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Wednesday, 28 June 2017

Comic Book Palace - Episode 4 (Season 2)

A Quick Update


I have already noted that, because of the financial situation (ie. I do not have finances!), updating and posting to CBO is now a very low priority as I have legal battles and others to fight.  Also, as we approach month 7 of absolutely no sales of books the situation is not going to improve and that was supposed to be my sole income.

The PC I purchased in 2007 is dying on me. Let's not go into the problems that causes but, obviously, if you are working in print on demand and (not) selling your books over the internet you need a computer.  To say that the very temperamental laptop is not really a sufficient back~up is no joke. It has none of the programs I use for publishing and buying them would cost more than buying a new PC which is, frankly, ridiculous.

But I chose comic publishing.  My fault.

If, however, anyone notices after a year that I have not posted or updated (I live in hope someone might notice)  then you or he or she, will know why.

Sounds grim?  Hah!  You should be living it, babies!

Marvel Legacy!! Changing The Comic Book Industry Forever By Releasing No Information (just pretty pictures)

September will see Marvel Legacy. And all that entails. Industry mouthpiece, Bleeding Cool, who seem to side more with DC these days, acts all tough and "bull-shit, Marvel!" while showing every cover it can get its tacky hands on.  Other sites seem to be joining in with various levels of enthusiasm...or lack of it, but being careful in case it is good!

Information on what Legacy entails is in very short supply.  Such short supply that I lost the info I found when I dropped it in a thimble.

Look, with great help from some awful British writers, Marvel Comics as it was died in the mid 1990s. What we have seen since then is one amazing car crash into a concrete wall after another. Kirby, then Lee out of Marvel Comics.  Things got shaky.  Shooter moves in and there was a new found life...then Shooter went. Then Marvel Comics became marvel.

Here is something to show you how much they love their pet piggy banks fans. There was a very drunk Marvel creator at a recent comic event who started talking loudly at another drunk Marvel creator. There were about 20 people in the room including two from a "Marvel mouthpiece" website. The "banter" was over how the next big Marvel event was going to better for Creator 1 and his books than creator 2 and his. Then one says to the other "You **** idiot -I can make changes before 2019" and the other then, seeming to go back to confused drunk conversation, said "I thought it was next year?" Second creator "It can't be next year. No, I'm sure -that's legacy, right?" And at this point someone senior from Marvel stepped in and both men were "talked to" and left quietly.

So, not legacy?  Another big industry changing event in 2019?  Who would have thought? (I was being sarcastic there).  The point is that 20 people involved in comics and blogs witnessed this but not one of them reported on it and it took some of them chatting to friends for the snippet to get out. Says a lot about comics media.  Yes, the twoi men and the Marvel higher up were named but I am not going to repeat those names because I was not there.

Anyway, keep going to Marvel.com for more covers but no information on Legacy....nothing about 2019 just Legacy!
https://news.marvel.com/comics/67447/marvel-legacy-changes-comic-book-industry/

Learn more about this impressive initiative and see six exclusive cover GIFs!Get ready for a new dawn True Believers—one whose rays will touch every corner of the Marvel Universe in the days to come! Get ready for the return of what you’ve been longing for—and more! Prepare for the debut of MARVEL LEGACY!
“A new initiative that will take things back to our iconic history, with a firm eye on the future, MARVEL LEGACY will present stories that remind everyone—newcomers and longtime fans alike—why Marvel stands as the premier name in fiction,” said Editor in Chief Axel Alonso. “Our titles will unearth gems from Marvel’s rich history, remind readers of connections between characters, and usher in the return of some major characters who’ve been missed.  Above all else, we want to inject our comics with a massive dose of fun!”
Kicking off this September with MARVEL LEGACY #1, an over-sized 50-page, one-shot special, Marvel Comics titles step towards a bright new future – one that harkens back to what has made Marvel a household name while looking towards tomorrow. With fun and thrilling reveals primed to excite fans, both existing and new, this fall, prepare forMARVEL LEGACY!

