Twisted Pulp Magazine Issue 010

For Halloween this year we reached out to fan’s of the magazine... okay, and our own social media friends, but I like to think they are all rabid fans. We asked for some scary artwork to share and we got a lot more than we anticipated. So here they are, a photo and sculpting from Neal Jonas, paintings from William Isaacs, masks made by Shawn Northrup, drawings from Evie Cullinan, Serenity Lewis, and CrumbsAndGubs, and comics from Carl Snow sprinkled about the issue

    Contents

  1. Blacktop Magic by Lothar Tuppan Chapter 1
  2. Interview with Chuck Dixon
  3. Interview with Pat Mills
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Interview with Chuck Dixon

Interview with Chuck Dixon

Chuck Dixon is a veteran comic book writer with thousands of titles to his name including a record run on Batman at DC Comics (where he co-created the villain BANE along with Graham Nolan) and seminal work on Marvel’s The Punisher. His other work includes extensive runs on titles as diverse as Conan the Barbarian, Nightwing, The Simpsons and SpongeBob Squarepants.

Chuck Dixon

What was the first thing you remember reading?

If you mean comics, it was an issue of Tales of Suspense with a spectacular Kirby cover that freaked me out.

How did you break into comic books?

Persistence. There was really no other thing that I wanted to do more than work in comics. I went to conventions, met editors, tried to get interviews. I spent over ten years making attempt after attempt to get work in comics while working a myriad of other dead-end jobs like security, ice cream truck driver, janitor etc. I wrote a few children’s books in that time but was only really interested in writing comics.

You’ve worked for both Marvel and DC, what’s biggest difference between the two companies?

Not a whole lot. It all depends on the editor. I worked for Archie Goodwin at Marvel and DC and he was always Archie. I will say that DC is far more generous with royalties and participation than Marvel. There are magnitudes of difference there.

Tales of Suspense Vol 11
Bane
The Punisher War Journal

What artist/writer inspires you the most?

I mentioned Arche Goodwin. Huge influence on me since I was a kid. I’m also a big admirer of Steve Ditko. His Spider-Man work made me want to be a comics creator. Harvey Kurtzman as well. He was the first comics creator to invest his work with real human emotion.

What have you written that you are you proudest of?

I’ve been very fortunate with a long career in a medium I love. I can pick a few highlights at random. The Joker: Devil’s Advocate graphic novel that Graham Nolan and I did was something we worked very hard on. Also, Detective Comics Annual #7 featuring a pirate version of batman with art by Quique Alcatena. But there are so many more.

Do you think your environment, where you live, has an effect on type of art you create?

No. I mostly live in my own head. I’ve written in an office, in a lobby and on a park bench. Doesn’t matter where I am, I’m always in the universe of whatever I’m working on.

The Punisher War Journal
Batman Elseworlds

Is it easier for you to create if given an assignment or does it get in the way of your creativity?

Sometimes an assignment is the best way to get me started. It’s a launch point and sometimes a challenge. I’ve had the craziest ideas thrown at me and it’s my job to dramatize it, organize it into a narrative and populate it with characters. It’s fun to come up with stuff out of nothing but I like having an offer made and trying to exceed the editor or publisher’s expectations.

Where do you think the world of literature/popular culture will be like in ten years?

I think it will be even more niche driven than it is now. I mean, there is a sub-genre of romance novels about billionaires. And a sub-sub genre of that genre about billionaire cowboys. Maybe someday AI will allow people to custom create novels for themselves focused only on their area of interest. I hope I’m dead by then.

What was the oddest thing you’ve ever been asked to do in your writing career? A specific assignment/books for a publisher?

I was once asked to plot a Punisher comic over the phone so the editor could give an artist work that day. The artist was waiting in his office while the editor wrote down what I said.

Another time, I was offered a flat rate for a comic story. When I told the publisher that, by my regular rate, I was being shorted pay for two pages. He said, “So write two pages where nothing happens.”

Another time, I was asked by an editor to come up with a comic story in three days because the regular writer had a problem. I asked if it was anything serious. The editor told me, “He’s the new writer for the series but he doesn’t have any ideas yet.”

Robin Huntress
Nightwing
The Punisher War Journal

What projects are you working on now?

