45 Years of 2000AD: Tripwire Speaks To Former Editor David Bishop

Part Of British Comics History

Tripwire’s contributing writer Paul N Neal recently had the chance to have a pretty in-depth chat with a man who directed 2000AD for a considerable period of time. He made several changes. Some were popular, and others were less popular. David Bishop’s tenure steering the helm of the ship we call 2000AD was never dull. I found the opportunity to ask him about these times a great pleasure. His honesty and hindsight showed me just what it takes to be Tharg. …or possibly The Man in Black?

TRIPWIRE: David, thank you for your time. May I start by asking what was the first comic you ever bought? How old were you, and do you still have it?

DAVID BISHOP: I’ve no idea what the first comic I ever bought. Growing up in New Zealand it was a struggle to buy two issues in a row of the same comic. I often got my comics from the bargain box at second hand bookshops as I couldn’t afford to buy them at cover price. I remember once seeing X-Men 99 and X-Men 100 in a bargain bin, but I only had enough money to buy one of them. I think I chose #99. When I went back a week later, #100 was gone. When I emigrated from NZ to the UK, I came with one suitcase and I couldn’t bring much with me. So, I got rid of all my comics before I left the country. Sigh!

TW: I am sure there must be an interesting story to be told. How did you become Tharg?

DB: I was a daily newspaper journalist in New Zealand before emigrating to London in 1990, but knew I was unlikely to get the same job in the UK. Fortunately, I had trained as a sub-editor before leaving NZ and that helped get me freelance work on an independent TV listings mag to tide me over. Back in those days’ newspapers used to run page after page of jobs – the Guardian had 20 pages of media jobs on a Monday in 1990, so I applied for everything. That led to me interviewing for the job of assistant editor on Revolver. It was Fleetway’s new monthly comic launched for adult readers. I didn’t get the job, they hired Frank Wynne because he had multiple languages and there were aspirations for Revolver to reach out to Europe. Frank is now a multi-award-winning translator, so he was the perfect choice for that kind of role.

But Steve MacManus said he would be launching a 2000AD spin-off focused on Judge Dredd soon and there was a job as his assistant, if I could wait. By July the listings mag was offering me a permanent, well-paid gig and Steve was offering me three days a week at £65 a day – a fraction of what the permanent job would pay… So, on July 25th, 1990, I became freelance assistant editor of Judge Dredd The Megazine, three days a week. The first issue went on sale Sept 15th and sold more than 50,000 copies – and it’s still going, more than 30 years later. The listings mag closed down within a year, so I definitely made the right choice.

Note: Above is the cover of David Bishop’s first issue of 2000AD as editor.

DB: Within a year of the Megazine launching I was editing it and working five days a week. By May 1992 I was in a permanent job and took the Megazine from monthly to fortnightly. By 1995 I was editing the Megazine as a fortnightly, a Judge Dredd reprint monthly and the fortnightly younger readers title Judge Dredd: Lawman of the Future. I had plenty of work but was getting bored. After five years I was ready to leave, but newly arrived managing director Frank Knau asked me to stick around. He had plans to shake things up at Egmont Fleetway as the company had become and make me editor of 2000AD. That was one of those plans.

TW: As you moved into the job was there a certain amount of material “in the drawer” so to speak, that you would not personally have commission but were obliged to publish.

DB: Yes, when I took over as editor of 2000AD one of my first jobs was to look at all the material in hand. There were a load of Future Shocks. There were several partially completed series and pin-ups that had been commissioned that had then been shoved to the back of the drawer because they weren’t good enough. My predecessors John Tomlinson and Steve MacManus had spent the previous years publishing some of that material, but there was plenty more that needed to be used.

Our management took the attitude that if editorial had paid for creative work, it had to be published – regardless of quality. I did manage to get a couple of completed Future Shocks written off, but that was very much the exception. So, for the next 18 months the unwanted leftovers of previous Thargs that had to be drip-fed into the weekly comic while I was slowly bringing a new look and new creators to the title. If I recall correctly I set the 20th anniversary prog 1037 as my target to have cleared most of the dreck away, creating rooms for new series like Nikolai Dante.

I also retired series that didn’t fit my editorial vision for the comic – and stopped using certain creators whom I didn’t feel were able to bring what I wanted to the pages of 2000AD. Some creators never pitched me new work – either because they were busy elsewhere or didn’t wish to work with me – and so they simply disappeared from the comic. Others I had to reject, sometimes with less tact that I should have. My treatment of Peter Hogan was poor, he deserved better, but I was young and in a hurry. That’s no excuse, but it is true.

