In his dreams Alan Donald is a multi-award winning
writer of comic books, animation, theme park shows and rides, children’s books,
novels, television, internet animation and more.
In real life Alan writes this column,
which has been described as
more than a lifestyle than a
weekly column. He used to write
SBC's All The Rage.
Welcome to SBC's glossy magazine insert with a diverse mix of interviews, opinion, reviews and more. As always we've got The Panel with contributions from the likes of Joe Quesada, Peter David, Jock and several other top movers and shakers in the comicbook industry. Also this week we've got Bill Rosemann talking about his time at Marvel and an interview with Richard Nairn from the excellent Dr Ripper's Multiplex. All now packaged up with a new look!
My name is Alan Donald - I'm your host this and every week.
Enough inane banter on with the show:
The Panel
Very different people from different parts of the comicbook industry, with different experiences and ideas on the industry come together to answer your questions:
Jock, the New Boy just breaking through internationally with the Losers; Peter David, the Old Boy, he's been there and done that, a comicbook writer, novelist and more; Evil Rick Shea, from the enormous Fabulous Faces and Funnies, is the Retailer, he's on the front line pushing comics, listening to fans; no fan this week as I had a question I wanted to ask; Shawna Ervin-Gore, the Editor, she's Dark Horse's newest Editor and the only woman on the panel (and she allegedly in no way resembles Dolly Parton); Joe Quesada, the Publisher, he's scary, he's got more tattoos than me and he's the big boy at Marvel; Lee Dawson, Dark Horse's Publicity guru, wanna know about anything coming up from the Clone Wars to Sock Monkey? Go see Lee; Craig Lemon, the Hack, SBC's second-in-command, he edits loads of columns and runs one of the most respected review sections in the industry, maybe you don't know him but a hell of a lot of the movers and shakers behind the scenes do; and me, the Columnist...shit, I'd better get an answer ready then!
This week's question was prompted by a weekend boozing and schmoozing:
"What do you think conventions or festivals (such as the UK Festival in Bristol and Megacon) do for the comicbook industry, the fans and creators?"
New Boy: "Give them massive hangovers." [I second that and I wasn't even drinking with him - Alan]
The Old Boy: "They allow creators to get exposure for their next projects, and fans to get tons and tons and tons and tons and tons and tons and tons of books signed. As for the industry itself, aside from the San Diego con, probably not all that much."
The Editor: "Conventions are a mixed bag. On one hand, it's great for the publishers and their staff to get out from behind their desks and meet the reading public. And it can do a lot to help professional relationships when editors get to meet the writers and artists they work with face-to-face. And I think one of the most charming things about our medium is that fans can, for the most part, meet in person the creators they admire most. But I do think there's a downside to conventions, and that's the financial impact it can have on companies and creators. It's incredibly expensive for a publisher to attend a convention, especially when you consider: flying the staff to the show; providing food and lodging for the employees; shipping pallets of merchandise and promotional goods to the show, and the rental of the booth space, which for a large show is typically thousands and thousands of dollars. When you think about the potential impact of spending that same kind of marketing money on, say, a half-page ad in a major culture magazine, you could easily make the argument that there might be a lot of smarter ways to spend money that would have a much more positive impact on the medium. And it can be really financially tough on writers and artists who are expected to attend shows to make contacts and show their work. Unless a creator is established enough to have his or her way paid by a publisher (or unless they're invited as a guest of the show, which is even more rare), attending a convention is paid out-of-pocket...and it's still expensive.
But overall, I like conventions. Comic-book publishing isn't exactly the most practical, business-forward industry. And if it were, I doubt we'd have as many loyal fans, or kids writing letters and sending us drawings of Usagi and Spiderman."
The Publisher: "I love comic cons, it's a great way to get a real feel for what's happening in the industry in a positive venue. It's also a wonderful place to meet the fans face to face and to reinvigorate the sense of community that our industry is known for."
