Digital Comics Watch: Nothing Fits Kickstarter and ComiXology updates!

Above: Nothing Fits, a webcomic by Mary Tamblyn & Alex McCrone. Copyright Mary Tamblyn & Alex McCrone 2014.

Crowd-funding platform Kickstarter has recently extended its global reach to include New Zealand, an exciting prospect for New Zealanders seeking assistance for their creative projects, especially the comics community. In 2012, Auckland based cartoonists Li Chen raised over $66,000US to print two collected volumes of her webcomic, Extra Ordinary Comics. More than doubling her target goal, Chen's project was the forth most successful comics project in Kickstarter history. Made possible with the assistance of a US based host (to comply with Kickstarter's eligibility requirements at the time), it teased the possibility for NZ based cartoonists to tap into the vast global comics audience to support and publish their work.

Now that the international Kickstarter boarders have extended to include New Zealand, one of the first local projects to seize this opportunity is Nothing Fits, a webcomic by Christchurch-based art students, Mary Tamblyn & Alex McCrone.

Nothing Fits features "a group of unlikely heroes: a girl, a clone and an undead mummy attempt(ing) to make sense of the strange world they've been thrown into". All captured in McCrone's very appealing ink, watercolour & gouache illustrations - with a hint of illustrators like Quentin Blake and Tove Jansson in its style. They are seeking to raise $5000NZ to cover the printing costs for the complete graphic novel (over 100 pages). As of this writing they have raised $1416NZ, with 24 days to go.

Above: Nothing Fits, Page 101, by Mary Tamblyn & Alex McCrone. Copyright Mary Tamblyn & Alex McCrone 2014.

For more details on Nothing Fits, I talked to writer/creator Mary Tamblyn:

AK: How did the comic originally come about? I understand you and Alex met at school?

Mary Tamblyn: We did meet at school, we met in Year 12 Painting, but we really got to know each other in Year 13, especially at the end, when we both knew we'd be doing the same thing at University. I already had the characters and the setting, I'd been thinking about it for about 8-10 years before I asked Alex if she wanted to make it into a comic. Then it kinda just went from there.

AK: Can you give me a brief overview of the story and characters?

MT: The story is told through six point-of-views, with three main groups. The group that can loosely be called the 'protagonists', which consists of Charlie: a woman who has been transported to a strange world, Algae: a gangly clone, who isn't really sure about anything and has a mysterious life coach that only he can see, and Mummy: the undead mummy of a young boy, who isn't entirely sure why he's been brought back, but he's happy that he's back. The group of 'antagonists', and that's antagonists in the loosest of terms, is made up of Solemn: whose unclear motives are even a bit unclear for himself, and Mez: a clone who wants to define herself as an individual. There are also the perspectives from the royalty of this land, and the issues surrounding those, but those story-lines interlock with the protagonists and the antagonists a lot. The third group... well, that'd be spoilers~ The story itself though, follows the interaction between this odd set of characters, who are trying to work out what is really happening, along with the reader.

AK: If your Kickstarter is successful, what are your publishing plans for Nothing Fits going forward?

MT: Well, once we are funded we can afford to print 200 copies. Those will be taken up mainly by backers, probably, but hopefully they'll be some left to sell at conventions? If not we will eventually do another print run if there is demand for it. We were always going to do sequels, but this initial story took so long, and it's not really fair on Alex to keep on working on my story, when she has her own projects she wants to work on. Eventually I'm going to have novel-like sequels to continue the story, because I really like the characters and setting. Alex said she would stay on as a plot consultant, because she is a good friend and I'm very good at getting carried away with things. We balance each other out creatively like that. SO YEAH. HOPEFULLY, all goes to plan.

I'm starting another comic project with a different friend soon too - can't stop doing comics. But Nothing Fits in its comic form, is complete.

Above: Nothing Fits, Page 108, by Mary Tamblyn & Alex McCrone. Copyright Mary Tamblyn & Alex McCrone 2014.

To help fund Nothing Fits, visit the Kickstarter page HERE and offer your support! You can also read the webcomic for free HERE.

Above: Moth City Preludes #1: The Reservoir by Tim Gibson. Copyright Tim Gibson 2014.

Over at digital comics platform ComiXology, two NZ creators are releasing comics today. Tim Gibson's Moth City prequel, The Reservoir, a western which explores the back-story of Governor McCaw. It's designed specifically to be read on digital devices, and is only $2.99US, available HERE.

Above: Blastosaurus #2, cover by Richard Fairgray. Copyright Richard Fairgray & Terry Jones 2014.

The second issue of Richard Fairgray's Blastosaurus is also now available on ComiXology, featuring Blasto's first showdown with the deadly Raptors, and a visit to the museum! 30 pages of downloadable content for only $1.99US, available HERE.