TW: You made some editorial choices at the time some considered very brave or controversial. Sending Tharg on holidays as editor springs to mind. Moving Dredd to the back of the prog could be consider another, and commissioning certain stories that were perhaps designed to attract media attention and boost sales? Are there any choices during your tenure you regret with hindsight?

DB: Banishing Tharg from the pages of 2000AD was a long-held ambition of mine. I felt he was a relic of the past, something invented to amuse 7-year-olds, and had no place in a title sold primarily to adult readers. Obviously, I was wrong!  I borrowed the MIBs from Vector 13 to replace Tharg, but they proved too limited to take his place. Readers were outraged, and rightly so. Tharg was an intrinsic part of 2000AD, with a playfulness and flexibility I utterly failed to recognise…. I recognised my error, and within a couple of months set in place plans in place for Tharg’s return, having him come back just in time for the comic’s 20th anniversary. Unlike some past editors, I am certainly able to put my hand up and say when one of my choices was wrong and foolish. Ditching Tharg? That was one of them!

I borrowed the MIBs from Vector 13 to replace Tharg, but they proved too limited to take his place. Readers were outraged, and rightly so. Tharg was an intrinsic part of 2000AD, with a playfulness and flexibility I utterly failed to recognise.

Relocating Dredd to the back of the prog… I don’t remember that being such a big deal. This was post-Stallone film when Dredd was somewhat tainted. Plus, Dredd had moved round the comic before, and he was appearing on the cover at least once every 4 weeks. He soon found his way back to the front, and when he did nobody much noticed…1997 was the year of trying to get free media coverage for 2000AD. The comic’s 20th anniversary wasn’t enough to do that, and there was no budget for marketing or publicity. Indeed, the editorial budget was being routinely cut by 5-10% every year. That meant fewer pages of strip, less colour, using creators with lower page rates, reducing the physical width of the comic, changing the paper – anything trick I could find to keep returning a £100,000 profit each year, otherwise Egmont would have pulled the plug.

So, strips like BLAIR 1, the Space Girls, adapting A Life Less Ordinary – all of those were attempts to move the needle, to get us noticed, to get the comic talked about outside the UK’s then-shrinking comics industry. Leaning into the lads’ mag culture of the time was another example of that, and probably the one I regret most. We tried to do that with tongue in cheek, but didn’t succeed. As for the strips mentioned above… flawed experiments, at best. I’m always surprised how angry the Space Girls makes some readers, even quarter of a century later. It only last five weeks! But readers definitely told me what they really, really didn’t want on that.

TW: Your time as editor can certainly be credited with finding and nurturing a brand-new pool of talent. That must have been satisfying surely? Was it fun finding new faces for the Prog?

DB: Finding and nurturing emerging comics talents was one of my favourite parts of being an editor, alongside getting new work from some of the greatest comics in British comics. Pat Mills also wrote for the comic too.

Most of the creators who flourished in 2000AD during my time as editor had already been working for me at the Megazine – Robbie Morrison and Simon Fraser, Gordon Rennie and Simon Davis, Dean Ormston and Alex Ronald… It’s one of the reasons I slipped into teaching many years later, the chance to help emerging writers progress.

TW: In regards to established writers such as John Wagner, Alan Grant and Pat Mills did they have free reign to create new stories? Certainly, Dredd had some great stories under your time as editor. Mazeworld was a great success also. How did you find working with what could be described as The Big Three writers of that era?

DB: John was a consummate professional, and the quality of his work was always very high. You could tell if John felt he wasn’t quite hitting the mark, because he would ask for feedback. That happened twice, maybe three times in my 4.5 years as editor of 2000AD. Only once did I ask him to rework some scripts, and that was for the opening episodes of Button Man III if I recall correctly. – the pace was just a little too languid. Great stuff for an original graphic novel, but for weekly six-page chapters in 2000AD they were less effective. John didn’t quibble, and made them a bit brisker, job done. He didn’t pitch many new series to me, being understandably reluctant to surrender rights for them.

TW: I must confess I am a huge fan of Button Man and Mazeworld.