The Retailer: "Comic Cons are an incredible part of the comic book industry. They're a great chance for fans to interact with their favorite creators or to learn about new books or creators they haven't had a chance to check out yet. You can pick up some great deals or that elusive back issue to fill in your collection. They are a great place to announce comics news before it hits all your favorite fanboy sites. Cons are also a great chance for comic companies to get some feedback straight from the source when fans can let them know what they liked and what didn't catch on. Conventions are an outstanding part of this amazingly interactive industry."
The Hack: "Firstly, I think that there is a world of difference between the typical UK and typical US con - from what I hear and read, the US cons are more structured, more organised, and less "fan-friendly" - by which I mean there is much more queuing and much less pro-fan interaction, very little in the way of huge booze-ups for all and sundry.
So this is what the UK Festival gives us - a chance for fans and pros to intermingle freely, to socialise, talk in a relaxed atmosphere, and find out the people behind the pro - not just to queue up for a signature or a sketch, but to talk to them about football, about people, about TV, about anything you like. The pros are approachable, the pros are (surprise, surprise) human...and some pros like a drink!
What this does beyond the factory production line of signings is allow you to build a real rapport with a pro, a real relationship; gives you added insight into their work, and helps encourage readers to pick up other books by the same guys.
This sort of con also provides exposure to a dozen or more "small press" works, that otherwise you'd never see...once you've been to a con and realise that there are people like David Hitchcock out there (if you haven't checked out Whitechapel Freak, you haven't lived), you're a fan of cons for life.
And...in the UK...the pros don't charge for signatures or sketches."
The Columnist: "For the fans - A chance to meet their favourite creators, chat with them, maybe get a sketch or something signed. And to pick up cheap comics.
For the creators - A great opportunity to meet up, kick back and chill out. The comicbook industry is an odd one as those working in it rarely get to meet each other (with the exception of publishing staff and the whole of CrossGen) so the festival or con is essential for them. Cons etc also allow up and coming talent to meet up with other companies and compare notes with established creators.
For the small press - Loads of people from loads of different comicbook shops get to see their product. How else would many of these very small companies get a chance to spread the word about themselves so well? AND they get a chance to meet up with big companies.
For the Companies - A chance to sign up new talent, a chance to get feedback directly from fans, a chance to sound out new ideas with the fans, a chance to show off the company and a chance to try to get new readers (and to work on retailers too).
Festivals are an important and vibrant part of the comicbook industry, in my opinion."
Why aren't you reading...pt1
This is a regular feature where I'll look at some of the titles I've been reading lately that I think need a bit more publicity than they're getting. Have you read (or are you a creator on) a comicbook you feel is being overlooked? If so let me know all about it. If possible I'll have a chat with the creators/publishers and find out more about the story behind the title and what's coming up in the future.
Dr Ripper's Multiplex
Created by Richard Nairn and published by Pantomime Press, Dr Ripper's is a violent, action packed romp that will appeal to many, many comicbook fans. Here's what they say about it on their website:
A lunatic asylum/multiplex, is visited by a violent teenage couple and a small child they are babysitting. After committing a few violent acts against staff and customers at the multiplex, they decide to watch a lovely children's film featuring firearms and foul language. However, the small child they are babysitting, Trixibelle, has lost her teddy, and decides to go looking for it....with disastrous results.
and
A small village terrorised by werewolves and vampires, are visited by a mysterious stranger on a stormy night. He explains that he is from the local lunatic asylum/multiplex, and he has a monstrous tale to tell them of a small creature named Picklebum Grumblemuffin, who caused death and destruction at the cinema in question just two nights before.
And frankly there's not much more I can add, except to say that Nairn's art work is very consistant and well laid out, his cartoon style fits well with the subject matter and adds another layer to the package.
I spoke with Dr. Ripper's creator, Richard Nairn:
Alan: Tell us about Dr Rippers... why should people read it?