More news on local webcomics soon, as I get to part 2 of the Mighty NZ Digital Comics Update!

- AK!

EVENT: Blastosaurus Book Launch!

Above: The cover of Blastosaurus Vol. 1, by Darick Robertson.

Its been a long time coming, but the first collection of the new, fully-coloured Blastosaurus series is here!
Richard Fairgray's dino-detective with a big gun has come along was since its rushed debut in 2008. While a former US film producer promised to make him and the property a star, Fairgray went about producing two years worth of comics material, proving he had the dedication to make the comic book a cult favourite without any 'Hollywood help' (that company has since collapsed).

Above: A page from Chapter Four of Blastosaurus by Richard Fairgray and Terry Jones. Copyright Richard Fairgray 2012.

Since 2011, Fairgray has been publishing the series online at Blastosuarus.com in a re-mastered version as he had originally conceived it. Co-written with his former English teacher, Terry Jones, it now also features striking colouring by Tara Black. The first collection will be available in a limited edition Hardcover, exclusive to Gordon Harris Art Supplies stores for only $29.99, and a regular paperback available from all good booksellers.

This Wednesday there will be a Blastosaurus book launch and discussion on creating comics, taking place at Gordon Harris Art Supplies Albany. Located at: 3b Northridge Plaza, Don McKinnon Drive, Albany, Auckland.

The talk will kick-off at 5.30pm, followed by a book signing, general mingling. For more information, you can find a link to the Facebook event page HERE.

-AK!

News From Earth's End: July Edition

Above: Czepta: The Prophet Rides Again webcomic announcement art by Czepta Gold. Copyright Czepta Gold 2012.

Today sees the official launch of Czepta: The Prophet Rides Again, the new webcomic by Czepta Gold. Formally known as Ed Butler, creator of the comics Wulfpak and Hell Bound, he's taken on this new persona to completely embody the spirit of his new creation, a heady mix of: 'Astral Projection, UFOs, Egyptology, Giant Robots, Hallucinogenic Substances, Surfing, Islamic and Christian references, Rastafarianism, Buddhist Wizards, Virtual Cybernetic Cities, and Cyberpunk Villains'.

He's how Czepta Gold describes the series over at his website:

'The story of Czepta has been manifesting itself in my mind for about two years now. It has become the means for me to express my views on the world and human society today and where I would like to see us go. The story has grown organically, feeding off many of the experiences and lessons I’ve accumulated during this time. Some small and some dramatic. I’ve been wanting to do this my whole life, create my own stories, specifically in comic book form. This is my Dream. My childhood dream, which also happens to be the main theme of 'Czepta', Dreams. What they are, why they are important, and how they are the key to saving ourselves and this world we call home. Dreams are the essence of enlightenment and unless we start living like enlightened beings, our problems both personal and global, are only going to get worse.

The title of this comic, and of the main character is 'Czepta'. This is a word I created during a time when I was looking for a new name to go by as an artist. I was looking for something that described and represented all I hoped to achieve and become. So, in effect I would have to rise and embody it. Like Clark Kent, the weak newspaper reporter, I felt I needed to create a Superman persona that could beat my personal weaknesses into submission. Imprisoned by my own personality, I had (and have) many bad habits and methods that were blocking my path to success. Often it seems like only Superman could break through the barriers between me and my goal.  To get all the things done that I wished to achieve, I needed to become someone stronger than my current self.'

He's clearly set himself some lofty goals; and while I'm not quite sure how all these influences will mix, the art is polished and slick, promising to be something clearly unique. There will be two new pages to view each week at his website HERE, and you can join the Facebook fan page for updates HERE.

Above: A Judge Dredd fan appreciation, as drawn by local cartoonist Jason Winter.

The trailer for the much anticipated new Judge Dredd film, simply titled Dredd, has finally been released (view below). It features kiwi actor Karl Urban under the helmet, for this back-to-basics approach to the character from director Pete Travis (Vantage Point) and screenwriter Alex Garland (28 Days Later, Sunshine). 

With a much more modest budget than the Stallone miss-fire in the 90s (around 30 million), this version focuses on Dredd taking down drug queen Ma-Ma (Lena Headey), a former prostitute who now controls a 200-story slum tower with a dangerous new drug called 'Slo-Mo' (which allows its users to experience reality at a fraction of its normal speed). Judge Dredd creator John Wagner has given the film his blessing, so now its up to the film going public to decide its sentence when its released here on October 4th in 3D and 2D.

Above: Poster for Simon Morse's new tattoo studio Dr. Morse Inc.

