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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 ( )?  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  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 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

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 
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

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.


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

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! 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:…

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

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 this truly the end? 

II-The Cross Earths Caper
The Cross-Earths Caper: Part II of the Invasion Earth Trilogy
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 handy dandy book!



NROTG 012 (2)

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

A Find...What MIGHT Have Been

I have nothing better to do with my life.  Face it, 6 months and no sales means the industry is terminal and while I still have a roof over my head I decided to waste time and go through some files stored on disc.

Back in 2007, I was talking to both IPC and Egmont about a new monthly comic.  A few old characters and some new ones.  IPC quite honestly, declared that it had no interest in comics any more (which was after chatting for months!) which left Egmont.

As the months dragged on it was me who finally pulled the plug on Thunder Monthly as a year had almost passed.  It seemed no one I spoke to knew much or anything about comics -there were no comic book professionals there any more as most had retired or been pushed out.  I also had to face the problem that, as soon as the project was passed along, anyone involved before denied knowledge!  it was a really surrealistic situation.

Submit project. "Hey, let's see more!"  Submit more and explain more.  Could this or that be changed? Of course it could!  Done and re-submitted.  "Sorry, what is this?" asked someone I had never heard of before. Start from step 1 and move along. All going fine. "Sorry, what is this?" asked another person I had never heard of.  I really, honestly doubt that senior management were seeing any of this because if they was a mess.

The cover was a pencilled illo of The Leopard From Lime Street by the late Mike Western. My inks added and then coloured (I think by my brother?).

Here is the art.

Friday, 23 June 2017

A Few Words On A Friday

Hopefully some of you have been watching the episodes of Comic Book Palace?  It, like many others on You Tube now, show the real state of comics and what comic readers think rather than the industry and dealer hyping Comic Book Men, which tends to show everything wrong with comics being good.  But come on, the biggest industry mouthpiece (Kevin Smith)  runs the show and if you have ever heard one of his podcasts and have not vomited after five minutes of his utter arse-licking, sycophantic crap then you have strong guts!!

I loved, in Comic Book Palace, the sarcastic call-out "Hold the front page -we have a one dollar book!" You see the true value of comics shown and discussed and not slick staging of scenes. Believe it or not, there are fair comic shop owners out there.  Not met any in the UK yet but I have seen and heard the evidence from the United States.

The exposing of Free Comic Book Day being an Ebayers paradise. Remember, the store owners do not get given these books -they have to pay for them.  The scum go from store to store grabbing their freebies and get home need to do this on the next FCBD...that day you'll see all the FCBD issues for sale -a little like San Diego Comic Con freebies turn up the same day on Ebay at inflated prices.  Stamp your shop name on the covers: you paid for the books and are giving them away so remind anyone who does get interested in comics where they got that intro!

"Give me $17 credit for the book?"

"Why would I give you $17 credit on a book worth $12?"

I was waiting for the "It's got the Black Panther in it -there's a movie!"

That would probably have gotten a very interesting response!!  Oh, and you may well pay $100-$200 for a copy of the character Mantis' first appearance in comics -you'll be paying that for a, in very good condition, $20 comic.  Mantis in the comics is NOT the movie Mantis just like the Guardians of the Galaxy of the movies is not the original comic version (and I'm still laughing at people who paid up to $300 for that original comic appearance and have found it really worth $20-25 (mine cost £5 so about $6.30 last year).

Greedy melon farmers.

Avengers volume 1 (the only real volume of Marvel's Avengers) #100.  UK prices £35.00 -£100+ ($45-127).  Bought that issue plus #101 for £31 including shipping from the US.  Feck you UK comic dealers you are crooks.

But it isn't just comics.  People in Wargaming and fantasy role playing games in the UK also get ripped off with prices...well, an example.  Dinah Soar Hero Clix figure.  In the US you can get for 15-35 cents.  UK: £5.00 to £11.00 -that's $6-$14 BEFORE postage.

Gaming, crafting, whatever, the UK gets hit harder with prices and that was before Brexit so offer that excuse -FU. We used to buy from the US but then, like other postal services, the US Postal Service hiked up prices that put a lot of small traders out of business.  Why pay $6.00 for something from the US, that in the UK will cost $20-30, if the postage on top of that $6 is $45 (and some traders are cheating by adding to that postage price)?

In the past there would have been a united response to this, and to the monopoly in comic distribution in the UK: boycott until things are sorted out.  Fairer prices and monopolies broken. Today? No one gives a shit so long as they get what they want.  "A fair deal for everyone not just one" is a thing of the past.  Thatcher's legacy lives on.

Comic events would sooner go out of business than rock the boat and lower table prices for dealers and actually change guest lists so the same old same old are not always there.

You get the country you deserve and UK voters have shown what they want and these are the same people bleating about...well, you should know.  The time to change comics and other forms of fun such as gaming went a long time ago.

I'm old.  I'm near homeless. Ignore me.

Mr Dilworth

Letter being sent Monday

Thursday, 22 June 2017

Maakika Art and its Origins and the Book!

Whenever I try to explain to someone the origins of The Maakika I get odd looks. I have no idea why, unless the people I'm explaining this to have no artistic minds and have never known a fevered mind!

However, the story I told on the original Maakika Art site in 2008 is factual. These pieces have been called some of the best work I've done -my comic work getting swiftly dismissed! I'm also told, though I never saw it that way myself until I went through all the pieces again, that the pieces seem to form a type of mythology or at least hint at one.  I'll let YOU decide.