Tuesday, 27 June 2017

Blue Stuff/Oyumaru - How to cheaply cast miniatures or plastic models -...

The Mike Wieringo Comic Book Industry Awards


Pro and Fan Comic Book Awards come to "America's Greatest Comic Book Convention"
and YOU GET A VOTE!

The Mike Wieringo Comic Book Industry Awards is an annual celebration of the creativity, skill and fun of comics.

The awards make their debut this year as part of the fan- and pro-favorite convention, The Baltimore Comic-Con.

Unlike other professional industry awards, the Ringo Awards include fan participation in the nomination process along with an esteemed jury of comics professionals. 

More than 20 categories will be celebrated with top honors being given at an awards ceremony Saturday, September 23, 2017.
Fan and Pro Nominations

Fan and pro-jury voting are tallied independently, and the combined nomination ballot is compiled by the Ringo Awards Committee. The top two fan choices become nominees, and the jury's selections fill the remaining three slots for five total nominees per category. Ties may result in more than five nominees in a single category. Nominees will be listed on the ballot alphabetically. Nomination ballot voting will be open to the public (fans and pros) starting June 27, 2017 and will close July 18, 2017.
Final Ballot Voting

After processing by the Ringo Awards Committee and Jury, the Final Ballot will be available to pros for voting on July 26, 2017 and will be due by August 16, 2017 for final tallying. Presentation of the winners will occur at the Baltimore Comic-Con on the evening of Saturday, September 23, 2017.
Nomination Eligibility

Eligibility for creators and creative works is determined by publication in the preceding calendar year - print publication date takes precedence over electronic publication date. For electronic works, the date of publication is time-stamped with most publications and at least 3 episodes/installments of continuing works must have appeared during the eligibility period.
Fan and Pro Nomination Categories

* Best Cartoonist (Writer/Artist)
* Best Writer
* Best Artist or Penciller
* Best Inker
* Best Letterer
* Best Colorist
* Best Cover Artist
* Best Series
* Best Single Issue or Story
* Best Original Graphic Novel
* Best Anthology
* Best Humor Comic
* Best Comic Strip or Panel
* Best Webcomic
* Best Non-fiction Comic Work
* Best Presentation in Design
Jury-Only Nomination (with three bonus jurors)

* The Mike Wieringo Spirit Award
Fan-Only Favorite Categories

* Favorite Hero
* Favorite Villain
* Favorite New Series
* Favorite New Talent
Hero Initiative Award (selected by the Hero Initiative)

