The Mighty One: Life Inside the Nerve Centre

by Steve MacManus

Steve MacManus, the editor of 2000 AD during its 1980s heyday, lifts the lid on how the UK’s most important comic came into existence and his extraordinary role in shaping it into a industry-revolutionising icon.

In 1973, a twenty-year-old MacManus joined Fleetway Publications as a sub-editor on UK adventure title Valiant. Six years later he took charge of the company’s most celebrated weekly, 2000 AD, shepherding it through its ‘Golden Age’ as he commissioned numerous hit series such as The Ballad of Halo Jones, Sláine, Rogue Trooper, Nemesis the Warlock and more. For many he remains the definitive editor of the multi-award-winning SF anthology.

Now, in this warm and witty memoir, MacManus vividly describes the fiercely creative environment that was British comics in the 1970s and ‘80s – from Battle and Action to the stellar rise of 2000 AD and Judge Dredd, he details the personalities at play and the corporate politics and deadline battles he and others engaged in on a daily basis. With keen insight, MacManus reveals how 2000 AD defined comics for a generation and became a global phenomenon.

Genres: Biography, Nonfiction, Autobiography, Comics, History

172 pages, Kindle Edition

Published September 12, 2016

Reviews

[Michele · Rating 5 out of 5]

I am a huge fan of Judge Dredd and by natural extension, 2000 AD program and Rebellion. I was very excited when I read that former 2000 AD editor, Steve MacManus, had written a memoir which released in early September. I immediately read the book as I was offered the opportunity to interview Steve.

Besides being entertaining, Steve documented a segment of British comics that became known for grooming up and coming creative talent, many that have gone on to have successful careers in American comics and become household names. I thoroughly enjoyed Steve's voice - he is candid about his career, his editorship with 2000 AD which is often considered its "golden age."

I highly recommend this book for those interested in the comic book industry and would like to have insight into British comics from the 1970s - 2000. In addition, Steve's observations regarding the early days of comic conventions (or marts) is fascinating. The Rebellion website is selling e-copies, or physical copies can be purchased from Amazon.

And, if you are interested in my interview with Steve, please follow this link at Fanbase Press: http://www.fanbasepress.com/index.php...

[Martin Belcher · Rating 5 out of 5]

A very nostalgic trip back to my teenage years when I looked forward to my weekly trip to the newsagent to buy my thrill-packed copy of 2000AD!

Steve Macmanus recalls his working life with the then Fleetway publications starting in 1973 working on weekly comics such as Battle, Action and Valiant until 1977 when a secret project sees the legendary British sci-Fi comic 2000AD launched.

Steve recalls candidly the back room troubles and battles to get each copy to the newsagent, the office politics, unions and the very different working world of London in the 1970's and 1980's.

Each chapter is a different year in Steve's working life from 1973 right up to the early 1990's.
I absolutely loved reading it, it brought back so many fond memories of devouring the weekly comic, the anticipation, the free gift, even the smell of the cheap newsprint paper it was printed on, such a great time and so sad that it has all passed.

Reading 2000AD each week, hooked on the Mega City One tales of Judge Dredd, Strontium Dog, Slaine, Nemesis and my all time favourite The Ballad of Halo Jones, I never knew the problems, the sheer work and luck that went into producing every weekly prog, this book has totally enlightened me and made me feel even deeper respect for Steve and the rest of the staff, editors and artists that all contributed to produce a British legend.

Highly recommended read, especially for those of us *cough* who are of a certain age now and remember comics of the 1970's and 80's and 2000AD in particular. A brilliant insight into Steve's life and work behind the scenes. A definite trip into nostalgia....makes me want to read 2000AD again!

[Matthew Gault · Rating 2 out of 5]

I generally try to be very positive with my reviews and this is a book I was hoping to be positive about. Unfortunately I cannot say that is completely the case.

Steve MacManus tells the story of his time as editor of 2000AD. The book does provide a nice, if somewhat shallow, overview of the history of 2000AD and gives the occasional nice story about a famous creator here and there.

Now, with great regret, I have to be quite negative (something I take no great glee in). This book is filled with a series of strange choices and inconsistent formating, for example some chapter titles are "X occurs (Part 1)" and others "Part 1: X", something I found a bit distracting especially when paired with MacManus's habit of consistently using uncommon words in peculiar places (I'm not against the use of uncommon language, but here it seemed unnecessary).

