WHO DARES WHINGES
You may have seen me on the Cartoonist Kayfabe YouTube Show, talking about my new comic SPACEWARP and reading out the most astonishing memo from a 2000AD Publisher.
I’ve got a scanned image of it at the end of this post for you to peruse at your leisure.
In my view, this memo was a landmark moment in the history of British comics. It’s never appeared anywhere before, AFAIK, and tells you a great deal about what we as British comic creators have to put up with, then and now.
As you will see, there is a total disdain for creators, and it demonstrates the highly successful publisher’s technique of ‘divide and rule’, which has been the curse of British comics.
There are many other examples I could give you from the early days of 2000AD right through to the present day. Because if creators are ‘at each other’s throats’, then it conveniently keeps the heat off the publisher.
But it’s insulting to claim that wanting a better rights deal is ‘whinging’. It’s not, of course. Alan was absolutely right to try and get a better deal for himself. Good for him!
In the same way, then and now, I’m similarly referred to as a ‘troublemaker’ or a ‘whinger’ because I continue to speak out against a dated publishing system.
Here’s my recollection of the events. Doubtless I’ve summarized the finer details, but these are most certainly the broad brushstrokes.
The memo was sent to me by Steve McManus because he was canvassing opinions on how we as freelances would feel if only one of us 2000AD writers and artists got copyright.
He rang me up after sending me the memo and said that there had been a further development.
John Sanders was now prepared to give Alan copyright on Halo Jones because he was such a hot property and they wanted to keep him. In fact, McManus had actually already promised copyright to Alan.
So what did I think of that?
I said that was fantastic! Kudos to Alan for daring to stand up for his rights! Well done!
But John Wagner, Carlos Ezquerra, myself and many others who had made 2000AD a huge success for over ten years, right through till 1988, the date of the memo, were surely also deserving cases? And we should ALL similarly have copyright on our work.
Anything else would be unfair. Right?
That was the answer McManus was looking for from me.
I believe he was looking for a Fall Guy. So he could say, ‘Well, Pat says that’s not fair…’
As a result of my response, and perhaps others, too, McManus or Sanders (you figure out which one) felt all contributors would demand copyright, and we would be very pissed off if only one creator got it. So it ended up with none of us getting it.
And Alan would, presumably, not have been very happy about the offer being withdrawn.
Classic divide and rule.
In fact, it’s history repeating itself. Some years earlier I was actually given copyright on my stories for 2000AD for around two months, and then it was abruptly withdrawn, almost certainly because other creators had, quite rightly, asked for the same deal.
Again, divide and rule.
During those two months I wrote Terra Meks, on which I still own the story copyright. Rebellion can only reprint it with my permission, which I have happily allowed them to do. It’s why it’s such a high-quality story, as well as high quality art, because I own the rights to the script.
Nothing’s changed since that memo. In fact, in some respects, the situation is worse today. So like so many other 2000AD artists and writers before me – including Alan – I was left with no choice but to leave. To finish off my work on the comic I love dearly and turn out the lights.
As the Creator of 2000AD it’s been the hardest decision for me to walk away from my creation. But it had to be done.
Because I’m so tired of my legitimate complaints being ignored or dismissed as ‘whinging’. Or whatever they call it today.
So, instead, I’ve produced SPACEWARP, where creators finally own their own work and get a proper share of the profits. That’s the reason the standard is so high.
High standards are not economically viable if you sell all rights to your story and receive token or no royalties.
Early sales returns show SPACEWARP is working. And the five-star reviews indicate it’s pressing the same buttons as early 2000AD, which is what so many readers tell me they wanted.
A comic for readers of ALL ages, rather than adults.
SPACEWARP is an important step in changing British comics for the better. I hope it will encourage others to do the same.
And you, the readers, are central to changing things. Because the power lies in your hands alone to make those changes possible.
Thanks for your fantastic support of SPACEWARP.
