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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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Saturday, 18 April 2015

Groupement Defense Belgique Page (1987/1988)

I found some photocopies of art that Ben Dilworth inked "back in the day" (1987/1988?).  Also found some original Hooper-Scharf pencilled and  Dilworth inked pages from the same period of the aftermath of the Boarman Invasion!  Almost 30 years before Return Of The Gods but....no. That would be telling but I will scan and post the pages this week.

And this photocopied art is from a Groupement Defense Belgique story that never got completed.  The Tall One really made my pencils look good!

The Drowning Pool (1987)

Back in 1987/1988 I published Previews -New Talent Comic which got a lot of creators their break into comics and DC comics actually employed some of the artists based on the work in this magazine.  I think there were four issues -I write "think" because my copies were stolen and people that got them as contributor copies tended to send the whole thing off rather than samples to publishers!

I have never found any copies so they are lost.

But I just found six pages that were in Previews.  They are A3 but would have been printed in A4 format. That NEVER did the art justice.  Now, in digital scanning the art looks beautiful and I intend publishing the strip as part of the 30+ years anniversary of Black Tower.

The artist was Jim McGregor.  He just seemed to vanish from the scene and I never heard from or of him again.  Sad, because his art was truly gorgeous.

Anyone know Jim or if he's still drawing? PLEASE get in touch.

These are tiny sneak peaks!





Avengers: Age of Ultron Official Extended TV SPOT - Let's Finish This (2...

Investing In Small Press Is Paying Off....for ME!

Sadly, I see some of Brian "Bib" Edwards collection is for sale on Ebay.  These would have been great additions to an archive.  But....http://www.ebay.co.uk/itm/6-alternative-small-press-comics-Misanthrope-Crazypants-Collection-B-Edwards-/371302855052?pt=LH_DefaultDomain_3&hash=item56735ff18c

I have a large collection which I hope will one day be deposited at the Bristol Central Library.  In fact, a stipulation will be that NONE are sold for any reason.  All sorts of printing, stapling and qualities means it is a very mixed bag and now valued at (get ready) £1000-1500.

Luckily, I have a lot of doubles and trebles because I invested money in them at the time.  I may sell these mail order at the end of 2015 but there is quite a selection of poetry, prose, gaming, strip and other zines.  You won't find 98% of them on any Ebay listing but the ones you will find are labelled "scarce"/"Classic UK Zine" (??)/"Rare" and they go for £4.50-£7.00. 

As I know that every comic and book I have is going to be sold off when I croak and what does not sell will be burnt (including artwork but it will be out of my hands!) I might as well make money from the duplicates -50p and £1.50 comics are already making four times their original value which is exactly what I was writing about in my comic investment post.

An example of my own books -people can still buy them cheaper but copies of The Mark Tyme and Purple Hood Collection are currently going for £14.99 on Amazon (I am NOT the seller these are what someone purchased for £8.50 a copy in 2011) not a bad investment.  Very annoyed people buy these second hand copies for more than it costs to buy a new copy.

Investment, though.

Friday, 17 April 2015

Investing In Comics.....NOT What You Think

In all seriousness I do not understand why I have to keep explaining this to people since it is very obvious and does not take that much intelligence to work out.

Okay, comics from 1990 -2015 are going to get you money.  A decent return...in 50 or so years if all the other copies are mysteriously destroyed.  I am quite serious. If they were worth even half of what I paid for them I would be selling those comics now. No "ifs" or "buts" involved.

Dealers and stores do not order lots of copies of all the comics from DC and Disney (Marvel) because they cannot guarantee selling them all and if they have fewer issues they can charge more as "hard to find back issues".

This whole "comics standing order lottery" -where there are five people with a Standing Order (SO) for a title but the store ONLY orders three copies and who ever comes in first gets their copy is almost standard in the UK.  I hear all the time and see blogs where people say they did not get their SO comic and have had to look around. In some cases their local shops do "eventually", after much story-telling (believe me -some of these stories are worthy of graphic novel treatment!), get the issue but the price is higher and here you'll hear how they search Ebay and other online sources so went through a LOT of trouble to get you your book.