Cartoonist Simon Morse, creator of such cult comics as Straightjacket Ninja and Toolbox, has opened his own tattoo studio in Wellington, Dr Morse Inc. Known for his fine lined artwork and illustrations, you can now have the artist personally use you as the canvas for his next creation or for whatever work of art you have in mind! Here's some great examples from the studio's Facebook page:

Dr. Morse Inc. Tattoo Studio is located in the James Smith Building, Level 4, Cuba St, Wellington. Ph: 04 472 0270. You can join the studio's Facebook page HERE.

Above: A preview from Popeye #3, artwork by Tim Neely.

Via Comicbook Resources, here's a 7-page preview of Popeye #3 from IDW, written by NZ cartoonist Roger Langridge and illustrated by Tim Neely. You can read this extract of classic comics mayhem HERE.

Above: A comics flyer from PASO, created to promote eco-tourism and awareness for travellers visiting New Zealand. Artwork by Matthew Kelly.

PASO is the creation of German couple, Patrick Grossmann & Sonja Heydorn, a small organisation dedicated to promoting eco-tourism and green sustainable living. They are currently traveling around the world, and at each location they visit they contact local cartoonists to create comic flyers to promote eco-tourism guides for travellers visiting that region. For the creation of their New Zealand flyer, they got in touch with Matthew Kelly, creator of the satire comic Kiwiman, via a link from Earth's End. Financed through crowd funding, this flyer has been printed and distributed to I-sites throughout New Zealand.

You can visit the PASO site HERE for more information and an update on Patrick & Sonja's travels, as well as some other cool comics promoting eco-tourism from their travels in different countries. And don't forget to check out Kiwiman comics HERE for more of Matt's work!

Above: Eric Resetar's Crash Carson and Richard Fairgray's Blastosaurus by Jason Winter.

And finally, cartoonist Jason Winter is at it again, with some cool artist appreciations of Eric Resetar's Crash Carson, and Richard Fairgray's Blastosaurus! You can check out more of Winter's artwork HERE.

If you want to find out more about the current happenings in the New Zealand Comics scene, you can join the discussion HERE at the official Facebook page, and visit the newly re-vamped New Zealand Comics website HERE.

-AK!

EDUCATION: Creating Comics: From Webcomics To Graphic Novels

Above: Richard Fairgray & Terry Jones by Richard Fairgray.

If you live in the Auckland area and have always wanted to give comics creation a go, here's your chance: a five week night class with the creators of Blastosaurus! 

Taking place at Rangitoto Collage from Tuesday 29th of May, the course will fill you in on everything you need to know about creating comics. A look at the conventions of the comic book from the past to the present; learn how it has developed through history, and apply this to the production of a comic/graphic novel or comic strip. With practical exercises during each class.

Above: A page from the Blastosaurus webcomic, by Richard Fairgray & Terry Jones. Copyright Richard Fairgray & Terry Jones 2012. 

The tutors are Richard Fairgray, writer/artist of Blastosaurus, and his co-writer Terry Jones. Together they have been publishing Blastosaurus for over four years, as a comic and a successful webcomic which you can view HERE. Fairgray has also co-written the webcomics The Inspiration Duncans and The Darwin Fairies for Beyond Reality Media, which you can read HERE.

The tuition fee for the complete 5 week course is a very reasonable $159.00 incl GST, which includes material costs. Registration closes soon, so to enroll or find out more, visit the Rangitoto Collage website HERE.


-AK!

Above: The recently released Blastosaurus Issue 00, by Richard Fairgray & Terry Jones. Copyright Richard Fairgray & Terry Jones 2012. 

The Return Of Blastosaurus And The Fall Of American Original

Above: The new Blastosaurus series by Richard Fairgray & Terry Jones. Copyright Richard Fairgray 2011.

Back in 2008, local comics creator Richard Fairgray talked his way into the deal of a lifetime: one of his ideas for a comic-book series was to be picked up for American publication by rising media mogul/movie producer Jeff Katz.

Above: Richard Fairgray, with his Blastosaurus comics.

Katz and Fairgray met by chance through a mutual friend during the filming of X-Men Origins: Wolverine in Sydney, which Katz was over-seeing as a production executive for Twentieth Century Fox. Sharing a 'gift for the gab' they immediately hit it off, and Katz was impressed enough by Richard's diverse output of comics to offer him a development deal with his soon to be announced media company, the ironically titled American Original.

Above: Jeff Katz, head of American Original.

