Pat Mills Shares Some 2000AD Anniversary News And Answers A LOT Of Questions

Ahead Of The Curve?

Photo Credit: Michael Molcher

Tripwire’s contributing writer Paul N Neal recently had the opportunity to ask the incredible gentleman Pat Mills a handful of random interview questions about his career. Below are the questions and his fascinating answers…

TRIPWIRE: What were the comics that first inspired you to write comics? Or did you simply, rebel against some of the existing comics at the time? Or alternatively if it wasn’t comics, was it certain books or authors? As a writer what originally inspired your distinctive anarchic voice in the comic industry?

PAT MILLS: Comics didn’t inspire me. Cartoons did. So, every two weeks I got Private Eye and every week Punch. I could tell you the names of my favourite cartoonists including Ronald Searle, Honeysett, Heath and so on. Raymond Lowry was an especial favourite because of his quirky surrealism.

TW: You say comics not did inspire you but were there novelists that helped you develop your tone or your voice as a writer?

PM: Wilkie Collins, the Moonstone. Jeeves – PG Wodehouse and H Rider Haggard.

TW: You have written socially and politically important comics such as Charley’s War and Third World War, but also genuine entertainment such as Accident Man or Flesh? How do you personally define yourself?  Who is Pat Mills as a writer?

PM: I have to disguise myself because British comic fans are negative of polemics. Anything ‘deep’.

I have negative views on them – I think they have successfully been brainwashed. But I don’t want to get into a debate with them, and it could be worse – look at American audiences. So, I work mainly for France where complexity is highly regarded.  Scotland is similar which is why I also work for Scotland – e.g. Ragtime Soldier launching in Dundee later this year.

TW: Marshal Law is rightly beloved, and I suspect born from a shared loathing you and Kevin O’Neill felt towards superheroes. I ask, until the artist’s tragic death in 2022, were there any Marshal Law stories left untold? Were there any existing scripts or ideas you could have returned to if circumstances had been different? Has the world missed out on more Marshal Law?

PM: Probably. It’s so obvious to me that mainstream superheroes are disgusting promoters of the establishment. And that’s even before we get to CIA funding of superhero movies. There are stories left untold, but I’ve found other outlets for them. eg The WW1 text novel series The Temporary Gentleman. He works in British propaganda and is based on a real person, a working-class character unique amongst all these famous ‘gentleman’ writers.

Propaganda is the most pernicious of weapons. I hope someone is inspired to do a modern counterpart. There’s the modern British army propaganda machine – the 77^th brigade. NOT to be confused with the comic!

They are remarkably similar to MI7. They’ve betrayed their country.

And then we have media assets who are bribed or blackmailed into praising the establishment. I must look up LOBSTER and see who the assets are. Plus, various Friends of Israel.

TW: You used an expression, “various friends of Israel.” It would be remiss of me to currently leave that comment hanging in mid-air. For the sake of clarity, could you confirm who the reference (they are your words) refers to please?

I ask in order to avoid any confusion, mistaken controversy or misunderstanding. It feels like a reasonable follow up question with no offence or personal agenda intended. Readers will wonder, so I must ask. Could you explain who or what you refer to please?

PM: Propaganda fascinates me – hence writing a WW1 story about it.  It features an organisation called MI7. The British army 77 is roughly the equivalent today. Both organisations play down their importance and are fairly unknown. Both need exposing. But it also got me interested in how modern propaganda works in the same way. Nothing has changed.  Because it’s how wars start or are justified – the public have to be prepared by propaganda..

In summary, there are endless pressure groups that do this and affects us today.  These lobby groups would include various Friends of Israel (Tory and Labour and probably others). There’s also Common Purpose, Fabian Society and many more. The Fabian Society (founded by E. Nesbit, the children’s author which also had Bernard Shaw as one of its more prominent members) originally had as its symbol a wolf in sheep’s clothing! They’ve toned it down now. But Bernard Shaw’s views on Eugenics are hard to listen to.

Tony Blair is a member of the Fabian Society. But we are often unaware of the pressure such groups put on our MPs and leading citizens – top cops, for example, are members of Common Purpose which is semi-secret. Their objectives could be for good or bad, depending on your personal beliefs.

When I was writing Third World War, I came across Lobster magazine which listed media assets of Mi5 and Mi6. It was every journalist who was famous at the time. I would say that today, historian Niall Ferguson is such an asset, judging by letters he writes to the Times. I’m pretty sure Jeremy Paxman was. His defence of the British Empire (Funded by Open University, IIRC) and his opinion that World War One had positive aspects. Plus, his interview with Gerry McCann which toed the official line.

