is being developed. Scientists and engineers have been working on the flying cars since the 1990s, and one of the tech firms has said that they intend to put them into service as flying taxis next year. This seems unlikely. Critics have pointed out that the noise generated by their engines would be colossal, making their use very unpopular. Living in a city in which they were in general operation would be like living in an airport. The SF artist and book illustrator, Jim Burns, also comments on one of his paintings, which show such cars in use, that there are prohibitive safety aspects. What about accidents? Nobody would like to be around when it starts raining bits of aircar and body parts.

The robots we’ve developed are different from Blade Runner’s replicants, which are artificial, genetically engineered creatures, and therefore biological rather than simply technological. We’re nowhere near creating anything that complex. The military robots instead remind me of the machines from Robocop and the ABC Warrior from the ’90s movie, Judge Dredd, in which Megacity 1’s toughest lawman was played by Sylvester Stallone, as well as the robots in Chappie, which came out a few years ago. Despite the very impressive sophistication of these machines, however, they mercifully aren’t as intelligent as humans. This means we don’t have to worry about the world of 2000 AD’s ‘ABC Warriors’ or the Terminator movies becoming reality quite yet. But even so, watching these machines walk, move and shoot is disturbing, demonstrating their lethal potential and efficiency as fighting machines. Looking at them, I think the fears many scientists and members of the lay public have about them as a potential threat to the human race are justified.

Nigel Farage Reveals Contempt for Royal Family to Ozzie Tories

August 13, 2019

Yesterday, the Groaniad reported that Nigel Farage had made some unpleasant, and quite possibly impolitic, comments about the royal family atthe Conservative Political Action Conference in Sydney. The Brexit party’s fuhrer spared the Queen his sneers, but went on to attack Prince Harry and Megan Markle for their ‘irrelevant’ social justice and environmental concerns, called the late Queen Mother a ‘slightly overweight gin drinker’. He then went on to say that he hoped the Queen would continue to live a long time to stop ‘Charlie boy’, as he called Prince Charles, becoming king, and that William would live forever to stop Harry ascending the throne. He also bewailed how Megan Markle changed Harry’s laddish behaviour. According to today’s I, page 9, the Fuhrage said

Terrifying! Here was Harry, here he was this young, brave, boisterous, all male, getting into trouble, turning up at stag parties inappropriately dressed, drinking too much and causing all kinds of mayhem. And now he’s met Megan Markle and it’s fallen off a cliff.

The I explained that when Fuhrage referred to him as being ‘inappropriately dressed’ at stag parties, he meant the time when Harry turned up at one dressed in Nazi uniform. According to the I, a spokesman for the man ‘Judge Dredd’ satirised as ‘Bilious Barrage’ claimed that the Groaniad had taken his comments out of context. But as Mike says in his article about this, it’s irrelevant whether Farage meant what he said or not. He was telling his right-wing audience what they wanted to hear: that he was their friend.

He was raising money from rich foreigners again.

See: https://voxpoliticalonline.com/2019/08/12/what-he-thinks-they-want-to-hear-farage-attacks-royals-in-speech-to-far-right-aussies/

Now I’m aware that some of the readers of this blog may well be republicans, who believe that the monarchy is a vestige of feudal privilege and that we would be better off with a proper democratic constitution and an elected presidency. I’m also aware that what Farage said at the conference would be unremarkable if it came from a member of the public or a journalist. A few years ago, before his career imploded due to plagiarism, Johan Hari wrote a very long article in either the Independent or Guardian attacking the royal family. A tranche of government material had been declassified and released to the national archives. These revealed that ministers and senior civil servants had been worried about Prince Charles writing letters to newspapers and various official bodies trying to influence government policy. He was, for example, very keen to stop the closure of the grammar schools. The officials found his interference a headache because the monarchy is supposed to be above politics. They are definitely not supposed to try to influence government policy.