Are you going to argue that it is £2.00/$2.00 more expensive? Hell no -that guy worked like crazy to get you that book.

I've heard from at least four former comic shop employees about this sort of thing.  "The comic was in a box in the store room all the time" and some of these people thought that was hilarious!!  They also found it hilarious to try to convince regulars that certain titles were really "hot" and would be worth quite a bit even a year on.  One mentioned DC comic that the store owner had 20 copies of and there was a bet on who could sell the most to "the idiots"!

It is why one of my local comic shops gave me every excuse under the sun why they could not get a hold of a certain comic -it was the new Atlas Grim Ghost title.  The distributor would not re-order, then the distributor did "this" or "that" and he even tried to order from the United States but no luck.  Now, I'm not dumb. I had pre-ordered this book but the people in the comic store thought I was dumb.  They must have.  Why?  Well, the book had not yet appeared!  The last words I had from the store owner were:

"I just cannot get it. I'll look again but do not -do not- hold your breath waiting."

So I told him "Okay, I'll look around online."

I went home and ordered the now new issue online and received it two days later.  A week later I walked into the comic shop. I could hear the owner talking at the top of the stairs as one of his staff said "We got you that comic" and I replied: "Oh, I got it. ___ said he wouldn't be able to get it so I got it elsewhere -I did tell him I'd try online"  The response was a tirade of "Oh, where did you get it?" "That doesn't do us any good, does it?" and some very strong language -the shop owner had gone quiet rather than come down to sort things out, he just ducked out of sight.  I left the shop.  That evening I had an email from the shop owner and though I tried to be polite he told me that "if you only ordered Marvel and DC there wouldn't be this problem!" and I responded I had missed a good few SO Marvel and DCs to which he responded by cancelling my SO and that was it.

An ex-staffer later told me that the book was in shop all the time.

I then moved my SO back to the BIG shop in town.  Issues missed and even variant covers put in my SO so I'd think it was a new issue...I gave up.  Comics were not THAT interesting any more.

It is now 4 years since I went into a comic shop.  I had never thought the time would come when THAT would happen.

You can only take crap and hiked up prices so long.

There was also something else I stumbled upon by accident as I went into one store "too early" (they had been open an hour!).  Lots of brown envelopes being filled with new comics -including ones from my SO that I had "lucked out on".  I asked "Are those for standing order customers -that's a lot!"  and the reply was an unashamed "No. It's for buyers on our Ebay store". .....so loyal, regular customers can "screw off" if they have a SO.  I explained that this seemed unfair on regulars such as myself who were not getting their SO issues but people on Ebay were for a higher price.  The response was that it was the owners business.

Now, all of this I thought was solely a UK thing since their is a distributor monopoly in the UK re. comics. Monopolies in the UK are illegal but apparently no one cares.  But no. Watching video bl;ogs and reading blogs I have come across these things happening in the United States the self proclaimed "home of comics" -comickers there are being treated the same way.

Yes, comic shops are businesses.  Yes, owners need to make a profit to keep going and earn a living.  But a majority -not all (I hope)- seem to think "screwing over" customers, and even in most cases making it obvious or even admitting it, is okay.  "They don't like it they can **** off" was one response.  Three American vloggers showing off their weekly comics state that they never got this or that book in their SOs and had to visit a couple other shops.  Standing Orders -"Never miss an issue again!" the signs read.


The current flock of comic book geek chic take all of this because they have no idea and think this is the norm...which it is currently. But distributors know what they are doing.  Comic stores know what they are doing. Even comickers know what's going on.  Nothing.  Apparently "a fool and his/her money are soon parted" still applies in comics.