Katz had left his position at Fox to capitalise on what he saw as an opportunity to licence new characters and properties across a range of multi-media platforms: including comics, movies, animation and games. Fairgray's Blastosaurus - a high concept of a gun-toting mutant dinosaur, was a perfect fit for this business plan, with the promise of potential Ninja Turtles level licencing deals down the line. No stranger to marketing hype, Katz also had an angle on how to sell Fairgray's personal story too (referring to his legal blindness - Richard has 5% vision in one eye). As Katz told The NZ Herald in September 2008: 

"Once people get to know Richard, his talent and his back-story - and that's an incredible human interest story - they'll find out just how unique he is. I'm just thrilled to hear he's getting some recognition. I've got plans for him, I'm going to take his work and grow them across a wide spectrum of media. You know, I told him a month ago that my goal was to make him into a local New Zealand hero, that'll really be fun to watch."

That same year at San Diego Comic Con, Katz made his presence known, announcing a comics publishing partnership with Marc Silvestri's Top Cow Comics (ever the calculating deal-maker, this was no doubt a payback for Katz securing Silvestri an executive producer credit on Fox's A-Team movie). While a raft of upcoming comics and film deals were announced at that convention for American Original's production slate, a year later product had yet to materialised. For his part however, Fairgray had never stopped producing. While Katz's other hollywood partners dragged their feet on producing their promised comics, Fairgray was grinding out Blastosaurus monthly in New Zealand for over two years, while also prepping the promised American comic edition. 

Above: The American Original logo.

Back in 2009 I gave my own impression of how I saw the American Original deal playing out (you can read the full report HERE). Given Richard's indie approach and all-ages tone, I felt Blastosaurus would be an ill-fit at Top Cow, a company built primarily on comics featuring large breasted woman. Ultimately this was Katz's business plan, and Richard appeared to accommodate these strange bed-fellows as best he could: turning down a potentially lucrative first issue cover by Silvestri in favour of a more appropriate one by Transmetropolitan artist Darick Robertson (who Richard recruited himself). As for Katz, I made the following observation: '...I don't foresee him having the patience to nurture a comics line for the years it takes to successfully gather a loyal readership to create the 'pre-awareness' he values without giving into the temptation to develop the properties straight out the gate. I expect the recession and the continuing market shrinkage will cop the blame for the company's failure (to produce)..'.

Sure enough, in a video interview with Comic Book Resources from last September's Comic Con, Katz admits that the recession has temporarily delayed his publishing plans: 

"..the economics of the business (has changed) entirely. I am not made of money ultimately, fundamentally. I've got a pretty finite amount that I can spend, and so you have to be able to pivot at a point in time to where I could go and spend all my money and publish, and let's be very honest, based on the economics..not get any of it back, and be out of business in a year.." He goes on to say: "At the end of the day, if you can spend the same amount of money on a four issue comic or a Facebook App game that has downloadable content, one is all 'out money', (and) one is money that you get back..". 

You can view the full interview HERE, where Katz's talks about the delays of the American Original comics and Blastosaurus around the 7 minute mark. Blastosaurus finally made it's American debut at that same convention, but was ham-strung but printing issues, with the books arriving late to the convention and in limited quantities.

One year later, Richard has continued to produce seasonal Blastosaurus specials in New Zealand, while American Original's publishing progress continues to languish in 'development hell'. Speculation about the future of the American Blastosaurus material and rights was finally resolved this week, with Richard making the following announcement: 


'The version of Blastosaurus released in New Zealand was never intended as a final version for worldwide release, the first issue was produced at ridiculous speed in order to secure copyright and ownership of key story elements just in case anything went wrong for me in the future.
Unfortunately what I didn't count on was that people would actually like the issue (most people felt the same way I did about it but some did really latch onto the underlying concept, I'm grateful for this because I think it is a strong concept despite the end result), forcing me to quickly rush out follow up issues that were not to the standard of writing or art that I would aspire had I had more than 6 days to complete each issue.
This new version is the version that was intended for release at SDCC last year. While the launch did sort of take place it was hamstrung by printing problems and delays beyond my personal control. While it's taken me a while to get things back in order I think the time has done the comic good and I think this version shows exactly what I always intended the story to look and feel like. While I'd still like to see the comic find a home in print (because printed comics are what I love, despite what the market is doing) I am more interested in having people read and (I hope) enjoy it.
My parting with American Original was not ideal but by no means was it nasty. Jeff and I have different approaches and I think both work for different reasons and I think we will hear more from him both in terms of comics and other works.'

You can visit the newly minted website HERE. I've had an advance look at the revised material, now in full-colour provided by Tara Black, and if you were a fan of Laird and Eastman's original TMNT stories, I think you'll get a kick out of this. Obviously if you're a fan of the original Blastosaurus, this will be well worth the wait. Here's a video preview:

Richard may have been offered the opportunity of a lifetime, but it's his perseverance and dedication to his work which has allowed him to make a living from comics, rather than gambling on the ultimately empty promises of American dreams. They may not be making him rich, but at least they exist to be read and enjoyed. After all, isn't that the point of creating comics?

