My Top Ten Comics of 2014

Hello and welcome once more to my annual countdown of the Top 10 comics of the year. You’ll notice that, after last year’s inflated Top 20 list, I’m back down to 10 for 2014. That’s not to suggest that the quality of titles being released is in decline, but rather that I’ve probably been buying a little less comics this year, having to make some ruthless cuts to my pull list as having less and less free time to read through my comics has left a larger and larger pile of unread books to try to get to. That, and the fact that it took me ages to write that Top 20 list last year! 2014 has been another year of change for me, as while last year I talked a bit about how the number of Image titles I was reading had skyrocketed, this year I’ve had to drop a few of those. And while last year I said that I’d all but stopped reading Marvel and DC’s output, Marvel at least has made a big comeback for me, with an array of quality launches this year. Also noteworthy is the ascendancy of BOOM! Studios, with such quality output as The Woods, Memetic, Curse, Black Market and The Empty Man, and I’ve really been enjoying Oni Press output like The Life After and The Bunker. As ever, there are plenty of great comics I couldn’t fit into my top 10. Aforementioned indie offerings The Life After and The Woods, and other cracking indie titles like MonkeyBrain breakouts D4VE and Headspace, not to mention Image debuts like Spread, Wytches, Roche Limit and Deadly Class. Even some previous Top 10 mainstays like Batman, Saga and Sex Criminals, while maintaining a consistent quality, didn’t make the cut. Charles Soule wrote stellar comics for both Marvel and DC that came close to qualifying in She-Hulk and Swamp Thing respectively. Coming agonisingly close and actually being present in the list in an earlier draft was the delightful, charming, funny, surprisingly tender and emotional Dungeon Fun, by breakout genius Scottish creators Colin Bell and Neil Slorance. But what we’re left with is a collection of truly superb comics, some you may already be reading, others you should seek out. Let’s get right into it…
10. LEGENDARY STAR-LORD

LegendaryStarLordI figured out numbers 1-9 on this list pretty quickly, but there was a real fight for this final spot on the list. Just take a look at that vast “Honourable Mentions” list above to show how many quality comics were in contention. But I think the main two that got closest were this year’s Guardians of the Galaxy expansions, Legendary Star-Lord and Rocket Raccoon. Both were fun, action-packed titles, and I have a hard time deciding which one I loved more. Rocket Raccoon is just fantastic, Skottie Young is doing stellar work on that title, and it was perhaps the title that had the bigger immediate “WOW!” reaction of the two. But it’s Legendary Star-Lord that has grown on me even more over the course of their respective runs. Star-Lord is my favourite Guardian, and Sam Humphries has, in this series, crafted a version of Peter Quill that does justice to all iterations of his character. The surface level that immediately grabs you as the series begins is how spot-on a pastiche of Chris Pratt’s excellent cinematic portrayal it is, right down to the dude-speak and man-child party lifestyle. But as the series has progressed, Humphries has skilfully weaved what might have seemed like a soft character retcon to make it feel like an appropriate character evolution that stays faithful to the haunted, guilt-ridden moral pragmatist that starred in the definitive Abnett & Lanning Guardians of the Galaxy run. There’s even the inclusion of an updated version of transport/confidante Ship from the very earliest Star-Lord appearances from the 1970s. The bombastic artwork of Paco Medina is a revelation, and it’s his bright, energetic visuals that really hammer home the glorious comedy beats: from Kitty Pryde dancing in a giant banana suit to Quill on an awkward date dressed in a bad ’80s prom tux. Straddling a line between rewarding single-issue stories and steadily building up an intriguing overarching narrative, Legendary Star-Lord is a gem of a comic that makes a great case for why Star-Lord is a hero deserving of his own solo title.
9. EAST OF WEST

EastOfWest10East of West has slipped a little from its #2 ranking last year. Don’t get me wrong, Jonathan Hickman and Nick Dragotta’s sci-fi/Western opus still ranks up there with Image’s best titles and is always a book that gets read very soon after I get home from buying it at the local comic shop. If anything, the lower placement is reflective of not poorer storytelling, but more subtle storytelling, with Hickman and Dragotta carefully expanding the world and often replacing the more sweeping scope of the initial arc with a series of one-shots exploring the various nations of this alternate America. All were interesting to varying degrees, though at times this approach left me missing some of my favourite characters and wondering when certain plot beats would be followed up on. But when the various threads start to weave together and the individually-defined forces start to clash, you really feel a sense of culmination, and the sheer scale feels even more epic and breathtaking for the build-up that set it up. With what has been set up as of the latest issue I read, Hickman seems primed to take this world into even darker places as the narrative enters its next phase. But it’s the team of Nick Dragotta and colourist Frank Martin that continue to steal the show with each passing chapter. There’s not an issue that goes by where I don’t have to stop at least once and just marvel over the construction of a page. Still arguably the most visually stunning art team in comics.
8. ANDRE THE GIANT: LIFE AND LEGEND