Rich: Dr. Ripper's Multiplex is a horror/comedy set in a Multiplex/Lunatic Asylum where all sorts of bad things occur. The story basically follows a demented 3 foot psycho girl and the terror she inflicts upon the cinemas less than normal inhabitants. I think my comic will appeal to anyone who has either been served by a useless member of customer sales staff or has worked in customer services and dealt with the irritating public.
Alan: So...what sort of audience are you pitching at? When I was a retailer I'd aim at the Lenore, Skelly Bunny's crowd is that about right?
Rich: Yeh about right. I've always been a follower of the Slave labour publications, particularly Squee and JTHM.
Alan: So Goth chick's, skaters, depressive teens and other assorted...interesting characters?
Rich: Yeah, but as yet I'm still to get a disturbing e-mail.
Alan: They tend to only look scary. Have you considered pitching Dr R to SLG?
Rich: I did consider it a while back, but I'm not sure how American audiences would react to such British humour.
Alan: You'd be surprised. Anyway how did Pantomime Press get started and where did the name come from?
Rich: My friend Robert and I had visited the festival at Bristol in its first year, and were so impressed by the small press community that we had to have a go. After years of ideas bubbling inside our heads it seemed the only option. So we took our stuff down to Bristol, quickly made up the name, and it's built up from there. Pantomime Press came out of thin air.
Alan: And pretty much from the get go the company had a distinct name and look, or was that something you'd been playing with for a while?
Rich: Distinct? To this day I think that's the first time I've heard that. If we are distinct it must have all been luck.
Alan: So your protagonist...what's the deal? I'm a little concerned that you've had a nasty run in with a sister/daughter/cousin/friends kid. ie What's the deal with you and little girls...no wait there must me a better way of putting that...um...well you know what I mean.
Rich: Children tend to test my patience...occasionally. I didn't realise but Trixibelle/Picklebum was the splitting image of my niece but the character started out as a piss take of my girlfriends friend, all sweet one minute .. a beast the next!
Alan: Who would you cite as the major influences on your art style?
Rich: Ooo, that's good. Jeff Smith was my first inspiration for comic ideas (the ones I'm not ashamed of) as I loved the fluid round edges to his drawings. The dark side of my artwork is probably inspired by, I mention again, Johen Vasquez although I don’t think I would be comfortable drawing with such sharp edges and ink effects as he does..time will tell.
Alan: I think what really works is the juxtaposition of the cutesiness of the art with the darkness of the stories both in your work and that of Skelly bunnies for example...
Rich: Yes, I can definitely see what you mean, yet again accidental I think, I tend to find cuteness grates on me but it's in my head and out it comes.
Alan: Is Dr Rippers over now or will we see the series return soon?
Rich: Yes, it will return, a fourth comic will be out towards the end of the year, followed closely by the fifth and last episode. After that I have plans for a spin off but it's still very vague in my mind.
Alan: So...Human (TM), you've stepped back from the role of writer, how'd that come about?
Rich: A very talented friend of mine, (Jody Bodiam) writes scripts for short films. Human ™ was a script he handed me and when I looked it over I was in hysterics, it simply had to become a comic. It's nice to just concentrate on the art only for once. He currently has ideas for another story, which we are both quite exited about.
Alan: Human struck me as an extended Future Shock with Hitchhikers guide influences. Does this sound like the sort of thing you were trying to convey?
Rich: I think Bod (Jody) has a sci fi influence running through him, (he's an enormous Day of the Triffids fan, I know that) but he seems to find a great deal of amusement with human beings and is always able to points out the most ridiculous quirks in us all. I was simply trying to create the image in the way I thought Bod would see it.
Alan: Have you got any plans to work with anyone else (or Bod again) in the future?
Rich: This new idea of Bod's sounds interesting, and I'm definitely on board to work on that story at the beginning of next year.
Alan: What's going to follow Dr Rip then? What plans have you got for the future?