I’m doing a lot of work for ARKtoons, a new digital streaming platform. You can find it at www.arkhaven.com. It’s varied, hi-res and free. I’m doing weekly installments for more than a half dozen series there including superheroes, fantasy, SF, espionage and horror.

https://www.arkhaven.com/

More about Chuck Dixon

ChuckDixon.net

Wikipedia

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Interview with Pat Mills

Interview with Pat Mills

Comic Writer Pat Mills

Pat Mills, famed as ‘the Godfather of British comics’, created Britain’s most successful comic 2000AD which celebrated its 40th birthday in 2017 and is the subject of his autobiography: Be Pure! Be Vigilant! Behave! 2000AD and Judge Dredd: The Secret History. He also co-created the girls’ mystery comic Misty, now enjoying new success in collected editions.

What was the first thing you remember reading?

An illustrated History of Britain aimed at young children. Based on famous paintings, it captured the drama of the past and gave me a lifelong love of history.

How did you break into comics?

I was trained as a magazine journalist at D.C. Thomson—one of the two major publishers of comics in the UK. It showed me how comics should be written. At that time few people were interested in writing comics, so it wasn’t too difficult to sell my stories.

…and how did you come to create/help develop such classics as 2000 A.D.

I’d already produced two successful comics—Battle (with John Wagner) and Action. So creating 2000 A.D. was the next step

…and Judge Dredd?

John Wagner and I had noticed how readers like extreme characters, so when John came up with a grim death-dealing cop I jumped at the chance. It took a considerable amount of development to get the story and character right, but the art—by Ezquerra—was perfect from the beginning. So I knew we were onto a winner.

I don’t think anyone who lived in the ‘80s and read comics doesn’t know who Marshal Law is. How did the creation of that book come about?

Marvel Epic’s Archie Goodwin wanted to work with Kevin O’Neill and myself. So we came up with a story and art. But at this stage he was “just a cop.” Then I realized he looked like a superhero, but I have little affection or knowledge of superheroes. However, I am supremely qualified to write about a superhero hunter as I loathe them so much, so I ran the idea past Kevin and we developed it further. I think Archie was surprised but accepted it which was brave of him, given that he worked for Marvel, and it took off from there.

What artist/writer inspires you the most?

Joe Colquhoun, the artist on my ‘80s anti-war series Charley’s War because his work directly challenges all the usual comic rules. Namely the hero was just an ordinary kid and Joe showed the humanity and the super-heroism of ordinary people, rather than cowards in capes. It was hugely popular with readers and continues to be popular to this day—an uncomfortable proposition for fans who prefer escapism.

What story/book/comic series are you proudest of?

Charley’s War for the reasons above. And also my latest project SPACEWARP—an anthology comic aimed at all ages, in the tradition of early 2000 A.D. I’m proudest of it because it is creator-owned by the writer (myself) and the 6 artists. It’s available from bookshops, Amazon and Get My Comics.com.

Do you think your environment, where you live, has an effect on type of art you create?

My type of writing? I live in a beautiful part of Southern Spain, but when I’m working I’m lost in my own inner world so I’m barely aware of my environment.

Is it easier for you to create if given an assignment or does it get in the way of your creativity?

For a long time I’ve been giving myself my assignments on the characters I create. But sometimes an external assignment comes along and then I enjoy the challenge of meeting the client’s criteria

Where do you think the world of literature/popular culture will be like in ten years?

I think there will be much more self publishing—hence I self publish SPACEWARP and others are doing the same. Publishers seem to have lost touch with their audience and are often mining the past rather than developing the future. Self-publishers have to stay in contact with their audience

What was the oddest thing you’ve ever been asked to do in your writing career? A specific assignment/books for a publisher?

To write an opening story for 2000 A.D. about the Russian invasion of Britain, a rather paranoid idea in 1977, but it was during the Cold War. Eventually the Russians had to be toned down into the fantasy “Volgans” but it was still very successful and I only stopped writing it about five years ago.

What projects are you working on now?

SPACEWARP issue two is my priority now. And editing and publishing KISS MY AXE! My text memoir of the Secret History of Slaine the Warped Warrior celebrating its 40 years in comics! It should be published in the Autumn.

More about Pat Mills

Wikipedia

millsverse.com

spacewarpcomic.com

Space Warp by Pat Mills