AndreTheGiantI’ll get this out of the way: you don’t have to be a wrestling fan to love Andre the Giant: Life and Legend. All you have to be is a fan of fascinating life stories, realised with wonderful comics storytelling by Box Brown. But I’ve been a wrestling fan going back to when I was a little kid, albeit not so much lately. And the first person I can remember being a favourite wrestler of mine was Andre the Giant. The 7-foot-plus tall athlete was, pun intended, a larger-than-life presence, and this graphic biography does a great job of conveying that, with various interviewees sharing accounts of the sheer size of the man and the unique life he led as a result of it that range from the charming to the breathtaking. But his size, which gave him incredible fame and a livelihood, was also an incredible burden. Most obviously, it was a medical condition, one that was slowly killing him. But, as Brown astutely depicts, it also negatively impacted his life in a whole series of constant little inconveniences and humiliations that wore him down, the cold fact that in one context, he was “The Eighth Wonder of the World,” but in another he was just a freak. The biography is more a highlight reel than an exhaustive analysis, but we do get some excellent snapshots of his life. We see how he used to get lifts to school from Samuel Beckett as a boy in France, and we get a look at his time on the set of The Princess Bride. But most effectively of all, Box Brown paints a portrait of an era of American history that holds endless fascination for me: the 1980s wrestling circuit and all the eccentricities contained within. Informative, poignant, and often laugh-out-loud funny, when I read Andre the Giant: Life and Legend back near the start of the year, it became probably the first definite fixture on this list and its place has stayed secure ever since.
7. STRAY BULLETS: KILLERS

StrayBulletsKillersWhat a fantastic year 2014 has been for fans of David Lapham’s seminal crime epic, Stray Bullets. With no new chapters published in some time, and the series arguably never getting the widespread acclaim and recognition it deserved, it seemed in danger of being consigned to history as an unfairly forgotten comics classic. But then Image Comics signed a new deal to revive Stray Bullets last year, prompting the series to be posted up on ComiXology. Then, this year, the original run was finally brought to a conclusion with Stray Bullets #41, followed by the whole series being released in a deluxe omnibus called “The Uber Alles Edition,” allowing a whole new generation of readers to get absorbed into this dark, ruthlessly bleak saga. And then we got Stray Bullets: Killers. David Lapham has slipped effortlessly back into this seedy world and its inhabitants, like slipping into an old pair of comfy slippers, not missing a beat. As always with Stray Bullets, Killers seems to operate on the fringes of the crime genre, looking at how regular people on the fringes are impacted, or how their moral decisions can have a ripple effect. The backbone of Killers has been the blossoming and ultimately wilting romance between recurring protagonist Virginia and Eli, two flawed characters who make mistakes, but who we come to deeply care about, and whose happiness we become highly emotionally invested in. A happiness which, if Stray Bullets has taught us anything, shouldn’t be expected to last. Killers is often a low-key series, and as such even now is still to some degree being overlooked, not always getting mentioned amongst the other great Image titles of the past year. But Stray Bullets: Killers is actually better than most of them, and has produced some of the best single issues of any comic in 2014.
6. THE MANHATTAN PROJECTS

MP19AlbertReturnsLast year’s #1 didn’t quite reach the same heights on this year’s list, in fact slipping to the ranking it held back in the 2012 list. But that’s hardly to suggest that writer Jonathan Hickman and artist Nick Pitarra’s bonkers revisionist history tale of mad science gone wild is in decline. This is a series that continues to fire on all cylinders with big, crazed ideas. Talking dog Laika got her own standalone adventure in space. The original Albert Einstein from our Earth came back to our reality to confront his evil parallel Earth doppleganger, and we got to see the mad journey across countless realms he had to brave to return home. William Westmoreland joined the cast as a hardcase with an ear necklace who took on an elite alien killing machine and won. We discovered that Che Guevara and Fidel Castro had their brains replaced by evil Communist aliens. And it all built up to a take on the assassination of JFK (magic bullet and all) that was about as bonkers as we’ve come to expect. The visuals of this book from Pitarra and colorist Jordie Bellaire continue to be an absolute delight, packed with detail and character quirks that had so much to the fabric of the story and make it what it is. The cast and the scope of this series continues to get bigger and bigger, and so the year ended with The Manhattan Projects going on hiatus, with a promise to come back in 2015 with more character-driven arcs focusing on the various narrative strands one at a time. Whatever format The Manhattan Projects takes going forward, you can be certain that I’ll be onboard!
5. THOR: GOD OF THUNDER