* The Hero Initiative Lifetime Achievement Award
* The Dick Giordano Humanitarian Award
Mike Wieringo photo
"Mike loved comics," said Todd Dezago, co-conspirator with Wieringo on their creator-owned title Tellos. "He loved the pure escapism of them. He loved the imagination that went into them and the inspiration he got out of them. He loved the talent and skill that went into them; the innate abilities of the artists and the writers as well as the learned and developed facility that came with study and experience. He loved the storytelling of comics, he appreciated when it was done well. Mike loved the diversity of comics; the incredible array of styles that ran the spectrum and gave each creation its own unique flavor. And he loved fun comics. Not that Mike didn't appreciate the grim and the gritty, the deeper, more adult, more thought-provoking comics of the day. But he was drawn more to the more light-hearted, sometimes fanciful-and we called them 'overly-coincidental'-stories that reminded you that comics were fun.
"Mike liked comics that were fun," said Matt Wieringo, artist and brother to Mike. "That's pretty subjective and covers a lot of ground, right? He liked art that was expressive. Some people think that means 'cartoony' but that's not it. For instance, he loved Juanjo Guarnido's Blacksad art, and that's hardly cartoony, but it's expressive as hell. He loved the artists that could build a believable world and could tell a compelling story in that world with characters that were gestural and fun to look at. He loved artists who made their characters act. He also loved discovering new artists that didn't draw like anyone else because he loved learning from them. He had a huge collection of European comics that he couldn't even read, but he could study the artwork. He got excited about new artists and wanted to know who their influences were and what they read and how they worked. He read a lot of indie comics to see what was going on outside the mainstream. He was on board with Hellboy and Love & Rockets and Hate before they were "cool." Mike also loved Kirby before it was considered a badge of honor to proclaim it. He loved how innovative and energetic he was and that he was this Brooklyn bruiser with the heart of a hippy poet (a close approximation of how Mike once described him to me). And it wasn't just the art. He liked reading stories by writers who could keep things moving and exciting. Nothing bored him more than page after page of talking heads with quippy dialogue. He wanted STORY. He wanted ADVENTURE. And CONSISTENT CHARACTERIZATION. He liked working with Mark Waid because he loved how Mark can always find a new way to spin a familiar story and write characters you care about, relate to, and have their own voice. He loved working with Todd because they shared similar sensibilities and Todd always finds a way to inject FUN into the story. For Mike, "fun" didn't just mean light-hearted either. He enjoyed horror and noir and crime stories as much as anyone. As a kid, he devoured Miller's Daredevil and Sin City because the stories were compelling and well told. He loved Starlin's Warlock and Captain Marvel because they were epic and groundbreaking. He loved Wrightson and Ploog and Colan because they could set a mood. Most of all, Mike thought good comics were entertaining and innovative. If you could hold his attention and delight and intrigue his artistic sensibilities at the same time, he'd shout your name from the rooftops. And, if it turned out you were a decent, nice person to boot, he'd be your friend for life."
"We really miss Mike Wieringo," said Marc Nathan, Baltimore Comic-Con promoter. "Ringo was a great friend to the show, a great artist and creator, and a great person. It has been 10 years since his passing, and we wanted to do something to honor his spirit. These awards represent the creativity and positive attitude he brought to his work, and when we started floating the idea with his family and industry friends, everyone immediately loved it as much as we did. Having had some experience running a large industry awards show in the past, we had some great insights as to what the industry (and fans!) wanted, and we're trying to give it to them. This has all come together very quickly, and we know we're going to continue to adjust and adapt as we grow, but we are absolutely thrilled to have already heard from so many fans and pros alike, in addition to his family and friends, about how excited they are. Please spread the word. Please vote. And thank you for helping us celebrate Mike's memory!"
About Mike Wieringo

Fantastic Four BCC Exclusive Cover
Michael Lance "Mike" Wieringo was known to fans and friends as "Ringo", which is how he signed his artwork. His comics artist graced the pages of DC Comics' The FlashAdventures of SupermanBatman, and Robin, Marvel Comics' Fantastic FourFriendly Neighborhood Spider-ManSensational Spider-Man, and Rogue, and his co-creation Tellos. He passed away on August 12, 2007 at the young age of 44 from an apparent heart attack.
About the Ringo Awards

The Mike Wieringo Comic Book Industry Awards is an annual celebration of the creativity, skill and fun of comics. The Ringo Awards recognize outstanding achievements in over 20 categories, and are the only industry awards nominated by fans and pros alike, with final voting by the comic professional community. Launched in 2017, the awards ceremony is held annually at the Baltimore Comic-Con. Further details are available at www.ringoawards.com.
About the Baltimore Comic-Con

The Baltimore Comic-Con is celebrating its 18th year of bringing the comic book industry to the Baltimore and Washington D.C. area. For more information, please visit www.baltimorecomiccon.com 

Monday, 26 June 2017

Epic History X-MEN Volume 3: The Dark Phoenix Saga

Documentary: Epic History X-Men Volume 2, The Phoenix Saga.

Documentary: Epic History X-Men Volume 1, The 60s Era

no one is that concerned.

With comics seemingly no longer a going business concern there isn't much for me to do other than sort out legal paperwork.

However, I spent three hours using the wood chipper/compressor to take my mind off things.

The main thing being, today, me having to tell creators whose books I have published that if they can find another publisher to go for it.  You see, it isn't just me involved with Black Tower and if you cannot get books to sell you feel bad for creators.

But no one is that concerned.

So if it gets slow on CBO it isnt that I don't care, just no one else does.