To top this all off, I don't think I know a lot more about the inner workings of Comic editing, 2000AD, or the personalities of all the creators he worked with and the flights of fancy moments (used to break up the story with light aside) often fell flat. All in all, this book was not quite what I expected and I almost feel guilty criticising it because I know it's the kind of thing die-hard 2000AD fans have wanted for a long time, but I'm afraid I wasn't as impressed as I should have been.

I get the distinct impression that all the truly interesting stuff has been withheld and that a much more interesting book has been neutered.

[Eamonn Murphy · Rating 4 out of 5]

In 1973, young Steve MacManus applied to IPC for a job at a football magazine. It was already filled but someone told him there was a vacancy for a sub-editor in the comics department. They took him and he first worked on ‘Valiant’, a British comic where most strips were about World War II or sport. World War II still gripped the British imagination back then with old films on every Sunday afternoon in which chaps with stiff upper lips would fly spitfires and combat the Hun. But the times were changing.

The comics were starting to look old-fashioned and tame compared to the television shows and films of the day. MacManus was there when the comics altered to keep up. ‘The Mighty One: Life Inside The Nerve Centre’ is his story.
In those halcyon days of yore, comic-strips were usually three pages long and there were eight of them to a 32-page comic with a few features about sport or war padding out the rest. Artists drew three pages a week and earned about £100, which wasn’t bad. Most of them were freelance. Many were Europeans like Carlos Ezquerra. Writers had to script four strips a week to earn a decent living, but that was doable. Editors like Macmanus checked it all, compiled, made sure the correct slice of a serial was in the right issue and sent it off to the printers. Everyone was in a trade union. Comics were the humblest department in IPC and executives mainly cared about the women’s magazines which made all the money.

Writers and artists got no credit on the pages and earned an ordinary wage. Many of them had fought in the war and seen real-life horror. They didn’t need to imagine it and probably didn’t want to neither. That was a job for the next generation. There were no superstars or millionaires. IPC stored the art in a warehouse for possible future reprint use and no one thought it was worth anything.

That changed. ‘Battle Picture Weekly’ and ‘Action!’, forerunners in violence and gore, paved the way for ‘2000AD’. ‘Star Wars’ helped by making space opera popular again. MacManus rightly distinguishes between real Science Fiction, which he doesn’t much care for and adventures set in the future or space opera. Most popular media, including ‘Star Wars’ and ‘Star Trek’, are adventures set in the future with some Science Fiction trappings. Time travel, robots and warp engines are plot devices to make ripping yarns. Dystopias provide an ideal setting for future law enforcement officers and the artists get to draw beautiful things.

MacManus took over the top job shortly after Pat Mills’ departure and, as editor of ‘2000AD’ in its golden age, was one of the personnel involved in steering the comic. Only steering, though. The engineers were the talented writers and artists who produced the scripts. Pat Mills created ‘2000AD’, ably assisted by John Wagner and later significant contributors were Alan Grant, Kevin O’Neill, Dave Gibbons and myriad others.

Encouraged by Pat Mills, sub-editor MacManus wrote a few scripts. Still, when he became the editor of ‘2000AD’, his principal function was to organise, supervise, keep everyone reasonably happy and make sure the comics were published on time every week. It was a full-time job and gave him a broad view of events which qualifies him to write this history.

The book is a light, easy read full of interesting anecdotes about the many characters he encountered along the way, including Alan Moore. Big Al started by contributing ‘Future Shocks’ and went on to create ‘The Ballad Of Halo Jones’, ‘D.R And Quinch, and other legends. ‘2000AD’ was a nursery for new talent, both writers and artists. In time, many of them went off to work for American comics, which is a shame, but you can’t blame them. Having started in the game when the staff were anonymous men in suits, MacManus seems to be slightly baffled by fandom, conventions, fame and the big money that some stars began making.

