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THE UKs LARGEST INDEPENDENT COMICS PUBLISHER Between 1984-1994 I worked freelance as a writer/artist/editor/agent in comics as well as comics journalism for MU Press,Blue Comet Press,Fantagraphic Books,Eros Comics,Dorne,Fleetway,IPC and others in the United States,UK and Europe. During this period I also produced large numbers of single panel gag cartoons for agencies in Germany such as Boiselle-Lohmann and Baaske Agency –these going to magazines and publications around Europe. I also worked as a freelance editor in comics and publications ranging from wildlife,astronomy and science fiction magazines. From 1984 to present I've been self publishing comics as well as publications on a wide variety of subjects under the Black Tower banner. I have also produced packages of work for companies in India,Hong Kong and China. I have also been working as an industry advisor for smaller companies in countries such as India,Canada,Singapore,China,Europe and the US. hoopercomicsuk@yahoo.com

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Thursday, 3 September 2015

Legendary Disney Actor Dean Jones Dies At 84

And another one goes...https://uk.movies.yahoo.com/post/128246388481/legendary-disney-actor-dean-jones-dies-at-84


Dean Jones, the actor who helmed a wealth of classic Disney movies from ‘The Love Bug’ , ‘Herbie Goes To Monte Carlo’ and 'That Darn Cat!’, has died aged 84.

He had been suffering from Parkinson’s disease.

Jones, also starred in 46 films over a prolific acting career, including titles like 'Jailhouse Rock’, with Elvis Presley, 'Under The Yum-Yum Tree’ with Jack Lemmon, 'Beethoven’, 'Blackbeard’s Ghost’, and 'Clear And Present Danger’.

It was after serving in the Navy during the Korean War that he took to acting, working at a local theatre in Buena Park, California.

He made his debut on Broadway in 1960 alongside Jane Fonda in the play 'There Was A Little Girl’, later appearing in Stephen Sondheim’s 'Company’.

After inking a deal with MGM, he then embarked on a movie career in 1956, and would go on to star with Frank Sinatra in 'Never So Few’, Fonda once again in 'Any Wednesday’, and Gregory Peck and Danny DeVito in 'Other People’s Money’.

He also played the evil vet Dr. Herman Varnick in 'Beethoven’ in 1992.

Jones was inducted into the Disney Hall of Fame in 1995.

He is survived by his three children and wife, former actress Lory Patrick.

Tempus fugit

“Lord of Lowbrow” Artist The Pizz 1958-2015

From hifructose.com where you will find more art samples:http://hifructose.com/2015/08/31/lord-of-lowbrow-artist-the-pizz-1958-2015/

by CaroPosted on 

The art world’s heart has a hole in it today.

 “The Pizz” (a.k.a. El Pizzo a.k.a. Stephen Pizzurro), the self-described Lowbrow artist who evolved into a celebrated influence to a generation of artists, has left us. He was only 57. Born in 1958 and raised in a large Italian family in Orange County, California, The Pizz grew up creating art – he once said that he began drawing since he had a pen in his hand.

He caught his first big break working on Rat Fink comics for his personal inspiration, cartoonist Ed “Big Daddy” Roth, before going on to design cover art for punk label Sympathy for the Record Industry, and eventually entering the gallery world with fellow notable artists like Robert Williams.

With his signature dark glasses and a most impressive “fuzzy chin”, The Pizz was a familiar figure at openings and events. He even made appearances on reality TV and in film documentaries, including Flake and Flames (2013) and The Treasures of Long Gone John (2006).

At that time, Lowbrow Art was just a bubbling underground art scene and today works by The Pizz are considered as one of the original sources of “cartoon expressionism”, inspiring waves of artists to build upon. Artists like The Pizz, Coop, Anthony Ausgang, and many others drew from the well of hot-rod influenced Kustom Kulture, surf, skateboarding, tattoo, underground comics, Beatnik and tiki styles and brought it to galleries like La Luz De Jesus as fine art like no other. For over 20 years, The Pizz’s brutal, colorful, and enthralling graphics presented a surreal alternative to our consumer-driven pop culture.

Using the sensibility of cartoons, his paintings pop with the things he loved: eye-catching pinups, pimps, perverts, pirates, post-apocalyptic demigods, motorcyclists and fast cars. Dedicated to an art form that was generally frowned upon by society, he helped to create a new genre of imagery that was undeniably interesting; unapologetically presented to a myriad of folks from all walks of life, not just the pedigreed elite. As he said, “It’s a tumultuous adrenaline-soaked hellride of a lifetime leaving a mountain of debris and unspeakable carnage in its wake. Yeah, it’ll scar your fragile psyche for miles into the hereafter.”