The Tory press, including and especially the Heil, despise Charles. I can remember the Rothermere’s mighty organ claiming that that the Tories were discussing ways to ensure that the Crown passed directly from the Queen to William, completely bypassing Charles. The reason they cited for this was that Charles was too close to Laurens van der Post, the author of Testament to the Bushmen. Under van der Post’s influence, the Heil claimed, the future heir to the throne had become too New Age in his spiritual beliefs. He had indicated that he wanted to be known as ‘Defender of Faith’ when he ascended the throne, an inclusive title to cover all religions, rather than ‘Defender of the Faith’, meaning exclusively Christianity. As he would be the head of the Church of England, this would create a constitutional crisis. I wonder if the real reason was that Charles appeared a bit too left-wing, especially in his concern for the unemployed. And Charles’ office also spoke out against the decision by John Major’s government to close down Britain’s mining industry.

Hari was also scathing about the Queen Mother. He claimed that she was certainly no democrat, complaining that it was ‘so unnatural’ when she was a young woman. Ministers were also upset at the government apparently having to spend £1 million a year keeping an office open for her so she could get the results at Ascot. Private Eye has also described her as ‘greedy’ and criticised Charles for hypocrisy over his views on architecture. Charles caused outrage a little while ago by describing modern buildings as ‘monstrous carbuncles’. But the Prince himself was also employing the same type of architects to design similar buildings. They also attacked him for the colossal overpricing of his organic honey.

Now we live in a democracy, where you are allowed to criticise the government and the monarchy. One where people do, often. But what makes Farage’s comments unwise is that they come from a ruthlessly ambitious politician. Attacks on the royal family are bound to be controversial because they still have a central role in the country’s constitution. The Queen is the head of state, and the royal family act as this country’s ambassadors. They also have a politically unifying role. Some people may find it easier to respect a head of state like the Queen, who is above party politics. To many people the royal family also embody British history and tradition, and they are still regarded with respect by millions of British and commonwealth citizens. I dare say this is particularly true of Conservatives. I’ve a Conservative friend, who hates the Scum because, in his view, it has done nothing but run down the royal family. And looking at the wretched rag, I can’t say he’s wrong either. Nor is it alone – all of the papers run stories trying to create some controversy about the royal family. The latest of these are about Markle, and how she is apparently throwing her weight around and causing some kind of feud with the rest of the royals.

Farage’s piece of lese majeste Down Under is controversial and offensive because it comes from a politician, who clearly hopes one day to serve in government. If he did, it would surely create tensions between him and the Crown. It’s also impolitic, as even though the culture of deference is supposed to have gone, the constitutional importance of the monarchy means that any criticisms politicians have of the royal family or differences of opinion between them should be settled discreetly. Farage has shown himself to be incapable of maintaining a tactful silence on the matter.

Of course, what Farage really hates about Harry and Megan, along with Conservative rags like the Spectator, is that Harry has dared to be environmentally concerned, like his father. He’s also fallen behind Markle’s feminism, so obviously they despise him for that. And there’s also a nasty tone of racism there was well. They certainly wouldn’t have objected if he’d married a White American. But instead he married a woman of colour. Farage’s apparent view that Harry dressing up as a Nazi officer was just natural masculine hi-jinks shows just how seriously he takes the issue and the offence it caused. I’ve no problem with comedies spoofing the Nazis, like Mel Brooks’ The Producers or the BBC’s ‘Allo, ‘Allo. But the Nazis themselves were far from a joke, and people are quite right to be angry at those who think dressing up as them is a jolly jape. But Farage and his audience obviously don’t. Quite possibly the Conservatives he addressed are still pining for a White Australia policy. But in their environmentalism and their social concerns, Harry and Megan, as Mike says, are just showing themselves to be a modern couple. The monarchy also has to move with the times, whatever reactionaries like Farage like to think.

Farage’s comments aren’t just disrespectful to the royal family, they also show how he places his own political ambitions above them as an institution as well as showing his contempt for the genuinely liberal attitudes Harry and Megan have espoused. I hope they lose him votes with that part of the Conservative-voting public, who still revere the her Maj and the other royals above the sneers of press and media. 