Each chapter is about a particular year which greatly enhances clarity. Too many memoirs roll along without reference to dates so the reader loses track of time. Here you know exactly when you are at each step. Also, MacManus is not an egomaniac and, while it is his story, much of the focus is on the works of others. He is self-deprecating and humorous, even about the alter ego he calls Bad Steve, who appeared now and then, possibly when drink had been taken. Yes, readers, the geniuses behind your favourite comic strips did spend quite a lot of time in the pub. Shocking.

The latter part of the book details the various efforts to follow up the success of ‘2000AD’ with ‘Crisis’ and ‘Revolver’. They failed. Perhaps the market isn’t big enough for too much stuff every week. ‘The Judge Dredd Megazine’ is a success, though and continues. ‘2000AD’ survived various corporate buyouts and reshuffles, yea even unto Maxwell, and is still going now. The rest of the British comic industry is primarily given over to licensed products, Disney and so on, another change Macmanus saw happen.

When he started, comics were for readers aged 8-12. Nowadays, ‘2000AD’ is for teenagers, young adults and fans who grew up with it. The last group may be the majority. Sales are not huge but it lives long and even prospers under the umbrella of Rebellion/2000AD publishing, from whom you can buy this book direct. Under the ‘Treasury Of British Comics’ imprint, they issue plenty of classic strip collections, too, and the website is worth a visit.

I’ve lately reviewed three books about this period in British comics history and I have to say that this one was my favourite. First was ‘Be Pure! Be Vigilant! Behave! The Secret History Of 2000AD And Judge Dredd’ by Pat Mills, creator of ‘2000AD’ and rightly proud of his achievements. Next, ‘King’s Reach: 25 Years At The Top Of Comics’ by John Sanders, who is very proud indeed but was only an executive, not a creator, and this one by Steve MacManus.

He was ‘only’ an editor, not one of the great creators, but closer to the front line than Sanders, in a position that gave him a helpful overview of the projects. He started when comics were not very important and has kept some of that healthy attitude.

[Ben Baker · Rating 5 out of 5]

A breezy, fun book which scratches an itch in a very niche area that doesnt get written about enough for me. I could've read lots more and it definitely sets you up for getting your paws on all the old material again (or for the first time in some cases.) Shed a tear for the British comic industry and remember them this way...

[Steve Barnes · Rating 4 out of 5]

A brilliant, witty view behind the scenes of British comics of the 70s and 80s

Having been a fan of 2000 AD since the age of 11 I picked this book up to get look into the goings on behind the scenes of 2000 AD's first golden age. I certainly wasn't disappointed. Steve MacManus gives a riveting account of his introduction to comics - impressing a group of WW2 vets with his ability to spell 'harass' before entering a world of cow glue - before being a sub editor in Battle then joining Starlord and finally becoming his Betelgeusian self as editor of 2000 AD. There's no shortage of good humour - both self effacing as well as funny observations of some of the icons of comics; the image of Alan Moore with his head in his hands whimpering that his career is over as he watched a video of ET with Steve Dillon was memorable. Not only would be have perhaps the most influential writing career of modern comics bug even though Skizz (his story in question which plays like ST meets Alan Bleasdale's Boys from the Blackstuff) appeared in a comic that launched with a Six Million Dollar man inspiration (John Probe in M.A.C.H One) and Rollerball (Harlem Heroes) with leading writers that had made an early career of adopting Dirty Harry, Death Race 2000 and Jaws asinspiration.
Although the only issue I have with the book is the lack of depth, there are a few mentions of Bad Steve and the missed opportunities, unspoken source of tension early on with Alan Grant - as well as a mention of a fall out between Kevin O'Neill and Pat Mills but very little detail. It's not that the reader newsgroup or gory details but you may feel like you've come out of the book with a detailed overview and chronology of events but no grasp of insight into the key players, their thinking of methods. (I, for one, would have loved to have read Steve's honest take on the summer offensive but maybe that's a job for Bad Steve and was after his tenure.)