Something for Jeff Katz and his hollywood friends to think about while they broker movie deals and celebrity endorsements for comics they have still yet to create, or making a single dime from.

-AK!

New NZ Comics Autumn Edition 2011

Above: The Impostor #3 by Lee Yan Marquez. Copyright Lee Yan Marquez 2011.

Out just in time for Wellington Armageddon Expo this weekend, are three new titles from some of our most reliable and hardworking cartoonists!

Lee Yan Marquez has completed the final part of her comic trilogy The Impostor, with #3 debuting at Armageddon. Sharply written and beautifully drafted, this thriller set in a totalitarian state comes to a riveting conclusion not to be missed! It's available from Wellington Armageddon Expo this weekend, but you can expect it to appear at Auckland comic shops soon after.

Above: Bristle #9 cover by Matt Kelly. Copyright Matt Kelly 2011.

The great Wellington anthology Bristle is back again for it's ninth issue, featuring stories by Renee Lyons, Brent Willis, Robyn E Kenally & Richard Whyte, Sarah Laing, Ari Freeman, Claire Harris, W-S C, Draw, Clive Townsend, Grant Buist and a various artists jam. Covered by Matt Kelly and a back cover is by M. Emery. You can pick it up at Armageddon this weekend, or you can also mail order it for $5 +postage from series editor Brent Willis at PO Box 27-258, Wellington.

Above: Blastosaurus April Fool's Special 2011. Copyright Richard Fairgray 2011.

And no Armageddon Expo would be complete without another Blastosaurus Special by Richard Fairgray and Terry Jones. This year it's an April Fools Special, complete with a misleading cover edition (and a thankfully 98% less Lloyd promise!). Richard tends to sell out of these at the Expo, so either pick one up from him this weekend or drop his website a line for inquiries about back issues.

And don't forget the newest issue of Funtime, Darkest Day: Comics for Christchurch. It's available now through Pay Pal at the Funtime website HERE. It's for a fantastic cause and is super-simple to purchase, so don't delay!

I'd suggest getting your hands on these new comics now while the sun is out, so you've got plenty of reading material to get you through those cold winter months.

-AK!

NZ EXCLUSIVE: 'Blastosaurus' launches at Comic Con!

'Blastosaurus' as drawn by cover artist Darick Robertson. Copyright Richard Fairgray 2010.

The US edition of local cartoonist Richard Fairgrey's 'Blastosaurus' comic series has been in the works for some time, but today we finally got an announcement from 'American Original' head-honcho Jeff Katz, via his website GeekWeek:

"GeekWeek's own Richard Fairgray (I FIGHT CRIME, CHEWING ZOMBIES) makes his American convention debut at San Diego Comic Con with BLASTOSAURUS from American Original and Top Cow.

Fairgray will be debuting the BLASTOSAURUS Comic Con Specials, collecting the first arc of his hit New Zealand series. Inspired by the cartoons of the early 1990's, the series follows the adventures of Blastosaurus, a mutated dinosaur plucked from the past now working as a policeman to keep his adopted home of Freak Out City safe."

Richard Fairgray, the writer and artist of the comic, who amazingly manages to produce the comic on a monthly basis despite being legally blind with only five percent vision in one eye, originally started self-published the comic series in New Zealand in 2008. Prior to launching 'Blastosaurus' he had pitched the concept to ex-Fox movie executive Jeff Katz, who he met through a mutual friend on the set of 'X-Men Origins: Wolverine'. Katz was so impressed with Richard's range of comics work that he picked up the property for US release through his new multi-media company 'American Original'.

While most cartoonist faced with this golden opportunity would be happy to rest on their laurels till the royalties rolled in, Fairgray pressed forward, launching the comic series in the difficult New Zealand market first, before it's US debut. It sold well enough to run monthly for two years with several specials, and has a loyal following among young comic fans.

It's this hardworking DIY attitude that has promoted Fairgray to the forefront of Katz's American Original comics imprint. Blastosaurus will now be the first title to launch from the much hyped imprint (co-published by Top Cow), after other comics by Hollywood screenwriters and comedians have failed to materialize. Meanwhile, Fairgray has 20 issues completed and it looking forward to the US finally getting a look at his creation.

Above: Richard Fairgray promoting 'Blastosaurus' at the Wellington Armageddon Expo over Easter weekend.

Before jetting off to San Diego, I caught up with Richard for an exclusive interview on Blastosaurus and it's american debut.

Q1: This has been in the works for some time now, are you looking forward to finally introducing Blastosaurus to the US market?

RICHARD FAIRGRAY: Obviously, yes. Though it hasn't really been all that long considering how long it can take to break into comics like this.

Q2: Do you think there's an audience out there for this type of material in the crowded US comic market?