Wednesday, 2 September 2015

My DC Comics Rant. 52 and You. Part 1

YEAH, YEAH. hooper rants but I AM not the only one saying this stuff and here Howlermouse has his turn.  And, yes, it may well be that my age ain't making me "hip"!

Comics In Germany -A Bit Of A Pipe-dream?


Going by a few Face Book comments it seems that some people have the idea that I think I can just turn up at a European comic convention and the sales and money will flow.

Obviously, these people have NOT read the CBO posts that elicited these 'responses'.

Back in the 1990s I tried to chat to German comic fans on various forums.  I think I had a couple positive experiences -darkjedi and, unless my memory has really gotten so bad that I've got it wrong -Subzero and his brother, Enrique.  I even contributed to various groups -scans of 1960s/1970s comics from Germany that most had heard of (or not) but never seen.  Sadly, that group (basically) took away my membership after earning that I was opposed to illegal scanning of new comics.

The other forums got me these responses:

1.  "Who do you think you are?  English and you think you know German comics!"
2.  "We have seen your work* and it does not fit in Germany!"
3.  "It seems you like the low-brow, childish comics of Bastei and those others.  Comics have to be
     taken as a serious medium not frivolous!"

meh. Arschlochs everywhere.

All I can say regarding (1) above is that I was able to provide cover scans of old German comics back to the 1950s as well as covers and art of Hansrudi Wascher and provide background information most of the members had never heard of.  However, when two very "vocal" members took over they all faded away and, obviously, weren't going to support the foreigner out loud!

(2) well, I had contributed to German zines and was a very active correspondent with many of the Small Pressers of the 1980s/early 1990s and some of my work had been translated into German -including "Revenge of the Ice Queen", the first published D-Gruppe story.  So it was odd that after so much positive feedback, the internet (shock!) produced very negative idiots.

(3) It's true that this type exists everywhere.  They feel that comics cannot be anything other than intellectual or very arty.  These people considered 99% of comics published in Germany as "purile".

 Where are they now?

I partly grew up on a farm in a German village -Dalborn- along with other kids and we read and talked comics and played. At that time (1960s/1970s) there was, amongst some young people, the need for everything "to be German" and not in a bad way. 

My cousins decided that they could no longer understand English -"Auf Deutsch! Ich kann dir nicht verstehen!" It's not as though I was talking English all the time but if you've not spoken a language in a while and go back to it you need a couple weeks to get in the stride again so if I could not remember certain words such as, say, Rindfleischetikettierungsueberwachungsaufgabenuebertragungsgesetz, I said it in English to get a prompt to the German word.  My cousins carried on this "Ich kann dir nicht verstehen" ever since.
In a way it's a bit like the British, in general terms, and "I cannot understand you so I'll shout!"

But I do know that there are a lot of German comic fans who do speak and read English -buy Marvel and DC comics and a lot are into Independent comics. People seems to misunderstand things and think "But they speak German -they won't understand an English comic" which is a bit insulting to be honest.  Germans like comics as much as anyone else.  My uncle used to read Micky Maus or Donald Duck, Lupo and so on. This was back in the 1960s/early 1970s when it was looked down on to be an adult reading a comic -they were for kids!  And, yes, I came across that attitude.

German comickers, publishers and comic history are not exactly unknown to me!  That gives a clittle bit of an edge.

The thing is to make sure that German comic fans know about Black Tower Comics but forums I would never like to try again.  So what is the alternative?  That is something I am looking into. It is also why the idea of spending a fortune going to a big German convention is out.  Maybe smaller events but then mainly to let people know what Black Tower is and see what is available.

After all, there is no reason why a German comic fan who reads English should not enjoy The Iron Warrior or Phantom Detective or even Chung Ling soo or Dene Vernon.  It is making them aware of these books and making it very clear the idea is to exist alongside existing German publishers not push them out of the way (not very likely to happen!).

So all of this needs to be assessed and mainly because to translate books into German will take a long time and if the interest is not there...

It is a necessary move, though as today I am told I have "been unlucky this time" in getting a table at another event.  Very depressing when you have the books but no direct customer contact.  Of course, if an entrepreneur backer for comics comes forward (UK or Germany) it makes it easier.

I've not given up.  And I've no fantasies about the "big time" in Germany.  But we all need to eat, right?



Il 3 e 4 settembre Hamelin partecipa a "Aperta-Mente. La divulgazione per ragazzi tra scienza e conoscenza". Il corso, rivolto a insegnanti, bibliotecari, educatori, studenti universitari, si terrà all’Auditorium Don Milani - Scuola Primaria Don Milani (via Monte Cristallo 4, Pergine Valsugana - Trento) e avrà come tratto che unifica gli interventi del corso il rapporto tra libro cartaceo e libro digitale, tra forme antiche, nuove e nuovissime di trasmissione del sapere.