DB: Alan was equally professional as a writer but would probably admit himself he didn’t always hit it out the park. I’m very pleased that people have come to appreciate Mazeworld more over the years – my then assistant Andy Diggle was not a fan at all – but I think it’s a series with real merit. Again, probably better read collected than as a weekly thrill.

TW: Mazeworld has certainly been popular in a collected format.

DB: Alan would sometimes let his subtext become text, which made for less subtle writing, but he always wanted the best for 2000AD. Occasionally it seemed his focus was getting split into different places, but still a quality scribe.

TW: This is all very interesting. Please continue.

DB: I found Pat a problematic creator. Yes, he was launch editor of 2000AD – but he only stuck around for 16 issues. Yet he acted as if it was his personal fiefdom, and all editors should unblinkingly accept his work and his word as the Word of God.

TW: How so?

DB: He was notorious for shouting down the phone at editors, using tactics some might call bullying to get his way. Having seen others struggle in their clashes with Pat, I opted for a simple solution. I minimised his contribution to the comic, eliminating those strips I felt added little to the mix such as Finn. Slaine was still riding on the wave of popularity from Horned God five years earlier when I joined, and Pat was making good money from European royalties off that and subsequent painted Slaine series.

DB: So, I kept commissioned the strip as it kept Pat onside. Better to have him pissing out of the tent than standing outside pissing inwards, I figured. I knew Pat would never offer 2000AD any new strips, so that wasn’t a factor. It was simply about managing Pat and giving him the illusion, he was getting his way. The only time Pat kicked off during my tenure was when Egmont tried to push everyone into signing new audio-visual rights contracts which led to the failed Fleetway Film & TV venture; and when my then-assistant Andy Diggle volunteered to edit Pat’s work. Sparks flew, to put it mildly.  For 20+ years Pat has bloviated about my tenure as editor of 2000AD, calling it the comic’s darkest days and whining about my tendency to bait creators. Well, everyone is entitled to their opinions. But here’s two final thoughts on Patrick Mills.

He only started slagging me off in interviews after I sent him my interviews with other creators for his response and he saw what people actually thought of him. I didn’t realise how thin Pat’s skin was, I thought he was robust enough to offer his own response – but no. Perhaps the shock of hearing what people outside his own circle thought of him wasn’t what Pat expected.

The other comment is to do with my departure from 2000AD. Pat made a special trip into central London and took me out to lunch to thank me for my time as editor. It was a Bella Pasta on Southampton Row, just down the road from where Brian Bolland used to live, near Russell Square. Pat and I had a lovely lunch, talked about how Slaine hadn’t quite been its own equal since Horned God but Pat’s new strip The Lost Years was getting the character back to what he did best, rather than the endless time-hopping during the 1990s.

Ask yourself: if my tenure in charge of 2000AD was so divisive, so brutal, so punitive on creators… why did Pat take me out for a farewell lunch to thank me for my efforts? Either my editorship wasn’t so bad as Pat now seems to believe and he has rewritten history to suit his own narrative (a tendency he abhors in others), or Pat taking me out for a thank you lunch was an act of enormous hypocrisy (something else he also abhors).  Despite all of that, Pat remains a writer of some great comics and co-creator of some great series. But he’s nowhere near as good a writer as John Wagner in my humble opinion – and I suspect Pat knows he isn’t as good as John.

TW: Whilst you were editor of 2000AD, the first Dredd movie came out. With the benefit of hindsight, did that create a few problems or was it a golden opportunity to boost sales?

The Stallone Dredd film came out summer of ’95, I didn’t become editor of 2000AD until December ’95. I was busy editing the Megazine, the Dredd reprint title and Judge Dredd: Lawman of the Future which used the film costume and other visual elements. It was a comic aimed at 7–12-year-old readers, using the dictum ‘action, not violence’ to guide all the content.

The Stallone film raised a lot of awareness for Dredd and 2000AD by association. Sales shot up for a few weeks – and then people saw the film. That left a bad taste in the mouth for many, and sales fell below pre-film levels within a couple of months. Compare that to the summer of the Bat, 1989, when Batman comics sales shot up 1200% – and stayed up for years afterward. Alas, that proved to be the exception. Witness the box office failure of Tank Girl which finally ended the life of Deadline.

TW: So ultimately the film was more of a curse than a blessing for the 2000AD group?

DB: Pretty much. When you get outgrossed by The Goofy Movie in the US, it’s not a good day at the office.