Rich: Well I was never going to let the Trixibelle character surface again, but people just seemed to fall in love with her.. there's no accounting for taste, so my spin off idea is definitely going to include her. As for other projects, I'm thinking of writing a kid's book that will involve a dog that leaves hair everywhere, but not sure if I can write without putting a swearword in here and there (adult version maybe).
Alan: Make up some swearwords, get both markets, if it's silly enough you'll get away with it...
Rich: Fwigging good idea, mate.
Alan: Any plans to work on Pride of an Angel again?
Rich: That's really up to Robert. Pride is definitely picking up a different audience to Ripper's, so it is nice to work in a different feeling storyline. The character I wrote in Pride, The King of Everywhere is going to come back so who knows, but I would really like to see how it would turn out if Robert did it himself.
Alan: Was it a deliberate decision for Pantomime to produce such vastly different titles to launch with?
Rich: Not at all. I think it did us a lot of favours. Robert had stayed on at art college whereas I bailed out, which is what really made the change in our styles. You can see in Robert's work that a lot of different feelings and thoughts have gone into Pride, but Dr. Ripper's, despite having a lot of my life in it, is mostly self amusement and the occasional vent for my anger...just on occasion.
Alan: Where do you see your future? Are you actively pitching/sending out comics to various comic companies? Are you considering other alternatives such as strip work (not THAT kind of strip work...thank God this is aol and not Yahoo I really don't need a webcam on you right now)?
Rich: (Believe me, if you find my comic sick, a strip show would kill you.) I used to think about pitching so many projects to big companies, but since enveloping myself in the small press world I've kind of lost that urge. Don't get me wrong, if a chance came up to work on something really interesting I'd love to, but I've reached quite a content stage at the moment.
Alan: So you've not considered doing something like Hunt Emerson, funny cartoons for a porn mag and then a quick hop onto a children’s comic?
Rich: Isn’t that just bizarre? I have been sending bits and pieces to various independent zines lately, so you'll find my work in many nooks and crannies, but as of yet I haven’t made a leap to the big time, did I just refer to porn as "big time"? oh dear oh dear.
Alan: There's nothing bigger, except perhaps drugs but that ain't legal...
Rich: Right then, bring on the porn...
Alan: Later, later...
Alan: I've held you up enough I think. Time for you to sing for your supper: Where can you buy the comic? How much will it cost? And once again - why should people buy Dr Ripper's Multiplex?
Rich: You can visit our website www.pantomimepress.co.uk for all the details on how to order copies of our work. Failing that, smallzone, Shane's superb website, always has our stuff in stock. Failing that, there are P.Press comics in stock in Whatever comic shops in Kent, Gosh! in London, and in many other brave places throughout the uk. (We normally sell copies for £2.50) As for DRM, if you like laughing at things that would get you severe looks from old ladies and your anal boss then it'd definitely for you.
Alan: Thank you very much indeed. I hope it wasn't too much of a pain in the arse.
Why aren't you reading...pt 2
Two things in one week, what joy! Our second title is a new book from Abiogenesis: "Alan Moore: Portrait of an Extraordinary Gentleman". This is a tribute to comicbook legend Alan Moore to celebrate his 50th birthday. I'm only halfway through but I only needed to read the first few tributes and to glance through the rest to see that I'd have no problems recommending this to any comicbook fan. There is so damned much in this book, artistic tributes (either strips or pin ups), poems, stories, thesis on Moore's work, gushing praise, critical praise and pleas for forgiveness. On the most part the book manages to stay interesting (at least till 1/2 way through...I can't see it changing much further on) and engaging, no mean feat considering that it is simply a collection of tributes. In fact I'd go so far as to say that it definitely says something about Alan Moore that even a collection of happy birthday messages to him are a good read.
I've been speaking to co-editor Gary Spencer Millidge about the book:
Alan: How would you describe the book?
Gary: Heavy. It's 352 pages of anecdotes, comic strips, stories, essays, illustrations, photographs, interviews and even poetry by 145 different contributors across the world of comics and beyond all in tribute to Alan Moore.