Despite posting about this and commenting on a number of sites that there was no "upcoming Sub-Mariner movie" what happened?  People began getting screwed over prices for issues of the 1960s/1970s Silver Age run.  From £10 ($20.00) for a "reasonable" copy of Sub-Mariner no.1, as soon as that rumour started the price went up to between £160-£300 ($300-700). I wonder whether any sucker paid that?

Silver Age comics were printed in their THOUSANDS.  You would need to destroy at least 95% of those books (say another Wertham outrage and what happened to Golden Age comics to make them so rare) to make a bit more than you paid for them.

Example. In the 1980s, when we had a comics boom, a man with a lot of money and flash car, used buy every new Marvel and DC comic each week -the shop even bagged them all for him. He looked at me one day and my paltry purchase: "In twenty years time I'm auctioning off all the books I have and retiring."  He was very serious.  He never read the comics -they went straight into special boxes. That was 1985 and in 2005 this same man with his pristine, bagged comics covering 1982-1990, auctioned off his entire collection.  He actually lost money.

There goes the home in the South of France.

Ebay sellers will rip you off.  If I have to explain why then I am preaching to the wrong people.

Comics as an investment might -might- work when your grand children are in their 40s.  If you want to invest then you need to ignore the people who want to squeeze all the money out of you.

Go for books with very low print runs and I am not talking Marvel, DC, Dark Horse or even Image. Look at the small press where books are printed off in 25s or 50s -they are very short run and therefore will be very scarce and hard to come by in the future. 

Go for Print on Demand (POD) publishers.  Here I can speak with experience as a POD publisher.  It works this way: you have an online store and people order your books from there.  There are no big print runs because the book is only printed when it is ordered.  So, say, Black Tower Adventure 1 is ordered by, say, 15 people.  That is it. That is the print run and that book becomes collectible because it WILL be rare to find.  Say 100 people buy it -what then?  Well, it is the same because books become damaged or destroyed or thrown out by accident which means that you still have a rare-to-find (because once I snuff it the store is gone -or if I retire the store goes so you can't just re-order another).

That is simple logic and common sense.  I have a big box of A4 and A5 Small Press comics/mags from the 1980s-1990s and they are in various conditions because of HOW they were produced.  I asked Duncan, who works at an auction house specialising in comic sales, what this box might be worth and scanned copies of the worst and best.  "You can name your own price and it depends on what the collector wants to pay because they are by their very nature rare."  Now in ten years I WILL sell them and I know they will be even rarer.

So, check out POD publishers and Small Press publishers and buy, bag and store their books. Nice Duncan reckoned my books could be as sought after as Alan Class comics in the future.  That is nice so maybe I'll stock up!

Do not buy into the "These comics are hot and will be worth a mint in a couple years" con -let the comic book poseurs do that.  Be canny and buy and invest in what WILL be worth something.  Books that regular comic fans ignore because "They ain't Marvel or DC or in colour"!



IT'S TOMORROW!!! 1st Birmingham (UK) Comics Festival 2015

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You do realise that the UKs newest comic event is not that far away -right?  It's one day so get yourself organised and if you are in the Midlands you have no further to travel than....the Midlands (I never really thought that line through).

Could you get any plushier a comic event venue? Look at it!!

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You can see the sort of space involved by checking the website: http://www.thecomicfestival.com/venue

And, of course, if you want to go you'll need ticket info, right?  Well, ticket info here:

http://www.thecomicfestival.com/tickets 

And guest? Guests??? Twenty seven announced so far and you know what these comic people are like -some probably leaving it til the last minute!

Here's a run down of some.....

