Posts Tagged ‘‘Rebellion’’

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

March 30, 2018

Although the comic has been revived and managed very successfully by Rebellion and its new editor for the past 15 or so years, some of the joy has gone. The close collaboration between writers and artists has disappeared, and the editor himself avoids close contact with the other creators. This is partly because of budget and time constraints. The attitude throughout the industry now seems to be one of diligent, quiet efficiency, rather than some of the fun-filled, boisterous meetings Mills and the others had, acting out what they wanted the characters to do in an atmosphere of playful fun. Not that it was always the case. Mills also worked hard, and as an editor he was often called up to deal with artists experiencing some form of crisis, including trying to stop one fellow from committing suicide. But the underlying cause of the decline in British comics remains unaddressed. This is the lack of ownership by the creators for their work. He states that this is the real reasons comics are declining, not computer games. They have those in France, but kids are still reading comics. He also talks about the immense fun he had over there with his Requiem: Vamnpire Knight strip, also available in English translation on the Net.

Mills also talks about some of the other strips he has worked on, which have influenced 2000AD, such as Battle, the notorious Action, Crisis and Toxic. Battle was a war comic, which Mills subverted with Charlie’s War, a First World War strip which had an anti-war message. Mills has come across a number of men, who joined the army through reading such comics. He’s very proud that Charlie’s War had the opposite effect, and after reading it one young lad decided he really didn’t want to after all. Mills is very political, and criticises British literature for its lack of working class heroes. He sees this as partly deliberate, as so many of the great adventure writers were connected to the Intelligence Services and the secret state. Names like John Buchan, Dennis Wheatly – who would have been gauleiter of London, had Hitler conquered Britain – and Ian Fleming. He describes how the script editor of Dr. who in the ’80s turned down a story he’d written, as it included a spaceship captain who was working class. The story has since been made into a CD adventure by Big Finish, and there have been absolutely no complaints.

Action was initially suspended, and then banned outright for its violence. It was also controversial as the first strip to feature a sympathetic, non-Nazi German hero in Hellman of Hammer Force. The comic was so hated by respectable society, that one of the presenters of Nationwide, a 70s current affairs magazine show pretty much like today’s One Show, tore a copy up on camera in front of one of the writers. After it returned, the violence because even more over the top to the point where it shocked Mills, leading to its eventual ban.

Mills is unhappy with SF as a vehicle for social comment, as he feels it is ducking the issue. And so he created Crisis and its Third World War strip, which was all about the exploitation of the Developing World and the politics of food. He’s particularly proud of one story about the scandal of Nestle’s baby milk. But this was completely beyond management’s ability to understand why he included this issue in a boy’s comic.

And Mills and his co-creators were also accused of anti-Semitism by the Board of Deputies of British Jews. They did a story about Palestinian, in which a militarised cop, or a member of the IDF, beats a protester so badly, that they break all his limbs, and he falls to the ground. The Board complained that the man’s broken body resembled a swastika, which shows they were reading things into it which weren’t there. The three other creators of the story were Jews, and Mills thought that the Board couldn’t accuse them all of being self-hating. The strip was published by Robert Maxwell, who told them where they could stuff their idea. He was a crook, who robbed the Mirror’s pension fund, but here he did the right thing. You can beat the Israel lobby if you stand up to them.

Mills is clearly a hard-working, passionate enthusiast for comics, and a determined supporter of his fellow writers and artist. He wishes the industry to go back and try to appeal again to young children, although he makes the point they’re ruder than the adult fans, with whom you can have interesting conversations at conventions. He admits that its much harder now to get published in 2000AD, but not impossible, and gives valuable, careful advice to aspiring writers and artists.

As well as a fascinating account of the rise and career of 2000AD, it was for me also quite a nostalgic read. I remember some of the strips Mills wrote for and created, including the comics Whizzer and Chips, Battle and Action. I have mixed feelings about Action. I enjoyed strips like One-Eyed Jack and Death Game 1999, based on the film Rollerball. I wasn’t so keen on Dredger, which did have some horrifying stories. One of these was a Russian dissident punished by having his brain gradually removed by surgery until he was vegetable, and another tale in which a foreign politician is murdered. Sulphuric acid is poured into his shower so that he literally goes down the drain. But the strip I really didn’t like was ‘Kids Rule UK’, set in a future where all adults had died, and Britain was run by violent kid’s gangs. I was bullied at school, and this was for me an all-too frightening concept. I also stopped reading 2000AD for a time, because the stories there were a bit too sadistic. Which was a pity, as I later found out, because I missed some great strips.

2000AD will celebrate its fiftieth anniversary in a decade’s time, thanks to the inspiration of Pat Mills and his fellow creators. And I hope that afterwards the comic will go on to enjoy another fifty years under new, equally enthusiastic, committed and inspiring creators.

Splundig vur Thrigg, as the Mighty Tharg used to say.

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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.