 

Zarjaz! Rebellion to Open Studio for 2000AD Films

November 26, 2018

Here’s a piece of good news for the Squaxx dek Thargo, the Friends of Tharg, editor of the Galaxy’s Greatest Comic. According to today’s I, 26th November 2018, Rebellion, the comic’s current owners, have bought a film studio and plan to make movies based on 2000AD characters. The article, on page 2, says

A disused printing factory in Oxfordshire is to be converted into a major film studio. The site in Didcot has been purchased by Judge Dredd publisher Rebellion to film adaptations from its 2000 AD comic strips. The media company based in Oxford hopes to create 500 jobs and attract outside contractors.

Judge Dredd, the toughest lawman of the dystopian nightmare of Megacity 1, has been filmed twice, once as Judge Dredd in the 1990s, starring Sylvester Stallone as Dredd, and then six years ago in 2012, as Dredd, with Karl Urban in the starring role. The Stallone version was a flop and widely criticized. The Dredd film was acclaimed by fans and critics, but still didn’t do very well. Two possible reasons are that Dredd is very much a British take on the weird absurdities of American culture, and so doesn’t appeal very much to an American audience. The other problem is that Dredd is very much an ambiguous hero. He’s very much a comment on Fascism, and was initially suggested by co-creator Pat Mills as a satire of American Fascistic policing. The strip has a very strong satirical element, but nevertheless it means that the reader is expected to identify at least partly with a Fascist, though recognizing just how dreadful Megacity 1 and its justice system is. It nevertheless requires some intellectual tight rope walking, though it’s one that Dredd fans have shown themselves more than capable of doing. Except some of the really hardcore fans, who see Dredd as a role model. In interviews Mills has wondered where these people live. Did they have their own weird chapterhouse somewhere?

Other 2000AD strips that looked like they were going to make the transition from the printed page to the screen, albeit the small one of television, were Strontium Dog and Dan Dare. Dare, of course, was the Pilot of Future, created by Marcus Morris for the Eagle, and superbly drawn by Franks Hampson and Bellamy. He was revived for 2000 AD when it was launched in the 1970s, where he was intended to be the lead strip before losing this to Dredd. The strip was then revived again for the Eagle, when this was relaunched in the 1980s. As I remember, Edward Norton was to star as Dare.

Strontium Dog came from 2000 AD’s companion SF comic, StarLord, and was the tale of Johnny Alpha, a mutant bounty hunter, his norm partner, the Viking Wulf, and the Gronk, a cowardly alien that suffered from a lisp and a serious heart condition, but who could eat metal. It was set in a future, where the Earth had been devastated by a nuclear war. Mutants were a barely tolerated minority, forced to live in ghettos after rising in rebellion against an extermination campaign against them by Alpha’s bigoted father, Nelson Bunker Kreelman. Alpha and his fellow muties worked as bounty hunters, the only job they could legally do, hunting down the galaxy’s crims and villains.

Back in the 1990s the comic’s then publishers tried to negotiate a series of deals with Hollywood for the translation on their heroes on to the big screen. These were largely unsuccessful, and intensely controversial. In one deal, the rights for one character was sold for only a pound, over the heads of the creators. They weren’t consulted, and naturally felt very angry and bitter about the deal.

This time, it all looks a lot more optimistic. I’d like to see more 2000 AD characters come to life, on either the big screen or TV. Apart from Dredd, it’d good to see Strontium Dog and Dare be realized for screen at last. Other strips I think should be adapted are Slaine, the ABC Warriors and The Ballad of Halo Jones. Slaine, a Celtic warrior strip set in the period before rising sea levels separated Britain, Ireland and Europe, and based on Celtic myths, legends and folklore, is very much set in Britain and Ireland. It could therefore be filmed using some of the megalithic remains, hillforts and ancient barrows as locations, in both the UK and Eire. The ABC Warriors, robotic soldiers fighting injustice, as well as the Volgan Republic, on Earth and Mars, would possibly be a little more difficult to make. It would require both CGI and robotics engineers to create the Warriors. But nevertheless, it could be done. There was a very good recreation of an ABC Warrior in the 1990s Judge Dredd movie, although this didn’t do much more than run amok killing the judges. It was a genuine machine, however, rather than either a man in a costume or animation, either with a model or by computer graphics. And the 1980s SF movie Hardware, which ripped off the ‘Shock!’ tale from 2000AD, showed that it was possible to create a very convincing robot character on a low budget.