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DAVID HITCHCOCK BIO
Eagle Award winner David Hitchcock, creator of Springheeled Jack,  established himself swiftly within the British small press, being responsible for a series of innovatively designed and well produced comics, each featuring finely rendered pencil artwork and compelling sequential storytelling. Initially self-published, then cameod within the Judge Dredd Megazine, Springheeled Jack has also since been published in France, prior to Titan Comics taking up British national publication.
He also illustrated two volumes of Madam Samurai, published by Scar Comics, with the first volume receiving the Best Digital Comic award at the LA New Media Film Festival in 2011. Concurrent with this he produced art for Boom Studios’ Cthulhu Tales in the USA and Accent UK’s annual anthologies.
In 2012 he contributed to the True Believers Award-winning digital anthology Aces Weekly, writing and illustrating the Paradise Mechanism series. His work has been praised by the likes of Alan Moore and Mike Mignola, and he’s recently been working with the godfather of modern British comics, Pat Mills; illustrating The Visible Man for 2000AD and collaborating with him on an adaptation for Above the Dreamless Dead, an anthology of WW1 trench poems published by First Second in the US.
David Hitchcock will be signing, sketching, and offering original artwork and books at The Birmingham Comics Festival on Saturday 18th April 2015.
For more on David Hitchcock: www.davehitchcock.blogspot.co.uk
 
 
 
Mike Collins Biography:
Mike Collins was born in West Bromwich and began contributing artwork to several fanzines and the early independent publisher Harrier Comics in a pre-internet world, but it was when he began submitting strips to Marvel UK that a 25+ year career took hold. An early partnership with Mark Farmer lead to them forming Britain’s first real pencil/ink art team and Collins himself writing and drawing Spider-Man and providing art for the popular Transformers series.
The partnership would also find them drawing the Celtic warrior adventures of Slaine for Fleetway’s 2000AD, the first of a considerable amount of work Collins would produce for the comic, primarily as an artist but also as a writer, right up to this day. The pair would also work on all-new stories for the science fiction Laser Eraser & Pressbutton series as published in the USA by Eclipse Comics, that would result in Collins working for both Marvel and DC Comics drawing many of their major characters, including Gambit’s team debut in The Uncanny X-Men #266. Aside from drawing the likes of Wonder Woman and The Flash he would also write the Charlton Comics-created Peter Cannon: Thunderbolt for DC Comics, as well as numerous licensed comics including Babylon 5 and Star Trek.
Kept busy on comic books for the USA, his main UK work was illustrating the Judge Dredd strip for The Daily Star newspaper during the 90s. Since the new millennium his British contributions have been more profound, if not epic, including creating the first ever Welsh language graphic novel Mabinogi, a companion piece for the Cartwyn Cymru animated film of the Celtic myths, and illustrating a 135 page graphic novel adaptation of Charles Dickens’ A Christmas Carol for Classical Comics that The Sunday Times cited as one of the top ten graphic novels of 2010.
A featured artist on Dr Who Magazine since the television series’ triumphant return, Collins has had the longest uninterrupted run as artist on the lead strip, pencilling the debut stories of actors Eccleston, Tennant and Smith as The Doctor. He has also illustrated two Dr Who graphic novels for the BBC, The Only Good Dalek and The Dalek Project, and now provides storyboards for the actual TV series. He also contributed to America’s IDW Doctor Who comics. On a slightly more down-to-earth level he illustrated the Royal love affair biography Kate & William – A Very Public Love Story for Markosia that surreally lead to Dutch TV employing his services to report on the actual wedding, whereas Norway applauds his artistry on the noir crime fiction Varg Veum graphic novels, based on the bestselling novels.
Committed to using comics as an educational tool and heavily involved in the Read A Million Words In Wales initiative, he has produced storyboards for TV and films, including Doctor Who and Horrid Henry, and graphics and/or storyboards for clients as diverse as The Daily Telegraph, Coca-Cola and Lifebuoy. He also recently illustrated a music video for Agnetta and Gary Barlow.
Mike Collins will be signing, sketching, offering original artwork, discussing his career and talking with fans as a guest at at Edgbaston Cricket Stadium as part of The Birmingham Comics Festival on Saturday 15th April 2015
 