Alan: How did you get involved with the project?
Gary: I was asked to contribute a piece to the Alan Moore section of the Italian Ultrazine website by a guy called "smoky man" and the whole thing kinda snowballed into my editing, designing and publishing the English language edition of the book - I also contributed a 12-page comic strip biography of Moore.
Alan: Why did you decide to come onboard?
Gary: I love Moore's work, I like the man himself very much and it was a while since my last charity project, Food For Thought, which I published in 1985. When it was first mooted, I was envisaging a 32-page comicbook format, so I didn't expect it to turn out to be the massive project it became.
Alan: All profits from the book are going to Alzheimer's charities, what prompted this decision?
Gary: smoky man, the instigator of the project and my co-editor (along with Omar Martini) has suffered from the effects of the disease within his own family. He suggested than all proceeds from the Italian edition, and a portion of the English edition should go to designated Alzheimer's charities. I didn't see why I should make anything as publisher if all the contributors were being asked to provide work for free, and Moore wasn't benefiting either, so I decided to donate my publisher share to the charities as well.
Alan: How well do you know Alan Moore? Do you know what he thinks/might think of the book?
Gary: I've heard through the grapevine that Alan was pretty overwhelmed by the book... as I think anyone would be when presented with a 352-page tribute to themselves.
Alan: Why should people buy this book?
Gary: It's high quality, contains many unique one-off pieces by many talented people, it's a huge bargain at only $14.99 and all publisher and creator proceeds are going to charity. If you have any interest in Moore's work, or enjoy biographies in general, you shouldn't really pass the chance to pick it up.
Alan: How can they buy it?
Gary: It's available from all the main comic book distributors, so you should be able to order a copy from any comic store, if they're not already stocking it. Diamond are sole distributors to book stores in the US, and any bookstore should be able to order a copy in the UK from its ISBN number q0-946790-06-X. It's also available to order worldwide from www.millidge.com
Alan: Have you got any other projects on the go at the moment that you'd like to promote?
Gary: The latest issue of my ongoing comic book series Strangehaven, issue #15, was published simultaneously with the Alan Moore: Portrait book, which Alan himself describes as "soap opera noir." The whole story to date is available in trade paperbacks Strangehaven: Arcadia and Strangehaven: Brotherhood.
Alan: What does the future hold for you?
Gary: Completing the next Strangehaven trade (I'm halfway through at present)... it's taken a backseat these last six months as I've been working on the Portrait book.
Many thanks to Gary for taking part and congratulations to him and smoky man on an excellent product.
Digging Deeper
This is an occasional column where I dig a little deeper into a story from the last month or so.
Bill Rosemann was the face of Marvel and then he left to join CrossGen, what gives? Last week we had a teaser interview but here's part one proper where Bill talks about his time at Marvel:
1) Your early career was with Marvel so if you don't mind I'd like to start by talking about your time with them. Firstly how was it?
"In "Marvel" language, it was amazing, incredible and fantastic. A hands-on crash course in sales, marketing, public relations and publishing... a 10-year run in a highly-competitive environment... an opportunity to travel around the country and represent The House Of Ideas... an insider's view on how large businesses are run... and a priceless opportunity to meet personal idols and make lifelong friends"
2) What was the best part of your time there?
"The constant chance to learn and contribute."
3) What was the worst?
"Saying goodbye to co-workers who were let go through "restructuring.""
4) Did you ever come across anything that you really didn't want to promote at Marvel (you don't have to name names if you don't want to)? If so how did you get round this?
"Comics may be a personal love, but they're also my business. In that vein, I always tried to deliver -- and exceed -- what was asked of me. But then again, all you have is your reputation, so I attempted to avoid being a "boy who cried wolf" when it came to hyping projects that I truly didn't believe in. Plus, when you boil it all down, comics live or die on their own merit, not the marketing behind them...quality will always rise to the top."