[Mark · Rating 4 out of 5]

As someone lucky enough (if perhaps a bit young) to enjoy most of the comics being discussed here, I found this memoir-of-sorts to be a cracking read. Without giving any of his life-story prior to 1973 when, as a twenty-year-old, MacManus joined Fleetway Publications to work on Valiant, this charts his progress through the titles (Action, Battle, Starlord) of the 70s and early 80s that I recall fondly. He guided 2000AD through its “Golden Age” and worked with - and discovered - artists and writers who literally shaped the comics industry ever after. Full of warmth and wit, but not afraid to show the darker sides (the almost constant meddling from upper management, creative disputes and the incipient alcoholism - here refered to as ‘Bad Steve’), the story shifts gear as MacManus leaves 2000AD to launch new titles in the late 80s when Fleetway was owned by Robert Maxwell. As the market dwindles and the readership changes - titles in the 70s and early 80s could sell 100,000 copies a week easily - and the very nature of the comics shifts - gone are the strips, in are licensed properties and the awful realisation that children are assumed not to want to read blocks of text or sequential pictures - so the story gets a bit grim. For all that (or perhaps because of it), this is a gripping read told with passion, charting a period of comics history that can never be repeated. Highly recommended.

[Michael Kelly · Rating 4 out of 5]

It's a good read and does exactly what it says on the cover, being an account of the MacManus droid's editorial experiences with Battle, Action and most notably 2000AD, comics fondly remembered by we 70s kids.

It's pleasingly self-deprecating in many places. This is an honest assessment of how things happen, as it becomes apparent that MacManus had a lot of good ideas and made many of them happen, but was also lucky and fell on his feet more than once, and was on occasion bang out of order. Not that we can fault him on that, as many of his described failings are ones I could see myself doing in exactly the same way.

It was an interesting read throughout, and an unashamedly personal one, told from his own viewpoint, the ONLY way these reminiscences should be told in my opinion. Very enjoyable.

[Olly Colluphid · Rating 4 out of 5]

Good for fans of 2000ad etc. If you are not, probably not a good read!

Year by year structure, and honesty about his own failures are strengths. The casual name dropping of comic creators is unavoidable. Interesting subtext about change in children's comic buying/reading habits over the 1970/2000 period too, and societal attitudes (do organisations like "Portsmouth Association for Community Standards" still exist?)

[Timo · Rating 5 out of 5]

So many memories this one brought back. So many things I could say "I know that one".
Very interesting story about certain part of Steve's life. But why hold back all the fights and nasty stuff that must've happened during his editorial days. Surely not everything was so smooth sailing and stressless.
But very good trip down the memory lane.

[Gary · Rating 4 out of 5]

A really enjoyable memoir and insight into the history of 2000 AD - "The Galaxy's Greatest Comic" and it brought back some great memories of my youth, forgotten stories, attending the Westminster Comic Mart etc. Recommended for 2000 AD fans, Judge Dredd fans or scholars of comic book history.

[AlexF · Rating 4 out of 5]

This is a fascinating insight in to the comics publishing world from the early 70s though till the end of the century, I just wish we'd had a bit more gossipy drama and interactions with the writers and artists.

[AJW · Rating 3 out of 5]

Kapow! Nostalgia smacked its fist into my cranium. I get to find out how the comics I loved reading as a youngster were made. I found this book to be informative and humorous.

[Rob · Rating 5 out of 5]

A great read detailing not just the history of British comics at their peak, or The Galaxy’s Greatest comic, but also of the the whole comic process, writing, art, and editing.

[M. Spencer · Rating 3 out of 5]

I’m not a fan of autobiographies but this is an entertaining enough read and focusses largely on a subject matter that I have interest in - British comics - so gets a pass! 👍

[Ralph · Rating 3 out of 5]

Enjoyable enough history of the rise of 2000AD

[Keith · Rating 5 out of 5]

As a reader of 2000AD since childhood this was always going to be a must-read, and as expected it's a fascinating insight into the genesis and early decades of the greatest damn comic in the galaxy. Without being on the inside it's probably impossible to appreciate just how much hard work it's taken to get 2000AD out on shelves every week for 40 years, but this does a good job of lifting the curtain on that.

[Bernard O'Leary · Rating 5 out of 5]

We live in a world where comics such a big deal that people — often middle-aged men with jobs and families — will send death threats to Marvel editors if they don’t like the new Captain America. But it was not always so. 

( Continued on Medium )

[Neil · Rating 4 out of 5]

I received a free copy via Netgalley in exchange for honest review.
A great insight into the life of a comic during there peak times.
A thoroughly enjoyable read.