 
LEE BRADLEY BIO
Birmingham’s Hi8us art programme put Lee Bradley on the right course to develop his classic American superhero styled influences leading to what’s become a seven year career that now finds him putting together his own creator-owned book to be edited by John McCrea, who he began his career with working in the role of inker and colourist.
Bradley found an early niche in the modern British youth market, working on a triumvirate of books for Titan Comics, namely Transformers Universe, Transformers Animated, and Transformers Movie: To Draw Guide alongside issues of Teenage Mutant Ninja Turtles and Spider-Man: Tower of Power. Halfway round the world, Middle East publisher Teshkeel employed his services on their superhero series The ’99 while via Mam Tor Publishing he would contribute to London’s Mother Comics.
Illustration work has lead to his involvement in the advertising world and film/television storyboarding alongside becoming an accredited Lucas Film artist and producing work for BBC TV’s Blue Peter. However, it is demand for Lee Bradley’s work as a sketch artist that has found him involved in such popular collectors’ trading card series as Mars Attacks and Mars Attacks Invasion, Star Wars Galaxy and Star Wars Galactic Files, alongside Marvel’s Greatest Battles, Women of Marvel, Retro Marvel, Marvel Premiere and this year’s Avengers: Age of Ultron on the superhero front, as well as card series reprising great events and personalities from history. Fittingly an exhibition of his work, Retro Marvel Now – The Art of Lee Bradley, is taking place from 7th March to 12th April at the Forge Mill Museum in Redditch, in the heart of The Midlands.
A popular live attraction on the British convention scene, Lee Bradley will be sketching, signing and offering original artwork while talking to fans at The Birmingham Comics Festival on Saturday 18th April.
 
 
 
D'Israeli Biography:
From his first forays within the early British small press scene and for American independents through to him becoming truly established during the late 1980s, D'Israeli’s work has always been quite unique. During the late 1980s he was assigned strips featuring Matt Wagner’s Grendel and took on the role of pencilling artist for Canadian publisher Vortex’s Mr X title, while within the pages of the cutting edge UK youth media magazine Deadline he created the surreal serial that was Timulo, then latter co-created the more whacky Fatal Charm.
History now tends to forget his full colour explosion on the cyberpunk saga of Lazarus Churchyard originally part-serialised within the pages of Blast! but somehow recalls he coloured Miracleman. As the nineties bloomed he would ink both the Tank Girl: Movie Adaptation and Kill Your Boyfriend plus The Sandman series for DC’s Vertigo imprint, while drawing Metalscream within the pages of Marvel’s 2099 Unlimited.
Having worked together on a strip for Revolver, D'Israeli began an ongoing extensive collaboration with writer Ian Edginton, notably Kingdom of the Wicked, a trio of related graphic novel collections: Scarlet Traces, The War of the Worlds and The Great Game, and Leviathan and Stickleback for 2000 AD, plus work on Batman for DC Comics. Much of his work has been collected in book form and at one time or another D'Israeli has also scripted, illustrated and coloured strips for 2000AD and The Judge Dredd Megazine and self-published limited editions of his own creator-owned strips. Most recently he has been illustrating Ordinary for Titan Comics.
In 2008 D'Israeli was awarded the Favourite Comics Artist: Inks Eagle Award, having been also nominated for the Favourite Colourist Award. These days, his artwork is created directly on computer, and those keen to find out more about this fascinating process can do so when he attends Edgbaston Cricket Stadium on Saturday 18th April as a guest at The Birmingham Comics Festival.
For more information on D'Israeli visit: www.disraeli-demon.blogspot.co.uk
 