Free junkets and free trips are an important part of persuading the asset to speak on behalf of the relevant organisation. The same applied in World War One. All our most famous writers were involved – H.G. Wells, Conan Doyle etc – with the exception of AA Milne. All agreed to keep their propaganda work for the government secret.

TW: You were a tiny bit vague in your answer in regard to Marshal Law? Do you have any scripts featuring the character left in the drawer (for lack of a better description) that will never see the light of day?

PM: I have the Law vs Batman cross-over story outline. DC Comics commissioned us to do it, then they changed their minds.

TW: Would you ever contemplate writing any new Marshal Law stories with a new artist? Alternatively, is Marshal Law officially dead and buried and his superhero hunting days are finally over?

PM: I fear so. Kevin is a hard, probably impossible, act to follow.

TW: Beyond simply creating the title, could you for a minute consider the sheer number of pages you have written for 2000AD. Characters such as Nemesis, ABC Warriors, Slaine and many more, assuming you do not return, what do you hope your legacy is for fans and readers of 2000AD?

PM: I’m writing an ABC Warriors for the 50th.  I think my legacy is laid out in my PAGETURNERS. On Charley’s War, many people said they came from military families. They decided not to join the army after reading CW. That’s a result. There are young men alive today because they read CW. I would guess there’s an equivalent in 2000AD. It’s about altering minds.

TW: It may seem odd to a handful of 2000AD fans that you have chosen to return to write an ABC Warriors story for the 50th anniversary of the title in 2027. Are you allowed to say who might be the potential artist or artists involved? Or is that a closely guarded secret at this stage? Many fans may have been under the impression that seeing you returning to write anything again for 2000AD may have felt like an unlikely prospect. What has persuaded you to return, even if it is a one off?

PM: Colin MacNeil suggested an ABC Warriors story for the 50th anniversary. I scripted it and it’s just been accepted. Colin was a Prog One reader, so I had the opportunity to closely study what lit his fire in the ABC Warriors.  It was very instructive and bears out what I suspect about readers preferring the Golden Age of 2000AD and wanting stories that reflect this.

TW: At this stage, if Rebellion gifted (or sold you at a very, VERY reasonable price) the rights to Slaine (and or Nemesis), with full creative control, would you actually ever consider writing new Slaine stories?

PM: It’s never going to happen, of course. But I did suggest to them that the whole Slaine saga was remade – in a Manga format to appeal to a younger generation.

TW: I’ll ask a simple and honest question. You are obviously not obligated to answer, and “no comment” is an understandable answer…. What is your general opinion of Rebellion as the publisher of 2000AD‘s various titles in recent years? Do you have any thoughts you can share?

PM: There’s no doubt that they rescued 2000AD which is a considerable achievement. Ask yourself could anyone have done it? Titan? Panini?  I doubt it.

TW: I get the impression you had a falling out with Rebellion and 2000AD. It is of course your right to withdraw your talents. I’m not sure anyone can criticise you for exercising you right to be independent. For the sake of confirmation, what was the crucial sticking point? What was the biggest issue from your point of view?

PM: Money. Industry standard which is 50/50. Rebellion take 60/40. I don’t think that is right.

TW: Slaine Dragon Tamer was an incredible storyline with some truly remarkable art. I suspect you would agree on that point. How much more did you have written or planned? Was there an epic storyline you had in mind that could have followed Book One?

PM: I had quite a bit planned. But – rightly or wrongly – I formed the impression that reader response to it was lukewarm. So, it needed a reboot, which is an intense process. About six weeks. Economically, I needed some development time from Rebellion and, as that wasn’t forthcoming, I felt it was time to go.

TW: Did you ever have a “Death Of Slaine” storyline planned or figured out in your head? Was a very final storyline or a definitive ending for the character ever a part of your thought process? If so, can you share any tantalising details of what you might have had in mind?

PM: I like him being an eternal character, so I never thought about his death. I like him going out while he’s still winning,

TW: Do you ever feel bad or upset that some 2000AD fans might miss your writing, or are disappointed that you no longer write for Tharg or have left any storylines or plot ideas unresolved?

PM: No, because it’s not my responsibility. There’s a simple solution which is to take note of what I would need to continue. Most of the plot lines are resolved in any case.

TW: For the record, if Rebellion decided to hire another writer for characters such as Slaine or ABC Warriors, how would you react if that were to occur? To your mind are they your characters and there is a “hands off” policy, or do you have sympathy for any writer trying to follow in your footsteps?