RF: Without being completely clinical about it I think there is always room for a story about a dinosaur with a gun. Besides which, I think there's infinite room in any market for new narrative. I think also there is a real lack of comics that aren't aimed at a specifically adult or child market.

Q3: This is also the first release for Jeff Katz's American Original imprint, so no pressure there?

RF: Obviously being the first makes this one the biggest risk for both Jeff and I, but it's also a fantastic vehicle for Terry and I to come in on as a new creative team.

Q4: In your NZ comic run of Blastosaurus you played around quite a bit with style and genre within the ongoing series, an approach that is fairly rare in current monthly comics. Will you be taking a similar direction with the new series?

RF: The new versions of the original stories are far more certain in their style and direction than the originals. This is partly because I had the time I needed to make them what I wanted them to be and partly because (simply by doing this full time for 2 years) I am a much better storyteller than I was. Obviously Terry's (Terry Jones, co-writer) influence cannot be overlooked in all this either. He is an amazing writer and a very accomplished storyteller, just having a second viewpoint makes the whole comic so much richer.

Q5: With that in mind, what can we expect from the first story arc and year overview?

RF: The first arc is a retelling of the old origin story. While the basic story hasn't changed, the characters (particularly the villains) are a lot more multi-faceted. Also the narrative structure is far more integrated so it doesn't feel so much like a brief summary of a plot.

Q6: Given the limitations of your eyesight and the dedication it takes to produce your artwork, do you plan to continue drawing the series full-time or are there plans to bring in another artist?

RF: I'm not handing over the art at this stage. Despite the hours it takes and the limitations I have due to the funny little eyes, i still enjoy creating the book myself. I do love seeing other artists' idea of how Blasto can look.

Q7: If it ships monthly, can you foresee needing any fill-in artists in the future?

RF: The schedule for release is not set yet. With the changing market for pamphlet comics I'm not sure how I want to proceed with the story and whether I even want to see it as individual issues (I never actually read single issues anymore because I don't find them satisfying). I tend to enjoy long hours though so I don't imagine I'll want to bring in any fill in artists (at least not for the main storyline).

Q8: 'The Boys' artist Darick Robertson will be producing covers for the series, how did they become involved?

RF: Darick and I met and got along really well when he was down here (at New Zealand's Armageddon Expo) last year and I mentioned him to Jeff as someone I'd like to have involved. I've been a huge fan of Darick's for years and have a few pieces of his art from 'Transmetropolitan'. He and Jeff met soon after at a convention (not sure which) and he became involved.

Q9: Will establishing the Blastosaurus comic be your main focus for the next year, or will we be seeing some of your other comics projects in the near future?

RF: Because I have 20 issues ready to go with Blasto (six of which are coming out at Comic Con) I have some time up my sleeve to work on other projects. There's no definite plan for release dates for any of these (with the exception of another Blasto Halloween Special, three new books of 'I Fight Crime', a collection of 'Yellow Girl' - a strip I wrote with my wife about 5 years ago that I never finished releasing - and a 'clip show' styled collection of short unpublished works of mine for the Armageddon Expo this year).

Q10: How has it been working with Katz and American Original on this project and bringing it to a wider audience?

RF: It's been a huge adjustment for me having to rely on anyone else. For 9 years I've been working almost entirely alone and learning to let others pick up the slack is a definite transition.

Q11: Blastosaurus has been a very DIY production from the beginning: now that it's at 'American Original' will you still be overseeing the entire comics production and franchise?

RF: I will definitely be involved on some level in every part of Blastosaurus. I've had these characters in my head for years now and I don't think I could let go of them. Besides which, I was brought in by Jeff as a writer because he liked what I had done (before Blastosaurus even existed) so I guess he likes what I am doing and what i want to do in the future.

Q12: American Original from what I understand, is set-up to expand across a number of entertainment platforms (video games, animation etc). Will we be seeing this approach with Blastosaurus, or is establishing the comic the main focus at this stage?

RF: I'm open to anything. I would love to be able to see Blastosaurus as a TV show or a game or a...hot water bottle, whatever. But for now I just want to see how the comic goes and take it one step at a time.

The US comic series of Blastosaurus will be launching at the San Diego Comic Con this weekend with six issues, featuring a new cover by 'The Boys' artist Darick Robertson. Fairgray will also be featuring on Saturday's Top Cow panel, where you can expect to hear more in-depth information on the series. Stay tuned for more details on the Blastosaurus Comic Con launch as they come to hand.

-AK!

The Auckland Armageddon Expo '09 Review

Above: The Auckland Armageddon Expo '09 Poster.