5) What exactly is the process of producing a comic book at Marvel? The days of the Bullpen are long gone so how does it all come about?
"I've been out of The House for seven months, so I can't speak for how things are happening right now. But the general chain of events was: a creator or an editor proposes an idea, the creative team is formed (either proposed by a creator or selected by an editor), the penciler whips up character designs, the writer (with the editors input) outlines a year-or-so of stories, the writer turns in a first issue plot, subsequent plot drafts (if necessary) are generated, the penciler draws the issue, the inker and colorist do their thing, the writer -- after seeing the pencils -- generates the script, the editor tweaks it into shape, the letter works his magic, the Bullpen composites all the layers, the sales and marketing team sets up all the ads and media coverage, then the printer delivers the book to Diamond, who ships it to your friendly neighborhood comics shop. And then you do it all again for issue #2!"
6) Marvel, like all comic companies, is a business first and foremost. What was it like working within their corporate framework in New York (most creators, for example, rarely see the inner workings of the company)?
"It was a great chance to see how the creative side and the corporate side can work together... and also work against each other. Comics, since the very first issue published, have always represented the marriage of art and commerce, and Marvel is certainly an example of that. On top of that, New York City attracts talent, so it was great working alongside so many skilled individuals. All told, it was an life-changing experience that I'll always remember fondly and be thankful for."
7) What are the benefits, as you see them, of the system most comic book companies use at the moment as regards writers and artists (ie they are employed freelance and normally work from home)?
"Most creators need a quiet environment, so working at home is a good option for them. Also, inspiration can strike at odd times, so the at-home freelance schedule can allow morning people to jam in the a.m. and let night owls to fly at night"
8) What are the disadvantages?
"Some artists, left to their own discipline, have a hard time meeting their deadlines. Also, when you can't see your story through every step of the process, many creators get unpleasant surprises when they see the comic finally printed. Finally, there are many artists who prefer a regular paycheck with benefits over the uncertainty of the freelance pay cycle."
9) What were you most proud of as regards your time at Marvel?
"I loved creating the "Your Man @ Marvel" persona and seeing the fans react to "him" in a positive manner. I also had a very rewarding time working with editor Tom Brevoort and artist Guy Davis on Deadline."
10) You saw some changes in the management and set up while you were there. Can you talk us through a few of the changes you saw and how they may have benefited or potentially damaged the company?
"Comics can be a tough business, and sometimes hard decisions must be made for the longterm good of the company. That said, the simple fact is that, even more than their salary, most people just want to feel valued by their employers. Any time any company makes their employees feel valued, both sides benefit. Every time they don't, morale tumbles, work degenerates and both sides suffer."
11) Who did you really enjoy working with at Marvel?
"Really, all of editorial was -- and is -- a great group of people. A lot of smart, gold-hearted True Believers. And while I'm probably leaving somebody out, I greatly enjoyed working with "old-timers" like Ralph Macchio, Tom Brevoort, Mark Gruenwald, Bob Harris, Mark Bernardo, Mike Marts, managing editor Andy Ball, art director Jeff Suter and creative director Vito Incorvia. And every single assistant editor I met were all enthusiastic people who truly cared about Marvel. I also had fun and learned a lot from new additions like Joe Quesada, Axel Alonso, David Bogart and Bill Jemas."
12) Do you ever plan to write comics again in the future?
"You bet!"
13) Why did you decide to leave the company?
"I was hungry to try new things. A new area of the country, a new work environment, a new set of challenges and opportunities. You can't grow if you don't experience new situations, and both myself and my wife were ready to grow. Now we're loving the Florida weather, taking advantage of the outdoors and making a whole new group of friends!"
Look out for part 2 of this interview where Bill discusses his time at CrossGen and his future plans.