ThorGodOfThunderFor the sake of clarity, it’s Thor: God of Thunder – the 25-issue series drawn largely by Esad Ribic, which ended a few months back – which is my included entry on this list, rather than the newly relaunched Thor, also written by Jason Aaron. Not that the new series, isn’t really great – honestly, save for the new issue #1, it’s pretty much a continuance of the narrative from God of Thunder and part of the same overarching saga – but it’s just getting started, really, so if I must pick one title for inclusion on this list I’ll go for Thor: God of Thunder. This title was excellent right from its beginning, and during the “God Butcher” storyline quickly established itself as one of the crown jewels in Marvel’s lineup. But it was with Esad Ribic’s return to the series in “Last Days of Midgard” that the title reached its greatest heights, and Jason Aaron cemented his status as best Thor writer since Simonson. This storyline told two tales. One narrative was of an Earth in the future that had been left as little more than a ravaged husk, old King Thor left to defend it against Galactus come finally to claim the remains of the planet that had thwarted him for so long. Here we saw Ribic at his finest, depicting a Galactus that truly inspired awe and terror, underlining the impossible odds Thor faced in fighting him. The other tale was in a present that eerily foreshadowed the desolation of the future, with evil corporation Roxxon embarking on dangerous, morally repellent initiatives that bring them into conflict with Thor. Now, Jason Aaron has already made major contributions to the villains in Thor’s mythos without even using arch foe Loki: from introducing the terrifying Gor to giving real teeth and wickedness to Malekith in a portrayal that put his cinematic appearance to shame. So it’s not a statement I make likely when I say that Roxxon figurehead Dario Agger was the most vile, repellent villain Thor faced in the whole series. He was a great opponent for Thor, because he was not someone Thor could just hit with his hammer. He was a very Earthly evil, hiding behind lawyers and dirty corporate tricks and playing on a level even a heavy-hitter superhero like Thor struggled to keep up with. From beginning to end, Thor: God of Thunder was a delight: dramatic, scary, and often surprisingly funny. It seems like we should expect more of the same from the new Thor.
4. THE MULTIVERSITY

PaxAmericanaAs a huge Grant Morrison fan, The Multiversity has long seemed like one of those dream projects, long discussed, that I’d forever been looking forward to, but felt was never going to actually come to pass. It’s literally been years that Morrison has been talking about this, so even when it appeared in solicitations, I still don’t think I quite believed it was finally happening. I don’t think I believed it until I held that first issue in my hands. But now that it’s launched and the first few issues have been released, I can gladly confirm that it has met and even exceeded expectations. This is Morrison’s trip through the Multiverse, at once a medley of returning characters and recurring motifs from his past work, and trailblazing into new terrain. The first issue was dizzying in scope, giving us a sense of a vast, mad DCU filled with depth and intricacies to a degree we haven’t really seen since the New 52 began back in 2011, and also giving us the return of CAPTAIN CARROT! After that we got a glorious, pulp-inspired rendition of the JSA, with great portrayals of the likes of Doctor Fate. Next up was a universe populated with the various legacy heroes following on from their iconic predecessors, like Morrison doing Jupiter’s Legacy better than Millar. But best of all was “Pax Americana,” drawn by art legend and frequent Morrison collaborator Frank Quitely, which saw the pair tackle the original Charlton heroes like Blue Beetle, Captain Atom and The Question that served as the basis for Watchmen. And, never one to shirk from ambition, and being quite bold as brass in the face of Moore’s criticisms about Morrison copying his work, Morrison and Quitely tackle head-on the very ideas of comics structure that Moore and Gibbons were exploring with Watchmen, and arguably pushes the envelope even further. Frank Quitely is possibly my favourite comic artist ever, so it’s not lightly that I say this could be some of his finest work to date, with the assured colour palette of Nathan Fairbairn acting as the perfect compliment to his style.  What I’ve loved about every issue so far, though I can also see it being a bit infuriating, is that rather than just creating a bunch of one-and-dones, Morrison has written a collection of fantastic issue #1s, all of which end having introduced us to an immersive world and leaving us desperate for an issue #2 that will never come. Such amazing craft and world-building throughout. This is a barmy celebration of DC’s Multiverse, and of superhero comics in general, done in a way only Grant Morrison can. Fantastic.
3. DAREDEVIL