Sunday, 25 June 2017

UK Comics


A Thorny Subject-?


A couple people have said that it "must" be a "bit of a come down" to have to set up business at Small Press events.

I'll not apologise if I was a little brusque in my response.  Read "About" at the top of this page for goodness sakes!

There is no real comic industry -well, there isn't one- in the UK.  I started out doing small press comics then writing a drawing comics for a living.  The industry as it was back in the 1980s/early 1990s was on its last legs. I have no interest in discussing why. Anyone with the slightest knowledge knows why it was dying. All I will say is that if you have publishers who just really cannot be bothered anymore and incompetent editorial staff then...

Back in the old days -you kids who were not born until 1988 or later will have no idea- Gestetners were used to produce early fanzines and some well known comic creators got into comics that way.  The Small Press -which in 1982 I started calling "zines" because the genres covered and types of publication were so varied- was a "seat of your pants" affair.  Cut and paste -kids, I mean "cut" literally with a pair of scissors and paste down with Gloy Glue (until the goddess Pritt Stick appeared!) onto paper after typing up was just part of it.  Photocopying was still a bit pricey -5p per copy was 1/- for goodness sake (look it up). In the days of the C30, C45, C60 and C90 tapes (go listen to Bow Wow Wow and  "c30 c60 c90 go") zinesters were the Ninja Shadow Warriors.

Right. Yes, I may have over-hyped zinesters a little there but there used to be a campaign: "Watch Out. There's A Thief About!" and that could have easily been changed to "Watch Out! There's A Zinester About!"

You see, first trick of the game was to learn where the office photocopier was or the copier room/cupboard. There then followed days of surveillance as you noted who used the copier.  Whether people had a regular schedule for copying.  When the copier engineer turned up to change the toner and so on.

In your rather dilapidated little bed-sit (or bedroom at home) you would have maps, charts, photographs, marker pins all on display on the wall.  You would sit back.  Slurp a mouthful of cold or tepid coffee.  Maybe wave away the smoke if you were a smoker.  The sunlight cutting shafts of light through the blinds over the windows would give you just the right amount to see by.  A bite of a stale sandwich or doughnut.  At the important moment your eyes would decisively narrow into slits as you clenched the back of the rickety old char you were sat on.  "It's tomorrow.  I go in tomorrow."

Or maybe I'm thinking of the TV series Private Eye with Alfred Burke (http://en.wikipedia.org/wiki/Alfred_Burke )?  That's him below...

Anyhow, unless you were palsy -that's "palsy" -friends and not "Palsy" which is a medical condition. I am getting so old I keep losing threads...and that jacket does need sewing.  That reminds me of my stint in the Army and the Falklands campaign.

We'd worked our way into the jungles of the Falklands and hiding from an Argentinean plane, Brigadier Jeff Chandler was on the radio telling Margaret Thatcher that keeping his 3,000  jungle fighters hidden from the enemy for 200 miles was "driving me nuts". Basically we made it to the jungle swamps but were spotted and the main column was soon under artillery  fire. Lt. Chalky Stock's platoon  take out the artillery battery mainly due to platoon sniper "Bullseye" who shot their commander and we destroyed the emplacement with covering fire and hand grenades
.
Chalky Stock reported to the fatherly Chandler that...wait a minute.  Were the Argentineans Japanese-like? And Claude Akins....why was Jeff Chandler a Brigadier in the British Army in the 1980s -he died in 1961!

Ah, I'm thinking of the movie Merrill's Marauders, arent I?

Yeah, that wasn't the Falklands War.

Right, so, if you were matey  with the boss (Matey was a very popular kids bubble bath back in the day) and he let you do a "bit" of copying then it had to be all done by stealth. "Oh, I'll tidy up the place after work, boss. No problemo!" (in like Flynn -which was a film...no).  Copying. Look over shoulder.  Copy. Look over shoulder.  Copy.  "OH MY GOD -IS THAT HIM COMING BACK? No." Copy and so on. Pages askew, poor quality since the copier was used as toner was running out.  Hey, never use the copier when the toner has just been put in!  Boss: "What?! The toner was only changed yesterday and it looks like its run out! Why does the copy counter read 2345?"   And that was the other high-tech piece of espionage you learnt early on -tampering with the copies counter.