"Aperta-Mente" è promosso dalla Biblioteca Comunale "Sigmund Freud" di Lavarone con il sostegno della Fondazione Caritro e la collaborazione della Biblioteca di Pergine Valsugana, la Biblioteca di Luserna-Lusérn, il Comune di Folgaria, Apt Alpe Cimbra, l’Istituto Cimbro-Kulturinstitut Lusérn, Iprase, AIB.

Mercoledì 9 settembre dalle ore 9,15 alle ore 17,00, presso l’oratorio di Aviano, Hamelin partecipa alla giornata di formazione del progetto Per crescere leggendo, "Leggere le figure: libri e metodi tra biblioteca e scuola" organizzata dalla biblioteca comunale di Aviano.
Rivolto a docenti di scuola primaria e secondaria di primo e secondo grado, bibliotecari e operatori culturali, il corso
prende in considerazione albi illustrati, fumetti, graphic novel e silent book per riflettere sulle nuove frontiere del leggere e su come conquistare i bambini alla lettura.

Continua il ciclo di formazione sugli albi illustrati "Ad occhi aperti" presso la Biblioteca Cantonale di Bellinzona nella sala conferenze. Il corso, promosso da Bibliomedia Svizzera italiana e Istituto svizzero Media e Ragazzi vuole sviluppare una riflessione sull’albo illustrato e sperimentare nuovi percorsi pedagogici.
I prossimi incontri, che si terranno il 10 e il 24 settembre saranno incentrati sulla divulgazione scientifica, e sulle forme del comico nell’albo illustrato.
International Board on Books for Young People è una rete internazionale di persone, che provengono da 77 paesi e promuove la cooperazione internazionale attraverso i libri per bambini, creando ovunque per l'infanzia l'opportunità di avere accesso a libri di alto livello letterario e artistico e incoraggiando la pubblicazione e la distribuzione di libri di qualità per bambini specialmente nei Paesi in via di sviluppo.

Se desideri disiscriverti da questa newsletter, vai nel box "cancellazione" su questa pagina.

Vom 8. bis 11. Oktober 2015 feiert die SPIEL in Essen das Gesellschaftsspiel – und den Comic!


Vom 8. bis 11. Oktober 2015 finden mit der SPIEL erneut die alljährlichen Internationalen Spieletage in Essen statt. Die „weltweit größte Publikumsmesse für Gesellschaftsspiele“ ist in den letzten Jahren auch für Comicfans zur wichtigen Adresse geworden. Seit die Frankfurter Buchmesse im vergangenen Jahr den Bereich „Faszination Comic“ abgeschafft hat (der Comic Report berichtete), nutzen immer mehr Comicverlage den Messeauftritt in Essen im Rahmen der „Comic Action“ als Alternativtermin.

2014 debütierte dort auch der Splitter Verlag und war ob des großen Publikumsinteresses mit diesem Einstand überaus zufrieden. In zahlreichen Gesprächen vor Ort zeigte sich, dass man den Nerv vieler Neuleser/innen traf, die von der Vielfalt des Comics völlig überrascht waren und begeistert die neue Welt der Bildergeschichten erforschten. 2015 wird Splitter abermals auf der SPIEL vertreten sein und diesmal auf einem großen Gemeinschaftsstand zusammen mit Tokyopop/Popcom sein Pro....

Mehr auf Comic.de: http://www.comic.de/2015/08/comic-action-spiel-2015/

Tuesday, 1 September 2015

Maniac Mansion:The Comic!!!

The incredibly talented Kate Glasheen, artist on Hybrid Bastards and writer-artist of Bandages: A Diary Of Sorts, and still VASTLY under-rated in my opinion, is making a superbly demented web-comics tribute to the classic game, ‪#‎ManiacMansion‬.

Here is the first page, for more visit:  http://maniacmansioncomic.blogspot.co.uk/ and if you can donate/support please do! 

Maniac Mansion: The Comic Page 1

I Really MUST Be Psychic

Just got this:

"Unfortunately you haven't made it for this round of Shake, but please keep up your sick, sick work and apply for the next one! (We will add you to our applications mailing list and send you a reminder when the next one pops around!)

We hope you'll still pop in for a hang and to check out some fellow illustrators work!

Stay Rad!
Robyn & Max K
Team Shake"

Exactly what I said would happenUK Small Press or comics -feck the lot.  FIVE YEARS of trying conventions and events and every single time the same thing.

I will no longer feature news of UK Small Press nor Comic events on CBO unless they are paid for ads.


Who Cares About Comic Book History?

So there I was digging this hole, hole in the ground, big and sort of round it was and this bloke named Bernard says: "Get out!  This is my song!!"  oooh.

Is that Adolf Hitler to the left with a bicycle???
Anyway, after a bit of a scuffle I left -but the bloke in the bowler hat came off worse!