 
Dave Kendall Bio
Kendall is renowned in Europe as the illustrator of the series of La Compagnie des Lames graphic novels published by Soleil, a dark fantasy saga that roughly translates as “The Company of the Blades” alongside artwork for 2000AD and much trading card illustration work for publishers in the USA.
The artist began his professional career working with the godfather of modern British comics, Pat Mills plus Tony Skinner; co-creating the PsychoKiller series that was featured within the pages of the British comic anthology Toxic! A brief detour into the world of comic strips, created Mosh Pit for Metal Hammer magazine, proved good grounding for meatier works of a musical nature for American comic publisher Malibu’s Rock-It imprint, most notably illustrating official Metallica comics, and then moving onto work with British horror author Brian Lumley adapting his Necroscope vampire series for that company, then latterly covers for the writer’s books – Much of this early work being featured in Sound & Fury an exhibition of heavy metal imagery, originally held at Bradford Museum before it toured the UK.
The international world of illustration, by way of gaming and trading cards then called upon Kendall’s services and he has produced work for the likes of Future, Sony, Wizards of the Coast, Blizzard, Rebellion, Thomas Jane’s Raw studios and Games Workshop.
He contributed to Mam Tor’s award-winning Event Horizon anthology and was the artist and co-creator, along with writer Mike Carey, of Houses of the Holy a digital motion book produced for the Madefire platform. As European interest gathered in his work he began to illustrate graphic novels for French publisher Soleil, with two volumes of La Compagnie des Lames having now seen print. He has also produced a number of eye-catching covers for 2000AD.
Dave Kendall’s work is created by applying a mixture of traditional and digital techniques, the subject of which he writes on within the pages of Imagine FX magazine from Future Publishing. Such skills and techniques he may share with those attending The Birmingham Comics Festival on Saturday 18th April, where he will also be talking to fans while signing, sketching, and offering original art.
For more information on Dave Kendall visit: www.rustybaby.com
 
 
 
Mark farmer bio
Mark Farmer began his inking career partnering penciller Mike Collins, the pair contributing strips to Marvel UK prior to assorted Future Shock strips and the Slaine series for 2000AD, thereafter working on the Laser Eraser & Pressbutton series for American publisher Eclipse Comics.
Concurrent with his early comic strip work Farmer assisted Birmingham cartoonist Mike Higgs on his Moonbird children’s books and would in due course illustrate and colour books himself for Oxford University Press. An inking artist, being a craft generally called for more by American publications, Farmer’s subsequent British comics work has remained limited, so sought out by collectors. However, there have also been rare occasions where he has produced full art as was the case with the original Anderson: Psi Division series published within 2000AD.
Inking Dave Gibbons on a reboot of DC Comic’s Green Lantern Farmer’s US career truly began to take off, continuing on the series when Joe Staton returned as pencil artist and the series evolved into The Green Lantern Corps. For what was then being hyped as “The new DC” he would also ink the first issue of a new Justice League series and what became an ongoing series with the brand new Animal Man. Rival US publisher Marvel Comics would also begin employing his skills notably on The Punisher and The Incredible Hulk. Such was the demand for his talents by both companies (not only inking but producing finished art over rough pencils and breakdown art), rare were the occasions he would work for other publishers like Dark Horse and WildStorm.
Aside from Superman True: Brit, created by Monty Python’s John Cleese, much of Mark Farmer’s high profile work in recent years has been partnering pencil artist/writer Alan Davis. An early outing or two on Judge Dredd in 2000AD and taking over its back page for D.R. and The Quinch back in the late ’80s proved more profound when they took on Batman for DC Comics, a decade later there was JLA: The Nail and six years after that JLA: Another Nail. Over at Marvel the pair would be involved in heavy hitters such as The Avengers, The Fantastic Four and The Uncanny X-Men. There have been others of course, and working with different pencil artists, for Mark Farmer’s workload remains a busy one, such are the demand for his talents, but he will be taking time out to take part in The Birmingham Comics Festival on the 18th April.
 