The thing was to always -always- remain calm and keep a clear head if the boss did walk back in. Otherwise things could get a wee bit out of hand...


Because if you lost it then you'd realise just how bad things are and how stupid you were and the consequences -NO ACCESS TO A PHOTOCOPIER!



And, uh, yes, the quality of paper used to copy on.  Some of it like kitchen towel -well, you grabbed what you could and there was one person of my acquaintance (he did NOT commit murder) who photocopied onto brown wrapping paper, a tissue-tracing paper "stuff" and...well, he used to staple zines together on his knee.  Owch.

uhhh, I can't remember what this was all about?

Anyway, whether for music zines, comic zines, fan zines, poetry zines -small pressers used to use quite clever design techniques as well as packaging.  Spray painted acetate covers, home-embossed -the creativity was boundless.  

A lot of creators tried to draw their comic zines à la the Americans but a lot tried to get more creative in page design. Open panels, panels laid out diagonally with a full page image in the background, Panels laid out in a big "X" formation.  Use of water colours to tone, not to forget home-made spray effects.  These were all things that you were not really allowed to do in a mainstream comic.  Today some creators have tried the unusual panel layouts and people go "Wow!" "Amazing!" "That is so cool and original!"  No. We were doing that thirty years ago.

With the passing of the UK comics industry and the birth of print-on-demand, home publishing via your computer-printer and so on "comics" have changed a lot.  Don't get me wrong, the UK could still have a strong mainstream comic publishing industry but it needs to have someone with the finances and the faith to back projects.  The one thing I've learnt from attending small press events is that 99% of the creators and visitors know absolutely nothing about comics!  Stan Lee is a character from The Big Bang Theory TV show!  "Jack Kirby -does he do that zine with---?"  "Oh, The Avengers is based on a comic?

Even programmes people watch like The Walking Dead (yes, I know the Big Bang Theory is watched!) or Arrow these new kids have no idea are based on comic books.  Some of them, say 90%, will lose interest in the small press in a year or two. But it is interesting to see what they come up with.  Much of the 'originality' harkens back to the 1980s/1990s -but they do not know that!

And, yes, maybe 75% of them cannot draw but they do and they do it because they are having fun.  When I did zine reviews for Comics World"back in the day" (I gave up when they stopped 'forgetting' to send my payments) the best review I ever gave was to a zine, and I wish I could remember what it was called, that was badly drawn and written but you could feel that the creator didn't really care -the book just exuded FUN!

Just like Punk Rock (my record "****!  ****!  ****! **** You!" is best forgotten like my wrestling career), where you never really had to be a musician or singer -you relied on total and utter energy and having a good time- so small pressers create for fun.  They are accountants, teachers, school cooks, international assassins, teachers, students and it's all just a fun hobby.  And, yes, I get odd looks when I refer to my books as "stock"!

I never had a big ego.  I never thought I was some big star. I wrote and drew comics for a living.  Some people in comics today seriously have major issues ego and talent-wise.  Brown-nosing keeps them in work, though.  The UK has never really accepted my enormous talent -whereas outside the UK I get more recognition. Initially I got frustrated "Why aren't they trying to pitch their books to punters? They'll never earn money just talking and drinking coffee!"  

But then my Shaolin comic mentor explained to me that I needed to be "like the pebbles on the beach.  Accept that some times the sea will caress them but at other times it will roll like thunder into them" and "Even the strongest buck grass must bend before the wind.  Accept the wind.  Do not try to imprison the wind.  Let the wind out" and that taught me a lot.


No, it is not a come down to have a table at a small press event.  I never get invited to UK comic conventions (though I have an open invitation from one organiser).  Pity but that's how it goes -same old guests from one event to another and that includes traders, which sort of makes you wonder about this bidding for a table at events...it has to be rigged.