I was interested when a member of the British Comic Book Archives yahoo group, Ernesto, posted pages from 1948's Oh Boy! Comics no. 5 and the story Atomic Post featuring Jungle Jim (no relation to the US Golden Age character of that name).  Ernesto stated the artist was Bill Holroyd https://www.lambiek.net/artists/h/holroyd_bill.htm and cited the Gifford catalogue.  Another member, Darci, asked how he came by that identification?

To me it did have a look about it of Holroyd but there was something off.  But if Gifford said Holroyd I would go with that (Gifford has been ripped of mercilessly since his death by current comic historians regarding inbformation).

So I checked my copy -I believe a later edition- and Holroyd is not mentioned: the artist is identified as Mick Anglo.  Looking at the art, figures and poses...yes. I can see Anglo though the strip does not appear on the Wikipedia stripography, though it does say it is incomplete: https://en.wikipedia.org/wiki/Mick_Anglo#Comics

But why is there a problem identifying this?  The main reason is that, if it is not D. C. Thomson and Beano or Dandy or the Amalgamated Press and one of its titles people are not interested.  In fact, though denied by two yahoo groups, the emails are still there to show that reactions to my request regarding non "Big Two" books was indifferent, derisory and in one case insulting "I can't find them of any historical interest or even being of interest".  The inference, if I may call it that, was that these comics were, literally, wasted paper.

Snobbishness abounds still in comics.

But collectors of boy's paper story books, such as "Bob", who recently contributed a good few sets (strips) from what many always thought of as purely text publications, have no real interest in comic strips and that makes such a contribution even more valuable -he could have simply just ignored them and carried on but he was taken aback to find them.  One Boy's paper collector even tried to tell me, brusquely, via email that these publications "simply NEVER featured comic strips!"  I gave him the issue numbers and dates -nothing back yet!

Unlike in the United States where there is so much information on who wrote or drew what back in the Platinum and Golden Ages of comics, the UK is a huge void with the odd few names dotted about. In Australia, people like Kevin Patrick have delved into Australia's Golden Age.

I think that this same type of thing needs looking into throughout Europe where we all know the big names and characters -in Germany Wilhelm Busch and Max und Moritz- but what of the others we know little about?

Henk Albers and De Kat or Hans Ducro and  DerMocker(Nederlands) ?  Sture Lönnerstrand created and Lennart Ek drawn Dotty Virvelwind (Sweden)?  Or Manuel Gago García and el Guerrero del Antifaz (Spain)?

There are creators and very likely creations we have never heard of.  There may well be comic historians specialising in comics from Spain, Nederlands, Belgium and so on but we never hear of them -where is their equivalent of Jean-Marc Lofficer?

It takes work and there are always dead ends and lots of people who will say "who cares?" but it is rewarding when you make a discovery! 

Maybe I am writing this and no one cares?  I have no idea but as the years go by the chances of finding these lost creators or their families who remember the work fade.  Hey, the UK is big enough for me* -how about you?

*Yes, I do know I've delved into German comics history but give me a break!

Monday, 31 August 2015

Der Rote Blitz und die Cops aus Batmans Stadt – Comics zu den TV-Hits FLASH und GOTHAM


„Arrow“, die TV-Adaption der Geschichte des Bogenschützen Green Arrow aus dem Universum von Batman, Superman und Co., lief auf VOX zur Prime Time so gut, dass Pro7 sich die Rechte an den neuen DC-Serien „Gotham“ und „Flash“ sicherte, obwohl letztere im selben Universum wie „Arrow“ spielt und es auch immer wieder kleine Crossover zwischen den beiden Serien gibt.

„Flash“ folgt den Erlebnissen des Polizei-Forensikers Barry Allen, der nach einem Unfall zum schnellsten Mann der Welt wird und als kostümierter Flash andere Meta-Wesen jagt, die auf der Seite des Verbrechens stehen. Außerdem sucht er den Mörder seiner Mutter, wegen dem sein Vater unschuldig im Gefängnis sitzt. Eine spannende, packende,  äußerst sympathische Serien-Umsetzung.

„Gotham“ indes spielt clever mit den Anfängen des Batman-Mythos und verarbeitet diese in einer starken, düsteren Krimi-Serie, die „The Mentalist“-Macher Bruno Heller mitverantwortet. Im Mittelpunkt stehen der aufrechte, verbissene Cop Jim Gordon, der sich mit brutalen Irren, der Mafia und korrupten Kollegen herumschlagen muss, sowie Batman Bruce Wayne, Catwoman Selina Kyle und Pinguin Oswald Copplepot in jüngeren Jahren.

mehr lesen auf Comics.de -http://www.comic.de/2015/08/der-rote-blitz-und-die-cops-aus-batmans-stadt-comics-zu-den-tv-hits-flash-und-gotham/