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SCHLOCK AND AWE! SPACE WARP FAQS

SCHLOCK AND AWE! SPACE WARP FAQS

Will other writers be brought in? What about lettering? What’s the cover and the masthead? When would I get paid? I’d love to do this, but I’m skint, what can I do? So what are readers looking for? How does the Space Warp work? What’s the tone? What kind of problems do you anticipate? Where does Schlock fit in? Where does Read Em And Weep fit in? What’s the next move?

SPACE WARP 3 T&C

SPACE WARP 3 T&C

With Jurassic Man, artist Simon Hodgkiss-Rogers is well on his way to making the story his own. It’s rather different from my first draft, as I play to Simon’s strengths and modify my storyline accordingly. And it’s all the better for it. Once he completes the six or seven page story, we will then jointly own the IP (intellectual property). Because all the prime elements are in his first episode: it makes him a legitimate co-creator.

SPACE WARP 2 MONETISATION

SPACE WARP 2 MONETISATION

The French industry model for royalties is: 50% to publisher, 25% to writers, 25% to artist.
But to make the deal more attractive, we changed it on PsychoKiller to a third to publisher, a third to writer, a third to artist. We would do the same on Space Warp collected editions.

SPACE WARP 1 DO NOT ADJUST YOUR REALITY

SPACE WARP 1 DO NOT ADJUST YOUR REALITY

My ideal line-up for SPACE WARP One is six out of the following seven stories:
Agent Impossible, Jurassic Man, Hellbreaker, Futants, Xecutioners, SF1, Slayer. Plus a Future Schlock bonus story.
To give you a better idea of what Space Warp is all about and what I’m looking for – here’s the title page of JURASSIC MAN by Simon Hodgkiss-Rogers:

SPACE WARP IS COMING

SPACE WARP IS COMING

If you’ve ever wondered what it was like to create a comic like 2000AD, now is your chance to find out. To experience the highs, the lows, the creative jamming with artists, the excitement of breakthroughs and the disappointments when things go wrong. Then the satisfaction of solving those problems, getting the art right, the stories right, the thrill of seeing amazing new artwork, and the knowledge that we are facilitating great new talent who, otherwise, might be stuck in some boring job. And finally, the thrill of viewing the finished awesome comic.

FUTURE TOPICS

FUTURE TOPICS

I’m taking a three-week break now, but there are a number of topics I hope to cover when I come back, or in a future collected edition of Storyteller. I feel they are important, so I can’t resist giving a few pointers on each of them just now.

COMICS FOR THE 8-14 AGE GROUP

COMICS FOR THE 8-14 AGE GROUP

I can still remember the exact moment on 2000AD when I knew I would have to change my writing style and adapt for an older, vocal fan market that Tharg was increasingly favoring, rather than the core comic audience. It was on Sláine: The King and it’s probably one of the reasons why that story is particularly popular with fans today. Yet I felt uneasy at the change of direction and where the comic was going. But the alternative was that I would have been slowly phased out, as were other writers from that era who were increasingly seen as ‘old school’ and not cool enough for fans.

VILLAINS: Part two

VILLAINS: Part two

I do think there is a case for knowing your villain personally or at least carefully researching him. An obvious villain was/is Aleister Crowley. But great writers have beaten us to him. He appears as Mocata in Dennis Wheatley’s The Devil Rides Out. And Oliver Haddo in The Magician by Somerset Maughan. And doubtless many more novels beside. But he does feature in Requiem as Black Sabbat and I think Olivier, has depicted him beautifully. I read a lot of Crowley’s life and writings to characterise him, focussing especially on his relationship with Leah Hirsig, the ‘Ape of Thoth’.

THE BLOOD LUST BISHOP

THE BLOOD LUST BISHOP

Bishop Winnington-Ingram is far worse than any of the villains I featured in Charley’s War. Here’s part of his sermon in Westminster Abbey in 1915:

‘To save the freedom of the world, to save Liberty’s own self, to save the honour of women and the innocence of children […] everyone that loves freedom and honour, […] are banded in a great crusade – we cannot deny it – to kill Germans. To kill them, not for the sake of killing but to save the world; to kill the good as well as the bad, to kill the young men as well as the old’

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