The Ballad of Halo Jones might be more problematic, but for different reasons. The strip told the story of a young woman, who managed to escape the floating slum of an ocean colony to go to New York. She then signed on as a waitress aboard a space liner, before joining the army to fight in a galactic war. It was one of the comic’s favourite strips in the 1980s, and for some of its male readers it was their first exposure to something with a feminist message. According to Neil Gaiman, the strip’s creator, Alan Moore, had Jones’ whole life plotted out, but the story ended with Jones’ killing of the Terran leader, General Cannibal, on the high-gravity planet Moab. There was a dispute over the ownership of the strip and pay between Moore and IPC. Moore felt he was treated badly by the comics company, and left for DC, never to return to 2000 AD’s pages. Halo Jones was turned into a stage play by one of the northern theatres, and I don’t doubt that even after a space of thirty years after she first appeared, Jones would still be very popular. But for it to be properly adapted for film or television, it would have to be done involving the character’s creators, Moore and Ian Gibson. Just as the cinematic treatment of the other characters should involve their creators. And this might be difficult, given that Moore understandably feels cheated of the ownership of his characters after the film treatments of Watchmen and V For Vendetta.

I hope that there will be no problems getting the other 2000 AD creators on board, and that we can soon look forward to some of the comics many great strips finally getting on to the big screen.

Splundig vur thrig, as the Mighty One would say.

The BDJ’s Attempted Accusation of Anti-Semitism in Pat Mills’ ‘Crisis’

April 3, 2018

Pat Mills is the creator of 2000 AD, the Galaxy’s greatest comic, and the co-creator of many of the favourite characters in modern British comics, like Judge Dredd and Slaine, as well as the creator of the anti-war comic strip, Charley’s War, in the British war comic, Battle. Crisis was an explicitly political strip Mills’ launched in the late ’80s and early ’90s. Its ‘Third World War’ strip tackled the politics of food and the exploitation of the Developing World. Mills was also not afraid to tackle other controversial subjects. He was contacted by Amnesty International to do a story about the oppression of the Palestinians by the Israelis. He did, and inevitably the Board of Deputies of British Jews complained about anti-Semitism.

Mills is absolutely no kind of racist or anti-Semite, as you can tell by reading his strips. Many of them tackled racism and bigotry. The mutant heroes of Strontium Dog, for example, were forbidden by law to pursue any other job except bounty hunter, and were kept isolated from the non-mutated rest of humanity in ghettoes. And under the dictator Nelson Bunker Kreelman, there was an organised campaign by the British authorities to wipe them out. The Nemesis the Warlock strip was also a metaphorical treatment of racial and religious persecution. The villain of this strip, Torquemada, named after the head of the Spanish Inquisition, was the grand master of a feudal order thousands of years in Earth’s future, who were dedicated to exterminating all intelligent alien life. The treatment of the issues were metaphorical, but they had their basis in their bigotry and intolerance that has marred human history.

Mills describes the incident on page 155 of his book Be Pure! Be Vigilant! Behave! 2000AD and Judge Dredd: The Secret History:

There were many more ordinary hero stories I would have loved to have produced. Eventually, Amnesty commissioned me to write an Amnesty issue of Crisis. And there were also plans for me [to] do something with Campaign Against Arms Trade. For Amnesty, I wrote about the death penalty in South Africa and Palestinian youth in the Gaza Strip. Both were illustrated by Sean Phillips. One Palestinian kid was so beaten up by the Israeli forces, Sean showed him lying there with his legs and arms a twisted angles.