One to watch
Whilst at Comics 2003 I was privileged enough to get a demo copy of Komix World's CDROM. Bascially the CD had the best part of 3 creator owned comicbook series on it, beautifully reproduced and very easy to access. This an excellent, well thought out and well executed format that will in the final edition blow away any of the online digital formats (such as Marvel's) through simplicity and usability. On top of the comic (3 in the demo disc (3 whole series that is (well not whole series, some where deliberately left out as it was a demo (man, that's a lot of brackets)))) there will be interviews, screensavers and other goodies in the final release.
I chatted to Les at Komix World about the project and whilst he didn't want to get drawn in to a full Q&A at this point in the CD's development he was able to supply me with some information. Les hopes to have the first 3 releases out before Christmas with another wave early in 2004. Their aim is to reproduce 'collections of outstanding creator owned comics in a versatile and ever expanding format, and stuffing in as many extra features as we can fit!'
Alan Grant, John Wagner and Cam Kennedy have all been very helpful (they each own a series each in the first wave) and the Komix World team have enjoyed working with them and hope they've done the original material justice (they have in my book).
As far as the future goes the guys are looking into the technology to see what else they can get from it. They believe that the principle of an affordable CD or DVD format reproducing what in print form would be a 2000 page plus (and horrendously expensive) graphic novel is sound.
No word on the price as yet but I'm guessing we'll see a good saving on the cover prices.
Les and co assure me that I'll be kept in the loop on this so as soon as there's any further news, a completed product and/or release date I'll let you all know. Do, however, keep these guys in mind. Their CD-Roms could well make excellent Christmas presents for lapsed or current comicbook fans.
Noticeboard
From the biggest comicon to a signing in a shop the size of a postage stamp by the guy who edits a self published magazine on wanking printed on toilet paper, we'll promote them all. All you have to do is email me to let me know. The noticeboard will be here every week to promote your events.
Only one thing is pinned to the noticeboard this week so I'll get right on down to it:
Here's the details:
COMICA A Festival of International Comic Art and Literature
ICA, The Mall, London SW1Y 5AH Friday June 27th - Sunday July 6th. 27 June - 6 July
COMICA 'The graphic novel is not literary fiction’s half-wit cousin, but, more accurately, the mutant sister who can often do everything fiction can, and, just as often, more.' Dave Eggers A 10-day annual ICA festival involving significant and emerging creators from Britain and abroad, unleashing the vibrancy of contemporary international comics, curated by Paul Gravett.
Fri 27 Jun, 9pm Comica Opening Party Comica opening party in the bar with comic artist Charles Burns, John Bagnall, Marc Baines, Ed Pinsent, Woodrow Phoenix DJing. Free with ICA Day membership
Fri June 27th ñ Sun July 6th The OuBaPo: Potential Comics Exhibition T The ICA will launch the British branch of OuBaPo (Ouvroir de Bande Dessinée Potentielle or 'Workshop for the Potential of Comics'). A team of artists including Tom Gauld, Test-Tube Comics, Les Cartoonistes Dangereux, as well as guests, will experiment with the comic format in an evolving, wall-sized, multi-pathed artwork. Plus a capsule exhibition exploring the history and legacy of American underground comics. Free with ICA Day Membership
25 Jun - 6 Jul Digital Studio opening times WebComica An exhibition of work that provides a comprehensive look at the very best of comics on the web. Free with ICA Day Membership
25 Jun - 6 July Digital Studio opening times OuBaPo: Potential comics online The Digital Studio becomes a home for the online version of the OuBaPo, the comic that is being created in the ICA Concourse Gallery throughout the Comica festival. Free with ICA Day Membership
Wed 25 Jun, 7pm Curator Talk: Daniel Merlin Goodbrey Curator of the Digital Studio Comica exhibition Daniel Goodbrey takes the audience on a tour of the selected works in the Digital Studio offering a glimpse of the prolific webcomics scene. Free with ICA Day Membership