The Origins
"What is Maakika Art?"  I get asked that a great deal and to be honest it is a very brief story!

In 2006 I had a serious respiratory infection.  It came and went but,in 2007,it came back with a vengeance over several months and with complications I thought it would see me shift this mortal coil -and I am NOT joking!

Around May, 2007, it got really bad.  Then, suddenly,pouring with sweat, while seated on a bus, my mind started getting a rush of images -maybe 50-60.  I got home exhausted but I sat down and began to draw.  Honestly, at 50 years of age I had drawn many things but these new images were so out of my usual frame of image reference that I was stumped.

I drew a few, sat back and thought "What the bloody hell have I drawn?!" Almost instantly the word "Maakika" [pronounced "Mah-kee-kah"] came into my head.  At the same time I got the definition "solid black and white art under guidance from the Maakika".  Ahh, a fevered mind -and no drugs involved!

I've searched the word on the internet, in books and anywhere else I can but it seems not to exist. I cannot find anything similar.

And with each came a title or description.

So,a divine gift from the Maakika pantheon seems credible!

And lucky.

The original images are all 21x29cms and though I've not parted with the first "inspired" drawings which look crude to my eye, several were sold for between £150-£300 each.

I still have the original images in my mind [they won't shift!] but I've been inspired to work on larger images [60x42cms]. 

So,if you have any questions or comments get in touch! 

And remember:only one person does Maakika art -me (and I have absolutely no idea what's coming next!)

The Maakika Art ~ you can buy the book!

32 Pages 
Price: £10.00 (excl. VAT)
Prints in 3-5 business days

According to  one review:

By J Stransky

"Unique and eye catching. It is equal parts disturbing and wonderful. I've cut a few out and put them in frames on the wall in my work room. They are, I tell you, really quite though provoking. Recommended to someone with an interest in primitive art or hypnosis-state painting. Look at these images deeply for a while, they will seep into your soul."
Can you resist?

Comic Book Palace - Episode 3 (Season 2)

Michael Cho First Marvel and now...DC Comics

"Didn't you interview that guy does the JLA collection covers?"

Thank you for remembering.  Yes, I did though the interview looking at Michael Cho's early career is only available in The Hooper Interviews now. And at the time I did say he had a great talent and to watch out for future work.

Here is some of the DC work and an article from 2015.

Michael Cho Covers the Marvel Universe

You may ask who Michael Cho is?  He's a very talented Canadian artist I interviewed in 2011 -the interview (I believe his first) can be found in The Hooper Interviews

 Michael Cho Covers the Marvel Universe with Exciting Variants

Artist to provide over 20 variant covers in February!
This February, artist Michael Cho puts his own stamp on the All-New, All-Different Marvel Universe. Marvel is pleased to announce a series of stunning variant covers, all illustrated by Michael Cho, coming to your favorite new Marvel launches!

An illustrator and cartoonist, Cho’s unique style breathes life into some of Marvel’s most popular characters. Featuring Spider-Man, Doctor Strange, Wolverine, the Inhumans, Daredevil, and many more, you won’t want to miss these gorgeous covers coming in February.
“Michael Cho’s stylized, graphic approach abstracts the Marvel heroes into Pop objects while still maintaining their individual personalities as characters,” says Marvel Senior Vice President, Executive Editor Tom Brevoort.

“They’re vibrant and striking,” he adds.

Read about Michael's influences, work and how he started:
 The Hooper Interviews

Ron Howard Steps in to Direct Han Solo Movie

The Millennium Falcon has a new pilot.
© Amanda Edwards/Getty Images Ron Howard
Ron Howard has been named as the new director of Lucasfilm and Disney's untitled Han Solo movie, sources tell to The Hollywood Reporter exclusively. The official announcement is expected Thursday morning.
The move comes two days after directors Phil Lord and Chris Miller were let go from the movie they had spent over four-and-a-half months directing. Creative differences over style and tone came to a head between the duo and Lawrence Kasdan, with the studio backing the veteran screenwriter.
The firing sent shockwaves around Hollywood and beyond as the movie was about three-quarters through principal photography and the replacement of a director at that stage is near-unprecedented.
Howard, sources tell The Hollywood Reporter, will meet with the actors -  Alden Ehrenreich is playing the iconic smuggler, Donald Glover is playing Lando Calrissian, with Woody Harrelson, Emilia Clarke and Thandie Newton also on the roll call - to soothe a rattled set and will pore over a rough edit to see what the project has and still needs.
The movie was scheduled to shoot for three-and-a-half more weeks, with five weeks of reshoots built into the schedule - the latter a standard procedure on large franchise productions.
Howard, who won an Oscar for directing 2002's A Beautiful Mind, comes to the Han Solo film with several connections to George Lucas and the worlds of Lucasfilm. He appeared in Lucas' 1973 breakout film American Graffiti, and implemented Lucas' 1988 pet fantasy project Willow as helmer. Howard also revealed on a podcast in 2015 that Lucas had approached him to direct 1999's Star Wars prequel The Phantom Menace.
Howard is considered to be a safe choice to complete the task, someone who will more than ably finish the movie while being a calming presence on set.
Howard's recent movies include Inferno and In the Heart of the Sea, costly ventures that have underperformed at the box office. 
He is repped by CAA.