When it appeared, the watchdog organisation, the Jewish Board of Deputies, complained to Robert Maxwell that this kid’s limbs were in the shape of a swastika. No concern about the kid himself. Or no interest in the story: a damning indictment of the brutality of the Israeli forces. It was like the Board were looking at faces in the fire and seeing what they wanted to see. But they couldn’t try their usual anti-Semitic allegations, which often successfully shuts us all up, because the three key organisers on the project were Jewish. Sara Selwood, Dan Green and Igor Goldkind. They couldn’t all be dismissed as self-haters. Surprisingly, Robert Maxwell, of all people, and hardly a self-hater either, told the Board to get lost. I can get behind his response.

This is the Board of Deputies of British Jews, which is now backing the fake anti-Semitism smears against Corbyn, and which, along with the Jewish Labour Movement, is now moaning about how he’s not really serious about tackling anti-Semitism. Because instead of meeting them, he went off to spend a Passover seder with Jewdas, a left-wing Jewish religious group instead. Which to me shows how pompous and arrogant they are, in claiming that they alone speak for the British Jewish community, when there are many other Jewish groups like Jewdas, who have put their full support behind the Labour leader.

Mills also goes on to describe how he also tackled other controversial topics in the strip, such as the British suppression of the Mau Mau in Kenya. Drawn by John Hicklenton, one of the artists who drew Nemesis the Warlock, the strip was so horrifying that the staid printers threatened not to print it. ‘But’, writes Mills, ‘we got it through and I’m proud to have shed light on at least one aspect of our country’s evil colonial past.’ (pp.155-6).

This would have been very controversial when it appeared, especially as many of the documents were still classified until only a decade or so ago. The British army’s repression of the Mao Mao was indeed horrific, with internment, torture, mutilation and massacre. There’s a book about it, Africa’s Secret Gulags, and a few years ago a group of former Kenyan internees won a court case against the British government for what they had suffered at the hands of the army. This is one of a number of areas where comics in the 1980s did tackle contemporary politics, and stood up for the poor, marginalised and oppressed in Thatcher’s Britain.

I’m not sure Mills would have been so lucky with the strip on Palestine today, though. As we’ve seen, the Israel Lobby now has absolutely no qualms about smearing whole masses of decent, self-respecting Jews as self-hating anti-Semites, as well as respectable, sincerely anti-racist non-Jews. This is utterly despicable, and it’s disgraceful that the Board should be a willing party to such foul libels.

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

March 30, 2018

The brutal treatment inflicted by the two ‘Prefects of Discipline’ understandable left Mills with a hatred of the Catholic church. He isn’t alone there. The Irish comedian Dave Allen, and his countryman, the much-loved Radio 2 broadcaster and presenter Terry Wogan, also had no particular love of the church because of the similar sadistic discipline they’d also received as part of their Catholic education. And I’ve met many ordinary people since then, who have also fallen away from the church, and often against Christianity altogether, because of it. One of my uncles was brought up a Catholic, but never attended church. This was partly due to the brutality of the monks, who taught him at his school.

Mills also corrects the impression that Judge Dredd was immediately the favourite strip in the comic. The good lawman wasn’t, and it was months before he attained that position. And he also attacks Michael Moorcock for his comments criticising the early 2000AD in the pages of the Observer. Moorcock was horrified by Invasion, and its tale of resistance to the conquest of Britain by the Russians, hastily changed two weeks or so before publication to ‘the Volgans’. Moorcock had been the boy editor of Tarzan comic, and declared that in his day the creators had cared about comics, unlike now, when the creators of 2000AD didn’t. This annoyed Mills, and obviously still rankles, because he and the others were putting a lot of work in to it, and creating characters that children would like and want to read about. One of the recommendations he makes to prospective comics’ creators is that writers should spend four weeks crafting their character, writing and rewriting the initial scripts and outlines of the character in order to get them just right. And artists need two weeks creating and revising their portrayal of them. This was difficult then, as creators were not paid for what Mike McMahon called ‘staring out of the window time’, though Mills generally managed to find someway round that. It’s impossible now, with tight budget and time constraints.