After a decade at Auckland's Aotea Centre, in 2009 the comics and pop culture convention know as Armageddon Expo returned to the ASB Showgrounds in Greenlane. This announcement was met with some uncertainty and speculation in local comics circles: was the show being down graded? Had it being edged out of the Aotea centre by rising rental costs? In recent years the show had being showing signs of stagnation (same stalls, same stock), and whatever the reason for the change of venue, a face-lift was definitely necessary. However, the biggest question raised by changing venues had to be: would the city crowds follow the convention to the suburbs?

The answer was a resounding yes, with an attendance of 40,000 people making their way to the new location for the three event (with a two hour line for entry tickets on the first day). The change of venue turned out to be the show's saving grace, giving it and it's audience a chance to breathe, with more room to move and a generally less cluttered layout.

Above: The Gotham Comics stand.

According to store holders, sales were also on the rise, with an increase in comics awareness due to the mainstream coverage of comics related movies like 'Dark Knight', 'Ironman' and 'Watchmen'. Much like the overseas conventions, there was a sizable increase in female readers, drawing in fans of the teen vampire franchise 'Twilight', but also taking an avid interest in graphic novels. More than ever, the event positioned itself as a truly family orientated show: with plenty of giveaways, TV and animation guests aimed at a younger audience and an outside area of carnival rides (conveniently wheeled out from storage from the Easter show).

Above: The Head Comics stand.

Despite a late change to the schedule, there was a healthy line-up of comics guests including: Greg Rucka ('Queen & Country', 'Detective Comics'), Peter David ('The Incredible Hulk', 'Friendly Neighborhood Spider-Man'), Matthew Clark ('Outsiders', 'Doom Petrol') and legendary artist Bill Sienkiewicz('Electra Assassin', 'Stray Toasters').

Above: Greg Rucka at (the mercy of) the Gotham Comics stand!

Greg Rucka and Peter David gave insightful talks on the ins-and-outs of writing comics for corporate companies, like the 'Big Two': Marvel and DC Comics. David spoke of the balance of writing for yourself and maintaining your individual voice while keeping editorial happy and following the company's direction. The discussion also touched upon the nature of serial storytelling in comics, and the difficulty of navigating the often convoluted continuity of corporate owned characters like 'Batman' or 'Superman'. David used the 'drive-by' analogy to describe a writer's quick run on a book, changing the status quo of a character and leaving another writer to pick-up the pieces. This lead to an amusing moment as David used the resent changes in 'Wonder Woman' as an example ("oh look, Wonder Woman kills now!), leading Rucka to point out that HE had actually written that book. It was now Rucka's turn to explain the flip side of that argument: when you are writing a turning point in a character's life and you are removed from the book before you can pay-off that event and write it's natural resolution. As a result there are plot points from Rucka's run on 'Wonder Woman' (2004-2006) which have not been resolved, but at this point he feels that to much time has passed, and it's best to let the character's story continue on it's current course.

Above: Greg Rucka signing at the Gotham Comics stand.

Both writers were asked for advice on breaking into comics as a writer. As Rucka observed, "writer's write. If you want to be a writer, you write every day; it's that simple. Now, what else can I tell you about writing?". Rucka then provided a visual example: he pulled out his laptop and started typing quickly. "This is NOT writing; this is typing. I can type extremely fast, but it's NOT writing. THIS is writing..". He pauses, thinking. He starts to type again, then stops and puts his head in his hands...a moment passes. "...and then you think some more. THAT'S writing".

Above: Peter David reading one of his scripts for 'Friendly Neighborhood Spider-Man' (with his daughter).

On Sunday morning Peter David proved the point that good dialogue should be readable, by delivered a dramatic reading of one of his 'Friendly Neighborhood Spider-Man' scripts. It focused on an emotional face-off between J. Jonah Jameson and Peter Parker, who had recently being unmasked as Spider-Man. It took half an hour for David to read, and really showcased his skill for delivering a dramatic story with both humour and heart.

Above: Bill Sienkiewicz working on a commission at the Gotham Comics stall.

Bill Sienkiewicz also gave an insightful talk on his creative process and his work on a variety of projects, including movie conceptual artwork (which is what he currently works on, between inking comics here and there). Recently he had produced a series of promotional illustrations based on 'The Dark Knight' film, which he was selling at the show as a sketchbook. He was also doing commissions (if you had a spare couple of grand!).

Above: The NZ Comics stand, manned by Claire Harris and the Sheehan Bros.