So, as long as I get to see interesting things, talk to interesting creators and sell books I am happy.  Better than some of the back-stabbers out there in 'the industry' today.


I eat dead pigeons and sewer rats can't you tell from the way I act I'm born from the blood of Spring-heeled Jack?

Supporting Small UK business ~Chang3lings UPDATE

Sorry folks but within minutes of the item being posted here it SOLD!!

The Chang3ling dolls are all unique one offs so you see something ~buy or lose!
_______________________________________________________________________

This looks fantastic. These dolls are always amazing!

Just gone up today on the website

http://www.chang31ings.co.uk/Ashley_Wood_3A_24_inch_Lonely_Warrior_Tomorrow_Queen_Pascha_action_figure/p2231721_17590304.aspx

Ashley Wood 3A 24 inch (60cms) Lonely Warrior Tomorrow Queen Pascha action figure

Ashley Wood designed action figure from his Isobelle Pascha range.

This was a 3A exclusive 
Mintcondition 
boxed with shipper.
Item will be sent special delivery and postage is included in the price.  UK only.

Saturday, 24 June 2017

Reviving Odham's Fantastic Comic. Great Idea...Or it seemed like one!

One other early idea from the 1999-2005 period was to revive the old Odhams title Fantastic but there was a snag.

It seems that, as was common practice back then, IPC/Fleetway (it is not as clear as some claim) purchased material from Odhams, however, it did not purchase copyright nor did it copyright the characters or the title -that would have cost a lot of money for each individual character but the title was safe-ish.

So, at a meeting, someone very senior in the company tapped the dummy copy and said: "Can't do it!" My obvious question was, after all the time of putting things together, were they only telling me now? I was told that no one was aware of how complicated it could get.  Creators (who ever decided to claim they created a character -for some there were several) could ask for payments or rights back or even take the matter to court.   Company after company had sold and resold material (including overseas) and never paid creators.  Well, it was "work for hire", even most artists thought that at one point.

However, I finally understood how big a scare the Don Lawrence and Leo Baxendale cases had given Thomsopn and IPC/Fleetway.  Here is a post from 2011

http://hoopercomicart.blogspot.co.uk/2011/07/uk-comics-copyright.html

In an interview with Paul Gravett, Leo Baxendale stated:

Nothing at all from Thomsons or IPC. When they buy artwork from you, they still claim total ownership. You get nothing from reprints or sales abroad. But I was too busy back then doing next week’s work to think about the previous originals. As a young professional, that incessant pressure doesn’t half hone you up. But there’s no finite limit where people say you’re doing too much. It goes on piling on and when you go beyond a certain point, it becomes destructive.

And:

In my case against D.C. Thomson over the copyrights to my creations - Little Plum, Minnie the Minx, The Bash Street Kids, The Three Bears, The Banana Bunch (above) - I was heading from a three-week trial in the High Court from June 27th 1987. There were always several possible endings - like those role-playing books! But in the end we came to a mutually acceptable settlement in late May. I was fighting with Legal Aid and if anybody on that system is made a serious offer, it must be considered, because of the enormous costs to public money to go on fighting. The terms are confidential but I now have an amicable association with Thomson’s.

The full interview can be found here http://www.paulgravett.com/articles/article/leo_baxendale

What I had never been aware of was the fact that a few creators had also come to "confidential deals" which Fleetway/IPC.  I was told who two of them were but it appeared "about six" had reached these deals.

"Jerry Siegel created The Spider for the company and the last thing anyone wants is a high profile comic person with big lawyer moving in!"   (in The Hooper Interviews I talked to then Managing Editor, Gil Page who started at Amalgamated Press as a youngster and he recalled the excitement in the company that "the creator of Superman" had produced this new character for them -his name on the scripts Page had held).

So I tried to talk around this but the "Senior" man produced a copy of a paper I had written on UK Comics Copyright.  Let's be honest, I had personally pulled the pin from the hand grenade and thrown it while still holding firmly on to the grenade.  But no one had thought to tell me of these problems up until that final approval meeting (no contracts of course).