TW: Yeah, that is not a good sign. Can you comment at all about the spin-off title Lawman of The Future that was based on the movie? Was it considered a success at the time? Or was it a failed experiment? Is there a story behind the title? Whose idea was it?

DB: Judge Dredd: Lawman of the Future – or Lofty as it soon became known in the office – was designed to ride of the coattails of the Stallone movie and introduce a new generation of readers to the world of Dredd. Sale-wise, it did well for the first couple of issues and the postbags we got were incredible. So many letters and drawings from kids excited and enthused by this strange new world they were discovering. The creators worked hard to capture the essence of Dredd but present it in a way that was fun, exciting subversive while still telling good adventure yarns.

But the film died on its arse pretty fast, and the sales plummeted. Lofty found an audience, but not one large enough to sustain it for long. I was very happy the fortnightly lasted 23 issues, one more than Starlord or Tornado.  Lofty gave an emerging clutch of creators the chance to hone their craft – writers Robbie Morrison and Gordon Rennie both got lots of pages under their respective belts on the title, while artists like Dylan Teague, Charlie Adlard, Charlie Gillespie, Rob Davis, Sean Longcroft, and Alex Ronald all got valuable work and/or experience from the comic. For me that is probably its enduring legacy. And I quite liked the new origin for Judge Death that Lofty proposed!

TW: Can you mention or talk at all about how the adaptation of the movie A Life Less Ordinary came to happen? To many readers it came a bit out of the blue. Was there a tight deadline to that particular project?

DB: 2000AD was approached by the film’s production team who wanted an original graphic novel adaptation of the film. They were coming off Shallow Grave [a hit, well regarded] and Trainspotting [a cultural phenomenon, huge hit, Oscar-nominated, bestselling soundtrack, and could do no wrong it seemed. But the time span was very tight, and Egmont Fleetway wasn’t convinced there was a marketplace for a standalone graphic novel of the film. They were right, it wouldn’t have fit well in newsagents or bookshops.

DB: Still, there was an opportunity, so it was agreed to run an adaptation of the film in 2000AD across eight weeks. That had to be pulled together at lightspeed, with no budget for a writer so I did the adaptation myself with Steve Yeowell performing wonders on the line art. We couldn’t do likenesses of the actors as those rights hadn’t been secured by the filmmakers, so Steve had to draw non-likeness likenesses, if that makes any sense. Alas, the film was fundamentally flawed. The version that got released differed quite a bit from the shooting script I saw – the claymation sequence was a very late addition, for example, while other threads were cut or altered. The screenplay I read had God shooting basketball free-throws, they hoped to get Sean Connery for that part. There was a whole thread about Ewan’s character deciding his life choices by spinning a knife on the bad – some of that made it in, I think.

Anyway, it was an awkward fit in the pages of 2000AD. If the film had been a Trainspotting phenom, readers might have been more accepting of it. But that running alongside Space Girls… probably the lowest point in my time as editor. Even if the two strips in total only lasted eight weeks!

TW: Did you have a lot of involvement in the various Dredd / Batman crossovers. I’m curious who took the lead on those? Was it DC or the 2000AD group?

DB: Steve MacManus took the lead on those for Fleetway. DC didn’t have much to do with them editorially, except for the Dredd/Lobo book. I was merely a spectator for those!

TW: What did you think of them though?

DB: Entertaining, albeit a case of diminishing returns. Die Laughing was intended as the successor to Judgement on Gotham, but Glenn Fabry ground to a halt after 30 or so pages, delaying publication for years. That caused all sorts of problems with Dredd continuity around Anderson’s fate, forcing us to devise and develop other Psi Judges to take her place. The Cam Kennedy-drawn crossover was a stopgap measure, iirc. In short, one was enough. But the Dredd v Aliens book that came after my time was a cracker!

TW: In regards to the end of your spell as “Tharg”, or in your case “The Man in Black” how did you come to leave 2000AD. Were you after a fresh new challenge to enjoy or were there any other reasons to move on to pastures greener?

DB: During 1999, Oxford computer game developers Rebellion got close to buying 2000AD – but the deal fell apart. That helped convince me it was time to move on. I had been editing comics for nearly ten years, and for the last of those five years had no time or energy for my own writing.

Much as I enjoyed editing 2000AD, everything else that came with the job – office politics, fighting management decisions by people who neither knew nor cared about the comic and its creators, the constant budget cutting and the sure knowledge that Egmont was a company far more interested in acquiring licensed rights than creating new, in-house material – had worn me down.