New Zealand comics were well presented at the convention, both at the NZ Comics stand and by solo exhibitors. Organised by Claire Harris, the NZ Comics stand was selling comics from all ends of the country, with books on hand from Wellington, Christchurch and local Auckland creators. The Sheehan Bros were present for the weekend, selling their recently completed epic 'The Inhabitants' as a complete graphic novel package. Kelly Sheehan had this to say about their Armageddon experience at the new venue, "we were very happy with Armaggeddon. The NZ comics stall was well organised and well run by Claire. The foot-traffic was a little slow at times, but over all steady. At the end of the day we walked away with a reasonable amount of comics sold. The new venue is great, I hope Bill decides to keep it there in the future. I should add a thanks to Bill. Over the years he has made his events accessible to the NZ comics creators and doesn't ask much in return. In a lot of ways he is the reason Darren and I continue. We are provided with a public and feedback once a year, and a we get to hang with other creators. So, cheers Bill - your efforts are much appreciated".

Above: Richard Fairgray at the 'Blastosaurus' stand.

There was also a decent representation of solo NZ Comics exhibitors. Richard Fairgray made a welcome return with the 'Blastosaurus' stand, debuting the 'Blastosaurus Halloween Special' and a cheque book sized collections of the 'I Fight Crime' web-comic.

Above: Drake at the 'Ninjet' stand.

Right next door to him was Drake, selling comics, T-shirts and art from 'Ninjet': the high adventures of a ninja cat! You can sample this fun series online HERE.

Above: Ed Butler at the 'Wulfpak' stand.

Across the way, Ed Butler was back at Auckland Armageddon this year in force, with a new kids friendly manga-sized series 'Wulfpak'. Produced with Munro Te Whata, this book went down a treat with the family target audience of the convention, so expect to see more from these guys in the future!

Above: Copies of 'New Ground' #12 on sale at the DMC Comics stand.

The latest issue of 'New Ground' from DMC Comics made it's debut at the convention, with an eye-catching cover from Jared Lane.

Above: Marc Streeter at the 'ActionMan Adam' stall in the Artist's Ally.

This year there was an added bonus: an artist's alley, championed by Jeremy Bishop of Gotham Comics. It featured a collection of stalls selling everything from comics to jewellery, toys, posters, badges, finger-puppets and more. It was a lively addition to the show, adding a friendly market vibe to contrast the usual promotions heavy businesses crowding the other areas of the hall. Amongst these punters was cartoonist Marc Streeter, selling his comic 'ActionMan Adam' (which is now a full-colour web-comic that you can follow HERE), along with T-shirts and badges.

Above: Fox's 'Avatar' stand.

That was the comics side of Armageddon, so how did the rest of the convention hold up? As per usual, promotions and marketing were assaulting you from every side, but it's hard to complain when it's this marketing that's largely picking up the tab for the show. Fox's 'Avatar' stand wowed crowds with it's plasma screen trailer, while over in the 18+ XBox 360 zone, a 3D version of the tie-in videogame popped eyes (and left me with a slight headache).

Above: The Activision stand.

There was a huge Activision Sing Star/Rock Band stage, which well and truly dwarfed it's performers. A SkyCity Cinemas stand took up an unnecessary amount of floor space at the back of the main hall, which could have been put to better use. In future, perhaps the celebrity photos/signing area would be a better candidate for this space. Unfortunately this year they were housed in the second hall AKA the dilapidated rusty warehouse!

I'm not sure if they were going for an 'old school depression era hollywood studio' approach here, if so, kudos on the attention to detail. Overall it wasn't a good look. They may be TV stars, but selling their pictures in a rundown warehouse surrounded by stalls selling day-glow sticks and other products that wouldn't be out of place in an underground flea-market will probably have them thinking twice about taking part in the australasian convention circuit. That whole second hall definitely needs a re-think.

Above: Storm Troopers and friends with a Fett.

Now it wouldn't be an Armageddon without massive amounts of Cosplay!

After a decade of attending Armageddon (god, did I just type that?) you think you've seen it all...and then some dude walks in dressed as 'Doria the Explorer', in a costume three sized too small that leaves nothing to the imagination! Unfortunately there are some things you just can't un-see. Aside from that, there was a great deal of Star Wars stormtroopers, a neat R2D2, jedi Knights, several jokers, Batman, Spider Jerusalem, Dr Zoidberg, a massive amounts of anime characters (with over-sized weapons not for the weak of wrist) and that staple of sci-fi conventions: slave-girl Leias (a note of caution: it's not a costume that should be attempted if you can't pull it off).

I understand there were Anime screenings on the main stage during the weekend, including the NZ premier of 'Superman/Batman: Public Enemies' the DC animation adaptation of the Jeph Loeb and Ed McGuinness comic series (which I hear isn't quite as good as the previous releases, but I'll reserve my judgement till I see it).

Above: At the show there's always something for everyone: I got a little carried away by 'Watchmen' mania! (but I'm cool with it, as long as my money goes straight to Dave Gibbons' pockets!).

Overall, it was a vast improvement on previous years; Bill Geradts and the team put on a great show and I expect the next Auckland Armageddon will take the convention to new heights of success.

-AK!