In all honesty, "buyer beware".  You 'purchase' old strips you are not purchasing ownership nor copyright.  The original creator or his heirs could make a claim.  But here is a mock up first issue cover from when the idea of "redoing it all cropped up" -using newer characters and material.  There was a shrug but no one really knew what to do.  I did but I was not the one paying!

We'll never know if Titanus carried out his Earthy Death Sentence!

Another Look At Covers, How I worked And Business

Back in 2015 I posted on how I put together comics after being asked and this ties in with this post so read on after an explanation.

Originally, the Dr Morg Trilogy was a Small Press publication and this cover was used on -the art on a couple of different shades of card stock.

But when it came to the trade version of the six part Black Tower Adventure series, Return Of The Gods: The Twilight Of The Super Heroes the Jack Flash character appeared on the cover but not as a silhouette.

I played with two ideas.  this one...


And this one...which I rejected pretty quickly!




































But the original 197 pager ended up with this cover....


But when amended to over 300 pages, which saw Jack Flash and his involvement become more central, a new cover had to be created and I went with this one -both versions are still available at the store.

That's how it works, folks!

Now that 2015 post!

Someone Asked (a while ago) How I Draw My Comics

I found a disc that had "family photos pets etc" written on it. Being in a morbid mood I thought I'd see if there was anything that needed transferring to a flash USB stick.

I got a surprise.  Well, for me. Photographs taken while I was working on two comics in May, 2005 -I could have sword it was much later but the photos are dated for that time! The first is the end products -Words Within Worlds, that became the first part of the Dr Morg Trilogy and had a limited run as a small press comic. This one has a white cover and others had a yellow card cover. Worth a few £s now.  The other is the original A6 (A6 measures 105 × 148 millimeters or 4.13 × 5.83 inches) GoBo zine that I was handing out at the Bristol Spike Island event BUT thanks to a certain person sitting there saying "It's s***. Bin it, it really is s***!" a good few ended up in a waste bin by the doors -and I 'recycled' them!


 I am one of those people who prefers not to be tied down to a straight forward 5-6 panels page. I like to use a few different techniques in my work.  I will draw on an A4 (A4 paper size is 210mm x 297mm, or 8.267 inches x 11.692 inches) sheet. Maybe a single illo. Maybe 2-3 illoes and I will then cut and paste these onto an A3 (A3 paper size is 297mm x 420mm, or 11.7 inches x 16.5 inches) sheet.

This means that you can move the panels around until they look okay on the page and then glue 'em down! The good thing about this method is that you can take an A4 sheet and make it a panel to them work on and alter before pasting down. For instance, below, that page to the bottom right features the character Jack Flash -a major character in theReturn of The Gods and a key character in Green Skies. Originally there was a strange creature to the background, heavily shaded and an outreached claw coming over his shoulder. But I then realised that the page worked better with a solid black background which left a lot up to the reader's imagination.
Below shows the A4 "blacked out" page and the actual print-proof copy of WWW where the creature and claw are seen. I looked once and thought "redo".  I do not waste paper and if a page is wrong and can be corrected with white India ink, Tippex or a patch (a piece of paper cut out to fit over something that needs redrawing) I do that.

Below I'm busy at work cutting and pasting.  Why take a very long time to draw a figure broken up into puzzle pieces when it's more fun to draw the figure and then cut it up into puzzle pieces to then paste into a panel?
I have absolutely no idea what happens from panel- to- panel in my comics let alone page-to-page. I do not use a script -I only write scripts for other people.  This means that, quite literally, a character in panel 1 is talking to someone and in panel 2 a chunk of rock falls on him and I never actually (consciously) thought about that.

Also, I'll be drawing and think "right, I know" and will look around and perhaps grab a template or something else to go around a panel or become a central object on the page. As with the floral pattern on that page my hand is over.  I only use brushes for large solid black areas so all size brushes come in handy and in 2007 (?) I purchased a 600 ml bottle on India drawing ink and it is still quarter full. Ink needs time to dry and if the ideas are coming fast and furious you cannot mess around.