I needed to do something else, and so I decided to resign and leave London in pursuit of other opportunities. I had done the same thing ten years earlier, moving from NZ to the UK, it was time for a change.

So, I decided Prog 2000, the last issue before the year 2000, would be a great swansong, full of the comic’s finest creators and characters, old and new.

As it happened, my resignation didn’t happen until March 2000. I gave my three months’ notice – and the next day discovered the Rebellion might be going ahead after all! But it didn’t change my mind, I already had one foot out the door and Andy Diggle was itching to take over, and fully stamp the comic with his vision as editor [much as I was determined to do in 1995]. My final day was June 30th, 2000, but it proved a slow farewell. I was back within a week or two as acting editor while Andy went on his honeymoon, and I freelance edited the Megazine for nearly 18 months – back where I started in July 1990! By the end of 2001 it seemed my links to the Galaxy’s greatest comic were all in the past – and new Megazine editor Alan Barnes asked me to write a series of articles about the history of 2000AD. That became 16 articles and, later, the book Thrill-Power Overload. It’s been in print ever since, and I suspect there will be a new edition for the comic’s 50th anniversary in 2027.

TW: It is a fabulous book. You must be rather pleased with it surely? Especially given that it happened more by accident than design.

DB: As the original articles grew and grew, I became conscious of the fact there was a great book to be made from the material. I offered TPO to Titan Books, but they turned it down after much swithering. I deliberately didn’t off it to Rebellion for several years, as I waiting for them as a new publisher to get established in the book industry. Once they had done that, there were still months of work and many more interviews to be done to turn the original articles into the first edition of TPO.

I’ve very proud of it as a book, and happy to see Karl Stock adding new material each ten years to bring the story up to date. There’s been a lot less drama since 2002 than the comic faced in its first 25 years, so Karl has less to work with, but he has been doing a great job.

TW: Since your time as editor, you’ve stablished your career as a writer. Yet I notice you can’t quite escape 2000AD’s characters, because you’ve written several Judge Dredd novels and audio dramas. They’re two very different writing disciplines, how did they come about? It must have been nice to write Dredd after so long editing the character.

DB: I wrote three Dredd novels for Virgin Books while I was editing the Megazine, but didn’t have the time or energy for my own writing while running 2000AD. When I went freelance, most of my initial jobs were related to comics or science fiction – the TPO articles, Doctor Who novels, writing for Egmont’s Fennomen comic…

When Big Finish acquired a license to record audio dramas based on Dredd and other 2000AD characters, I threw my hat in the ring. It was fun writing Dredd for a different medium, learning how to script audio dramas.

When Games Workshop set up its Black Flame imprint to publish new, original novels based on 2000AD characters, I offered my services. By that stage I was getting a bit burnt out on Dredd but agreed to write two novels featuring the future lawman. The first one, Bad Moon Rising, isn’t bad – it has quite a few elements in common with the later Karl Urban Dredd movie, but that’s only coincidence. My fifth and final Dredd novel is less effective to me.

I was happier writing for other characters. Had a blast writing Nikolai Dante novels, and the Fiends of the Eastern Front novels were my first taste of writing historical fiction, which I now do a lot in my Cesare Aldo historical thriller novels for Pan Macmillan, which are set in Renaissance Florence. These days I prefer to create and write my own characters for the most part, though I do sometimes still get lured into playing with other creators’ toys.

TW: In which case I feel I have to ask, during your time as editor were there any characters, you’d have liked to have had a crack at writing?

DB: I always felt a full-time editor shouldn’t be commissioning themselves to write for their own comics. It was a self-imposed rule I bent a couple of times, so colour me a hypocrite but I really didn’t like the way some comics editors filled their comics up with their own work. If you have writers as talented as John Wagner or Robbie Morrison or Gordon Rennie available, why not commission them first? I would love to write a series of Detective-Judge Armitage, having been one of the character’s co-creators. I did get to write a Fiends of the Eastern Front series for the Megazine, although it changed editor partway through which had some unforeseen knock-on effects. I had another Fiends series I would love to write about a U-boat transporting a cargo of coffins… and you can guess what happens next. Sadly, that isn’t likely to happen now Ian Edginton is writing Fiends for 2000AD.

TW: But being freelance now are there any other characters you’d like to write now with a clear conscience?