I can see Moorcock’s point about the Invasion strip. It wasn’t Mills’ own idea, although he did it well. True to his beliefs, its hero was working class, a docker called Bill Savage. He didn’t initially want to work on it, and was only persuaded to by the then editor telling him he could have Maggie Thatcher shot on the steps of St. Paul’s Cathedral. But it is a right-wing, Tory fantasy. It appeared at the tale end of the ’70s, when MI5, the CIA and Maggie Thatcher had all been convinced that the Labour leader, Harold Wilson, was a KGB agent, and the trade unions and the Labour party riddled with Communists or fellow-travelers ready to do the bidding of Moscow. The strikes in the period led to various arch-Tories, like the editor of the Times, Peregrine Worsthorne, trying to organise a coup against the 1975 Labour administration. And ITV launched their own wretched SF series, in which a group of resistance fighters battle a future socialist dictatorship.

He also discusses the office hatred of the character Finn and the man it was based on. Finn was Cornish, driving a taxi round the streets of Plymouth by day. He was practising witch, and at night battled the forces of evil and against social injustice. The character was based on a man he knew, an ex-squaddie who was a witch. Mills has great affection for this man, who introduced him to modern witchcraft, and in whose company Mills joined in ceremonies at the Rollright Stones in Oxfordshire. But the management didn’t like him, and had him sacked. There was a persistent dislike of the character, which seemed to come from its basis in witchcraft, and Mills himself was the subject of lurid stories about what he was supposed to get up to at these ceremonies. This ended with the strip’s abrupt cancellation, without proper explanation. Mills states that he is very distantly related to one of the women executed for witchcraft at Salem, and so is very definitely down on people, who despise and malign witches.

I’m not surprised by either the rumours and the hostility to the strip. This was the 1990s, the heyday of the Satanism scare, when across America, Britain and Europe there were stories of gangs of Satanists abusing animals. Children were being conceived by abused women, used as ‘brood mares’, to be later used as sacrifices to Satan. It was all rubbish, but repeated by a wide range of people from Fundamentalist Christians to secular feminist social workers. And it destroyed many lives. You may remember the Orkney scandal, where forty children were taken into care following allegations of abuse. The minister at the local kirk was supposed to be a Satanist, who had an inverted crucifix hanging from his ceiling. It was no such thing. It was, in fact, a model aeroplane.

Much of this dangerous bilge came from a group of rightwing evangelicals at the Express. I’m not surprised. I can remember the Sunday Express repeating some of this drivel, including the ludicrous claim that CND was Satanic because of its symbol. This was declared to be an old medieval witchcraft symbol, based on a broken cross. I mentioned this once to a very left-wing, religious friend, who had been a member of the nuclear disarmament group. He looked straight at me and said levelly, ‘No. It’s semaphore’. The scare pretty much disappeared in Britain after a regular psychiatrist issued a report stating very firmly that such groups didn’t exist. There are several excellent books written against the scare. The two I read are Jeffrey S. Victor’s Satanic Panic and Peter Hough’s Witchcraft: A Strange Conflict. Victor is an American sociologist, and he takes apart both the claims and gives the sociological reasons behind them. Hough is one-time collaborator of ufologist Jenny Randles, and his book comes at it from a sympathetic viewpoint to modern witches and the occult milieu. He talks about the political beliefs of modern occultists. These naturally range all over the political spectrum, but the majority are Lib Dems or supporters of the Green Party and keen on protecting the environment. And far from sacrificing babies or animals, those I knew were more likely to be peaceful veggies than evil monsters straight from the pages of Dennis Wheatley or Hammer Horror.

The 1990s were also a period of crisis for the comic, which went into a spiral of decline as their best talent was stolen by DC for their Vertigo adult imprint. There was a succession of editors, who, flailing around for some way to halt the decline, blamed the remaining creators. They were increasingly critical, and seemed to be encouraging the abuse letters being sent to them from what seemed to be a small minority of fans. There were also plans to interest TV and Hollywood in developing 2000AD characters in film. Mills and Wagner were horrified to find they were giving away the rights dirt cheap – in one case as low as pound. The comic was close to collapse, but was eventually saved by Rebellion and its current editor.

Continued in Part Three.

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.

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.