 
GARY CRUTCHLEY BIO
Gary Crutchley, who has drawn strips for Britain’s best-selling science fiction comic 2000AD actually began selling his work professionally contributing to American anthologies back in the late ‘80s during the horror boom, initially with strips to Gore Shriek and Shriek at Fanta-Co Enterprises, then the Killing Stroke mini-series he co-edited for Malibu Graphics, and latterly drawing the cyber-dark fantasy series Stratosfear for Caliber Press.
There followed in the UK, illustration work for The Truth magazine, work for newsstand horror comic Bloody Hell, Future Shocks for 2000AD and private commissions. With the advent of a burgeoning UK independent comics scene in the UK he began to contribute to a wide variety of anthologies, found his work collected in Robinson Publishing’s Mammoth Book of Zombies, featured in the benefit book Spirit of Hope, and he would spend a year’s tour-of-duty pencilling the sci-fi strip Carter’s Column for The Birmingham Mail newspaper’s online comics section. Brief sojourns with US publishers have seen him produce layouts for a licensed Death Race mini-series, anthologised strips for a comic based on the Creepy Kofy Movietime cable TV show and a well-received western one-shot, The Tale of a Well Hung Man, a genre that was to prove increasingly fruitful.
WESTERNoir is the story of Josiah Black, a monster hunter with a colt 45, written by Dave West and illustrated by Crutchley for Accent UK. It has proved both a critical and commercial success for the independent company, with ongoing discussions of external franchising of the brand to other media much in discussion of late.
For more information on Gary Crutchley visit: www.gcrutchley.blogspot.co.uk
 
 
PHIL WINSLADE BIO
His classically detailed artwork has found Phil Winslade nominated for National Cartoonist, Harvey and Eisner Awards in his time. Taking the road less travelled he turned away from the commercial illustration that his studies at Birmingham Polytechnic had prepared him for, forgoing record album covers for strips within the independent Sometime Stories before securing work at work at Fleetway/Egmont on their Revolver and Crisis titles, then for Marvel where he fell under the tutelage of the highly respected writer/editor Archie Goodwin who nurtured his visual storytelling talent.
When Goodwin moved to DC Comics Winslade followed, teaming with writer Garth Ennis to produce the eight-issue Goddess series. Winslade pencilled, inked, coloured and designed bookends and covers for the series; the creative energies requiring total dedication and time. The beautiful results can still be seen in collections, French editions in particular. Having proved he was adept at portraying female characters possessing powerful inner grace and outer beauty he was called upon to illustrate another in Wonder Woman: Amazonia, his co-creation for this Elseworlds books being turned into limited edition statuettes.
Writer Steve Gerber’s comic books had influenced Winslade as a youth and together they crafted another female lead in Nevada for DC Comics’ Vertigo imprint. For a bird of an altogether different feather they also brought back Howard The Duck at Marvel. Other work for that company has included a Daredevil/Spider-Man mini-series and Ant-Man's Big Christmas written by the Back to the Future films’ co-creator Bob Gale, while at DC he has illustrated a whole range of characters including Wonder Woman, The Flash, Martian Manhunter, Aquaman, Batman, Warlord and Jonah Hex, group books such Shadowpact, Threshold, The Brave & The Bold and most recently Convergence: Crime Syndicate alongside being featured within Vertigo imprint anthologies such as All-Star Western and Men of War, as well as co-creating the Monolith series.
Elsewhere he has been featured within Heavy Metal magazine and A1, and begun to make frequent appearances within 2000AD where Lawless has proved so popular there is already a newseries underway, as well as having co-created King’s Road for its debut series within Dark Horse Presents.
Phil Winslade will be attending The Birmingham Comics Festival at Edgbaston Cricket Stadium on Saturday
  
And, oy! The Exhibitors!  Here, the....
 

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Hellbound Media - Details coming soon!
Accent UK - Details coming soon!
Fly Comics - Details coming soon!
Markosia - Details coming soon!


Rock n' Ruby - Details coming soon!
Steven Quirke - Details coming soon!
Village Sweets UK - Details coming soon!
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