As promised, here’s a close up of that memo:
more power to you Pat, I don’t see what else you could do re: 2000AD.
Spacewarp is the future!!
Thank you for sharing those details, Pat. Freelancing in the U.S., I couldn’t figure out the flavor changes from when I was merely a young troglodyte. I need to put something in the book!
Stay in touch, mate.
With hindsight,the very first word on that memo says things are not going to go your way. Especially if your pension was within the reach of those chubby, grasping fingers. Inexplicably,the whole thing seems to resonate beautifully with the understated cry of a mighty Warrior from the black and white annals of 2000 AD, “BIG JOBS, BIG JOBS” . . . . I can almost hear the splash he made as he plopped off the boat, and into the water. But,y’know, onwards and upwards, right?
I hope one brighter day In the future people will look back at this and be amazed at how awful things were for comic creators in Britain 2020. Its shocking to think about how much great art is being stifled by shitty business practices.
Spacewarp is great!
https://pbs.twimg.com/media/C_vfYLPWAAAtTKS.jpg
I am sad that you will not be writing new stories for 2000Ad – but you have legitimate complaints , that I remember reading about for the first time when Neil Emery interviewed ( who wrote a Charley’s War Blog ) 15 ? years ago – Above all , and I can write with recognition of what you are experiencing , I left the NHS after 31 years loyal service after I was down-graded from Band 6 to a lousy 5 and put on ‘ redeployment ‘when I refused to lose it –
I went to work for an Agency for the next 2 years – and prospered .
Will you still write ABC Warriors for 2000AD ? or Slaine ?
either way , if your heart’s not in it , then I totally understand you feelijngs 0 something IS weird with 2000AD – a great story like BRASS SUN has not returned for 3 years or more – along with HELIUM ( now 5 years ? )
anyway all the Best –
regards
David
Something is wrong with 2000AD. As you say, ‘Brass Sun’ and ‘Helium’ have gone MIA. In addition, ‘Stickleback’ disappeared for six years before its – advertised – return in the autumn. ‘The Order’, in the meantime, keeps popping up. The art is great but the story is an utter mess. And re-gened editions almost every other month? Odd innit?
Whilst I am sorry to hear that you will not be working in the future on characters you have created for 2000AD(if I read the above correctly) I understand your reasons why. I look forward to reading Spacewarp when its printed on some dead trees. Maybe we will see ReadEmAndWeep Vol3 and 4 soon? Does this mean you will not be able to finish your Kiss My Axe book?
The question that hovers here to me is whether Sanders ever genuinely had any interest in giving over copyright to Moore/Halo Jones or whether this Machiavellian plan was hatched from the outset. There was a sense at the time (I think) that Halo Jones was framed with a certain progressive pride (female protagonist, stridently anti-war etc) but you would wonder if IPC saw any lasting value in the IP (over the higher-concept Dredd etc) and in a sense it was perhaps an easy property to acquiesce copyright over. The very fact we are looking at a Rogue Trooper film today, rather than Halo Jones, would maybe illustrate that.
Is the book comparison even correct – surely the same investments in publicity, distribution, etc. are made there as well ? Artists and illustrators certainly for the most part retain the rights to the work they produce for books, same should apply to comics. No basis for any difference as far as I can see. Fair play to you for your approach, deserves respect.
Creators need to stand up for their rights – thank you Pat. I love your work, and as far as I am concerned you own it. Just because some sociopathic lawmakers and business people came up with their own bits of paper to say otherwise doesn’t make it so, lol. The work itself “trumps” their feeble contracts, which are just a sad imitation of actual art…. as I think you and Alan taught me! ;D
Hi Pat, I can’t say I understand the comic world of politics but I recognize a hustler.
You create something, you should get paid properly and fairly. These tossers think they’re some kind of cartel!
Keep on spreading the word Mr Mills. You’ve got the support of all the fans.
Love Spacewarp.
Lee Mc