TW: I would be hostile to any British writers taking over Slaine, because I don’t think there’s any who would put the effort in. Or they would take it off in some other Celtic direction. But I suggested to Rebellion that there was a case for a French/English Manga remake of Slaine because we worked out a successful methodology on Requiem Manga. Victor Santos adapted it, so I have every confidence he would do a similar excellent job on Slaine. I don’t think I persuaded them, alas.

Rebellion came up with a paid story consultant basis on the ABCs and others. That’s a bit of a breakthrough, so I said yes.  But they’ve not followed through.

TW: You mentioned you considered and indeed proposed a complete adaptation of Slaine into Manga format to encourage new audience of comic readers. Would the same approach work for Marshal Law or any of your other Toxic comics properties? I could imagine Marshal Law working in a manga format? Is it such a ridiculous idea?

PM: I can’t really see the French going for it. Slaine maybe one day.

TW: What is your personal opinion of digital comics? Is it progress to read comics on a tablet or laptop etc, or are you old school and think a printed comic is preferable? Which do you prefer to read?

PM: Americans like digital. It’s done very well for us, notably Requiem Vampire Knight.

TW: If in years to come, comic fans suggest Charley’s War is your finest hour, that it is literature that will stand the test of time, is that a compliment? Or is that to the detriment of all your other writing?

PM: Not at all. I know it annoys some 2000AD fans when I talk about CW. So, I make a special point of talking about CW just to get under their skin.  Bear in mind I loved Action but saw 20000AD as an escape. That’s still my view.

TW: You have stated in the past how you feel the European comic market is underappreciated by UK fans. Apart from your own work, what two or three titles from France or Europe could you recommend discerning British fans should really try investigating?

PM: It’s also the view of UK artists. I don’t get it because every superhero comic I’ve picked up I’ve found to be a wrist-slitter. Bilal, Moebius, Lone Sloane – Delirius (where Druillet has a writer) are great French books.

I think the UK feels threatened by French comics.  If you look in a French comic book shop, you can understand why!

TW: Despite your dislike for superheroes, you did work for Marvel Comics. Punisher 2099 was far from a superhero per se but how did it come about?

PM: I co-wrote it with Tony Skinner who loves weapons and thinks of futuristic devices all the time. His affection for future weaponry got us the gig.

TW: Can you talk about working for Marvel and your approach to the title? You and Marvel Comics “feels” like an odd fit. Am I wrong for thinking that?

PM: Punisher 2099 sold in huge numbers. I can take an ‘odd fit’ when it’s paying huge royalties. Actually, Marvel went bust at the end of this period – so they still owe me a lot of money.

TW: You co-wrote many scripts with Tony Skinner. Can I simply ask how does a writing partnership like that work? Is it 50/50?

PM: Yes.

A French journalist asked Tony, ‘What’s it like working under Pat Mills?’ Tony replied, ’Sometimes Pat sits on my lap, then we change places and I sit on his lap.’

TW: Does one person handle plot and the other take care of full script duties?

PM: Everything was produced by both of us. But there were areas where Tony had unique expertise – martial arts and weaponry, for example.

TW: So, there was simply give and take on both sides? After all, you wrote a great deal together. It feels like a fair question.

PM: Tony is a natural writer, and a great loss to comics, but he encountered passive resistance from within 2000AD. Memorably, Steve McManus said, ‘I’m not having a witch work for 2000AD’. So, religion is a necessary qualification?

I have some sympathy with this, because I would not employ a devout Christian.  The irony is that Tony was indifferent as music was his first love and he went on to be a very successful musician. Last time we talked his band was on the same billing as Hawkwind at the Palladium, so he’s doing very well.

TW: You said Tony Skinner is an accomplished musician. It inspires a question. Do you ever listen to any particular music when you write certain strips? I’m told a great deal of artists find music helps get them in the right frame of mind to draw or paint.

I’m not suggesting anything as crass as you listen to Heavy Metal to write ABC Warriors or Enya to write Slaine, please do not misunderstand me but have you ever found music to be a helpful tool to help you write. If so, can you maybe provide an example or two? Or do you prefer to concentrate and write in silence?

PM: These days I work in silence. But I used to listen to classical music – New World Symphony, by Dvořák.  Symphony Fantastique by Berlioz. Pictures at an exhibition – which inspired Metalzoic – Amok and the oxen crossing the tundra.

TW: Over the years of writing a multitude of characters, do you ever have any specific voices in your head as you write them? Utterly ridiculous examples would be Arnie as Slaine or Clint Eastwood as Marshal Law? What does Ukko “sound’ like? What accent does Bill Savage have in your imagination? Do such things enter you mind in the creative process?

PM: Probably still the originals.  Jack Nicholson as Slaine. Savage – John Thaw. Marshal Law maybe Eastwood.