Sat 28 Jun 4pm New Practices, New Comics Paul Gravett, John Barber and John Dunning look at how new media tools are changing comics. Free with ICA Day Membership
Sun 29 June An Afternoon of Conversations DIY Comics: Online vs Offline (2-3pm) Independent comics creators discuss straddling the small press and internet. Warren Ellis and Mike Carey (3.30-4.30pm) Discuss their work. Alan Moore: An Extraordinary Gentleman (5-6pm) Various collaborators discuss working with the High Priest of comics. The Great Escape (6.30-7.30pm) A look at the revolutionary Escape Magazine with co-editor Paul Gravett and some of its favourite contributors. Each Talk: £4, £3 Concs. £2 ICA Members, or 4 tickets for the price of 3, Nash Room
Mon 30 Jun, 7pm Charles Burns: The Dog Boy Speaks 'I read Skin Deep from cover to cover, smiling and laughing. It's so sick. I felt a lot better after.' Iggy Pop Cult American illustrator Charles Burns discusses his darkly delicious works. £6, £5 Concs. £4 ICA members, Nash Room
Tue July 1st, 6.45pm Chris Ware: Smartest Cartoonist in the World ChrisWare (Jimmy Corrigan: Smartest Kid in the World, Guardian First Book Award winner) in conversation with Alex Garland (The Beach) £8, £7 Concs. £6 ICA members, Cinema 1 Wed July 2nd, 6.45pm Joe Sacco: Moral Draughtsman Joe Sacco (Palestine) in conversation with Tariq Ali £8, £7 Concs. £6 ICA members, Cinema 1
Friday July 4th, 7pm Sophie Crumb: A Brand New Person Sophie Crumb (Ghost World film illustrations), daughter of comic giant Robert, and rising comic star in her own right, will talk about her work and demonstrate her tattooing. £8, £7 Concs. £6 ICA members, ICA Theatre
Friday July 4th, 8pm Cult Outsider comic artist and musician Daniel Johnston, beloved of the likes of Kurt Cobain, Beck and Harmony Korine, will be performing material from his latest album in this alternative Independence Day celebration. Support DJing by Everett True of Careless Talk Costs Lives and Savage Pencil. £10, £9 Concs. £8 ICA members, Theatre
Sat July 5th, 5pm Frederic Boilett: Manga, Mon Amour Frenchman Frederic Boilet, now resident in Tokyo, will discuss his elegant hybrid of European and Japanese sensibilities and launch the English edition of Yukiko's Spinach. £8, £7 Concs. £6 ICA members, Nash Room
Remember I need you to be sending in your announcements, signings, events and such like to pin up on the Board. I especially want details of signings and festivals outside of the UK. Meanwhile you should check out previous week's Notice Board as many of the announcements on there will still be current.
Comics 2003 was a success, see the report Craig and I submitted to the news section for more details (or Regie's column).
As far as the column goes I've dropped the news review section, it'll show up from time to time if there's a very interesting weeks news but for now it's gone the way of the Dodo. More of the other promised sections will be showing up soon. Whatcha think so far? Eight weeks in, you've got plenty to judge on, let me know by dropping a line to my messageboard.
TTFN - Alan Donald signing off with a new look.
The Final Draft, its contents, its style, its sausages and the concept in general are the intellectual property of Alan Donald. All contributions remain the property of the contributors who have given Alan Donald permission to use them in this format – well, probably. The views expressed herein by contributors are theirs alone and not necessarily those of SBC nor the columnist. Conversely the views expressed by the columnist (especially not this bit) are not necessarily shared by the contributors, SBC or even the columnist himself.
Alan needs your feeedback! Have your say on the Final Draft on the Finally Alan message board.
Created by Richard Nairn and published by Pantomime Press, Dr Ripper's is a violent, action packed romp that will appeal to many, many comicbook fans. Here's what they say about it on their website:
Rich: My friend Robert and I had visited the festival at Bristol in its first year, and were so impressed by the small press community that we had to have a go. After years of ideas bubbling inside our heads it seemed the only option. So we took our stuff down to Bristol, quickly made up the name, and it's built up from there. Pantomime Press came out of thin air. 