For quick solid blacks I use Berol Broad and even Fine fibre tips and have done since the 1980s -people used to argue that I was using brushes to draw when I just used Berols to draw!  Sharpies...no. I was given one but the ink seems to last far less than a Berol -someone want to send me Sharpies to try out and review? I've recommended Berols to artists for decades.

There's an article here but I'm guessing some of the photos are missing by now so I may re-write it soon:
hoopercomicart.blogspot.co.uk/…


Below: I washed and posed for this photo with GoBo for a photo for an interview in The Imagineers (I think it was for that) but it was never used.


And below some of the last "Small Press" Adventures (volume 1) -the yellow covered bumper issue is VERY rare but some idiot on ebay paid £20 for it?????




The End

Now for the business side of things, as if!

Invasion Earth Trilogy I & II-The Return Of The Gods:Twilight of the Super Heroes/Cross Earths Caper

I -The Return Of The Gods:Twilight of the Super Heroes


http://3.bp.blogspot.com/-42ZNRvzkxOU/U43QMbw9yzI/AAAAAAAADPo/Hc5VnGFrUUQ/s1600/NEW+RETURN+Front.jpg


Paperback, 
A4
Black & White
331 Pages
Price: £20.00 (excl. VAT)

It begins slowly.  It always does. It's a deception that everything in the world is as it should be and that never changes.

Earth’s heroes and crime-fighters are going about their daily tasks –fighting a giant robot controlled by a mad scientist’s brain, attackers both human and mystical -even alien high priests of some mysterious cult and their zombie followers and, of course, a ghost and a young genius lost in time. 

Pretty mundane. 

But psychics around the world have been sensing something.  A "something" that sends feelings of sheer terror through their psyches.

There is a huge alien Mother-ship near the Moon. Undetected by deep-space radar and other instruments, only a few on Earth have sensed it and they cannot penetrate the hull but only feel psychic screams and....worse.

And then it begins: strange orange spheres isolate and chase some of Earth’s heroes who then vanish into thin air –are they dead?  An attack by an old foe or foes -?

Black, impenetrable domes cover cities world-wide. 

Then it becomes clear to those within the domes what is going on: Alien invasion of Earth! 

A war between the Dark Old Gods and the pantheons that followed! 

Warriors from Earth’s past having to battle each day and whether they die or not they are back the next day! 

No one suspects the driving force behind the events.  One single evil guiding events.  Events that could cause destruction and chaos throughout the multiverse.

Assaulted on all fronts can Earth’s defenders succeed or will they fail...is this truly the end? 


II-The Cross Earths Caper

 

 http://4.bp.blogspot.com/-S0uaExuRIPQ/UouqRS2lVzI/AAAAAAAACHs/NbnZvfVNLxc/s1600/CROSS+EARTHS+CAPER+COVER.jpg
The Cross-Earths Caper: Part II of the Invasion Earth Trilogy
Paperback, 
A4
Black & White
107 Pages
Price: £15.00 (excl. VAT)

Following the events on Neo Olympus and the Boarman invasion of Earth, many heroes and crime-fighters have withdrawn from activity. Some are trying to recover from injuries while others are fighting the mental scars left by the events.

But things have to go on.  As heroes from other parallels who helped during the recent events return home, members of the Special Globe Guard are shocked at the sudden appearance of Zom of the Zodiac. Never a sign of good things a-coming!

Very soon, a group of heroes mount a rescue mission and find that a quick rescue mission can turn sour equally quickly. As they overcome one challenge the the heroes become lost between parallel Earths and face new threats.

 Sometimes one Earth just is not enough. The complete story published in issues 7-10 of Black Tower Adventure now in...one handy dandy book!


NROTG 003

NROTG 004
NROTG 005
NROTG 006
NROTG 007
NROTG 009
NROTG 010
NROTG 011

NROTG 012 (2)
NROTG 013

NROTG 014
NROTG 015
ALL artwork and characters are (c)2017 T. Hooper-Scharf and BTCG