TW: You have been an advocate of creators rights for many years? Is this entirely from feeling perhaps you have been cheated in the past? To your mind what is it every comic creator should feel entitled to expect from a publisher?

PM: Industry standard (50/50) has been common practise since Dickens. Today it’s 60/40 in favour of Rebellion which is wrong.  My gut feeling is that some fans think I’m wrong to be a troublemaker and stand up for proper rights. My reply to them is unprintable. I firmly believe that British culture has us so brainwashed, so some fans enjoy the whip on their backs. They prefer creators to be subservient. I must work harder at pissing them off…

TW: Movies based on comics are extremely commonplace these days. Indeed the Accident Man movies are a pretty cool example. I am guessing many of your strips have been optioned, would I be correct?

PM: Yes.

TW: My question is are there any of your strips you would especially enjoy seeing a big budget, big screen adaptation? Slaine perhaps? Which strip or strips would you say would work especially well? …Brats Bizarre could work for example?

PM: There’s two or three properties which are meant to go into production. I daren’t say more as I’ve been sworn to secrecy. But there’s meant to be an announcement soon.

TW: Third World War was a fascinating piece of long form writing. It covered a great deal of themes and ideas. How do you feel it has aged? Has it become increasingly relevant? We live in interesting times, so do you think with these particular storylines put you way ahead of the curve? Almost prophetic? Or is there a chance you did not go far enough?

PM: Readers think it was prophetic. I certainly learnt a lot from it. It would need updating for today’s generation. I think charities like Live Aid could be looked at. Probably too controversial at the time. But see above for the lobby groups that influence us. To which could be added WEF, Bilderbergers and so on.  The Tories planned to bring back National Service, so perhaps it was prophetic.

TW: You co-wrote a few Doctor Who comic strips, indeed The Star Beast was not long ago adapted for the screen. I ask do you remain a Doctor Who fan? Do you have a favourite Doctor? Would you ever consider writing more of the character, or even an actual TV episode if the opportunity presented itself?

PM: I guess.  Doctor Who fans really put the production team through the wringer. They never seem happy. It reminds me of early 2000AD fans. They seem to have mellowed as they reach mid-life. Or maybe they keep their complaints for the pub!

TW: If by chance you happened to win an ungodly amount of money on the lottery and if you felt compelled to buy and edit 2000AD again, would you take up the challenge? If so, purely hypothetically, what would be the first thing you would do or change?

PM: It’s the newsstand we need to crack because we need to attract new, younger readers again. Maybe via Manga, like the French.

TW: Some time ago I interviewed comic book writer and artist Howard Chaykin. He mentioned he’d be pleased to see the words, “Still Spinning!” as part of his headstone. Do you ever consider your legacy? How would you like to be remembered?

PM: It’s the subversive nature of writing for popular culture that drives and motivates me. Probably something anti-Catholic, but I think Nemesis has probably said it all.  I went to the funeral of a friend a few months ago. I noticed it had a Christian ‘altar’ layout at the crematorium with images of Jesus and so on.  To which the family appeared to have added ‘IHS’.  I always thought it meant, ‘I have suffered’ – although in fact it’s a monogram for Jesus.

They told me afterwards that the initials were actually ‘FFS’

How wonderfully subversive! My friend’s stepson is a famous musician, so it fits the family’s counter-culture thinking. Kindred spirits.

I should really dream up something as good as ‘FFS’. That is very inspiring, perhaps accompanied by an image of Jesus.

TW: Given the fact you clearly loathe superheroes this may be an utterly idiotic question, but hypothetically if you could have any superpower what would it be and why? Please don’t say the power to magically eliminate all comics journalists.

PM: To enable writers to see what cxxxs superheroes are. A first start would be to stop seeing them as heroes. It’s a debasement of the word.. Ordinary soldiers – as in WW1, like Charley – are true superheroes.

Tripwire Note: Pat’s spelling on a particular four-letter word above was not censored or edited at all. The text above is presented as the writer sent it.

TW: To your mind as a writer for several decades, if you absolutely had to make a choice, is there a single piece of writing that looking back on it brings you enormous pride? Or is the best still to come?

PM: Charley’s War – the British invasion of Russia, a war crime by any standards. And Ragtime Soldier – Beating Churchill and Trench Raider: the cocaine scandal. They’re out later this year.

TW: Pat, are you still the anarchic punk comic writer your fans believe you to be? Are you still a “disruptor” of the status quo? Or have you mellowed with age? Is that fire still there to cause a little trouble if the mood strikes you?

TW: Absolutely. I’d say I’m worse than ever. It’s a cliche that creators mellow with age, and I don’t agree with it.