DB: Not really. These days I put my creative energies into my own characters, my own worlds. I’ve just an original graphic novel called Dani’s Toys, co-created with Northern Ireland artist Ruairi Coleman, which I’ll be launching via Kickstarter in 2022. And I’m writing a series of historical thrillers set in Renaissance Florence. The first, City of Vengeance, was published in hardback by Pan Macmillan earlier this year, and it’s coming out in paperback January 2022. The second novel of the series, The Darkest Sin, came out in hardback, eBook and audiobook in March 2022.

TW: Can you expand upon Dani’s Toy’s please?

DB: Set in the shadow of WWII, Dani’s Toys is a love story about Dani and Helena. One is a born inventor who wants their creations to make the world a better place; the other is the daughter of a munitions magnate whose weapons kill and whose factory dominates the sky. Can Dani and Helena’s friendship overcome tyranny and fascism? Can love triumph over hatred and death?

Dani’s Toys is a 48-page original graphic novel, co-created by myself and artist Ruairi Coleman, with gorgeous colouring by Alex Assan and lettering by Hassan Otsmane-Elhaou. 48 pages, plus a gallery of incredible pin-ups inspired by the story including pieces by Duncan Fegredo, Ariel Vittori, Frank Quitely and many more….  Dani’s Toys is based on an award-winning short film screenplay of mine that almost got made twice, but never quite did. It’s a passion project I have been developing for close on 20 years. I decided to adapt it into a graphic novel so I could share the story with others. I’m hoping to publish it via a Kickstarter campaign in 2022.

TW: I’d be interested in your perspective of the comic industry. Specifically the advent and growing popularity of digital comics. Do you have preference between for you own personal reading habits? Do you have any concerns how digital sales will alter the industry? The retail side of things perhaps?

DB: Digital comics have made it possible for someone in Carlisle to create new work and have it read by people around the world. As a consequence, there is a huge potential to find audiences that would have been impossible to reach. The challenge is the signal to noise ratio – how do you get your work noticed and read? Being a fossil, I prefer the physical format for comics but recognise the many downsides of that. I support loads of Kickstarter comics campaigns but tend to buy only the digital option for non-UK books – the cost of postage is so high, and there’s the question of resource, climate change.

TW: It is certainly an interesting thing to discuss.

DB: I recall an article a few years back when a major comics player opted for day and date publishing of digital and physical editions. They found it did not cannibalise sales; the different editions largely sold to different buyers. Certainly, I think if you buy a physical graphic novel, you should get a unique code to download the digital version, as many bands do with their vinyl releases.

Comics shops helped keep comics alive, but they are also something of a ghetto that puts off potential readers. Not everybody wants to browse through aisle after aisle of funko-bobbles to find a new comic, and the shops can be something of a male preserve which excludes the majority of the population.

As ever, the comics industry is in transition. The artform will endure because it mutates to meet whatever new tech emerges. The means by which we buy and read comics shifts and changes, but that’s evolution. Adapt or perish!

TW: There’s no doubting the COVID pandemic drastically hit the convention circuit, but generally speaking do you attend many these days? Is it something you enjoy?

DB: Most of my comics work for the past decade has been published outside the UK, so I haven’t had much reason to attend comics cons. But I have been to a few in Scotland and found them very enjoyable. Mostly I hang around artists’ alley and spend far too much on indie comics!

TW: I’m assuming whilst with 2000AD and its related titles, it was part of your job description?

DB: Going to comics conventions was part of my job as an editor, but it was fun too. Gave me a chance to meet creators outside the office, particularly those who couldn’t travel all the way to London (GlasCac was great for that). And I did find new artists at convention portfolio panels or identify those with promise for encouragement. Fact: writers have a much harder time breaking in. Artists can show you a few pages of sequential storytelling to demonstrate their chops; it’s nowhere so simple for writers.

The post 45 Years of 2000AD: Tripwire Speaks To Former Editor David Bishop appeared first on TRIPWIRE MAGAZINE.

Part Of British Comics History Tripwire’s contributing writer Paul N Neal recently had the chance to have a pretty in-depth chat with a man who directed 2000AD for a considerable period of time. He made several changes. Some were popular, and others were less popular. David Bishop’s tenure steering the helm of the ship we
The post 45 Years of 2000AD: Tripwire Speaks To Former Editor David Bishop appeared first on TRIPWIRE MAGAZINE.Read MoreTRIPWIRE MAGAZINE

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