DaredevilDepressionDaredevil, as written by Mark Waid and over the past couple of years mostly drawn by Chris Samnee, is a comic that has existed on the periphery of my perception for quite some time. I’ve always been aware of the popularity and critical acclaim behind the title, and I’d read an issue here or there, but 2014 was finally the year I dove in, thanks to the Marvel NOW relaunch that relocated Matt Murdock to San Francisco, but largely kept the tone, cast and overarching storylines consistent from the previous volume. I used this opportunity to give Daredevil a try, and at last I was hooked. I went back and bought the whole of Volume 3 in the three deluxe hardcover editions, stormed through it, and was left kicking myself for taking so long to jump on the bandwagon. When looking at how influential this title has been – you could argue it has inspired a whole line of creative thought in Marvel’s publishing output, from a shift to shorter story arcs, to an increased spotlight on more stylised, cartoony artwork over more glossy, cookie-cutter fare – it’s easy to overlook just how brilliant Daredevil remains, and how it’s still setting the bar. So, let’s take a closer look at this year in Daredevil, in particular the title since it was relaunched as Volume 4. As stated above, while the locations are fresh, much of the themes are carrying on from what came before. And, in particular, this underlying notion that Daredevil’s bright, upbeat “new beginning” where he’d make a conscious decision to be happier was perhaps less secure than it first seemed that has been niggling away since Waid’s tenure began has really been scrutinised and drawn into the open. We got the first allusions to it in the two-part Original Sin tie-in (surely one of the best tie-ins that event produced) where we explored Matt’s mother, and discovered she suffered from post-partum depression when Matt was an infant. This exploration of mental illness built up to the high-point of the volume: the recently-completed “Purple Children” storyline, where longtime Daredevil foe The Purple Man sets loose a group of his illegitimate children whose more primal version of his mind-controlling powers may be even more potent than his own. On one level, this worked as a thrilling superhero story, with The Purple Man as scary and nasty as ever. But it also served as an excellent study of depression, and the continued stigmas surrounding mental illness that prevent people seeking help. Daredevil has long been one of the best developed superheroes in comics, and Waid manages to add a new dimension to his personality in an utterly believable, relatable way. And Chris Samnee’s artwork! Every page is a joy to behold, with clean lines packed with vibrant, kinetic energy, bolstered by the crisp colours of Javier Rodriguez and, more recently, Matthew Wilson. Even as a character who has had some rather definitive, iconic artists draw him, Samnee may have emerged as my ultimate Daredevil artist. Believe the hype. Daredevil by Waid and Samnee is simply the most perfectly-realised superhero comic on the shelves today.
2. THROUGH THE WOODS

ThroughTheWoods1While the marketing may have been focused on Original Sin and Future’s End, for me, right from when I first heard about it late last year, I knew that Through the Woods by Emily Carroll would be my “event comic” of 2014. The immensely talented Emily Carroll first came to my attention with “His Face All Red,” a chilling webcomic that to this day is one of the creepiest, most perfectly-structured horror comics ever. And so I was highly excited by the prospect of this graphic novel anthology, collecting “His Face All Red” in print for the first time alongside a collection of original short horror tales. After spending half the year breathlessly anticipating Through the Woods, I was very pleased when the final product lived up to expectations. Emily Carroll has a distinctive approach to horror, a lyrical quality that makes them feel like old fables, or forgotten children’s tales with a sinister underbelly. And like those children’s tales, her stories play with primal, universal fears: the loss of loved ones, or that those you care about are not all that they appear to be. Her artwork complements this vibe by being quite simple and childlike, but deceptively detailed and still capable of repellent, horrific imagery. Every story in the collection is strong, there’s not one dud here, but if I had to pick my favourites, in addition to the previously mentioned “His Face All Red,” I’d pick out “The Nesting Place” – a bloodcurdling mix of Cronenbergian body horror and Hitchcock’s Shadow of a Doubt – and “In Conclusion,” the epilogue which deftly plays with the imagery of Little Red Riding Hood to bring the book to a simple but unsettling close that will linger in the memory and induce shudders long after reading. This year, we’ve been spoiled with a treasure trove of quality horror comics, so much so that I even wrote about it on my blog. But standing above them all is Through the Woods, and with this collection, Emily Carroll has cemented her status as the Queen of Comics Horror, second only to the legendary Junji Ito when it comes to using the comics medium to craft fear. And speaking of Junji Ito, I’ve learned that he has a new collection getting translated into English, due for a 2015 release. Now I know what my “event comic” of 2015 will be, then…
1. SOUTHERN BASTARDS

SouthernBastards1There are certain books that you know right away you’re going to love. Southern Bastards was one of those books, where as soon as it got announced at Image Expo, I knew it was going to be a must-read. Anyone familiar with my previous annual top 10 comics lists or with my blog in general will know that I absolutely adore Scalped, Jason Aaron’s masterpiece. It attained the #1 spot on this list on multiple previous years during its run, and I wrote some very detailed, lengthy blogs dissecting some of the stuff I love about the gritty crime saga. It’s the series that established Jason Aaron as one of my favourite writers, and has led to be following him onto his work with Marvel, which I’ve enjoyed. But with Southern Bastards, drawn by his recurring collaborator Jason Latour, Aaron seemed to be setting up a book primed to fill the void left in my comics-reading life by Scalped when it ended. And in 6 issues, the book has done just that. Hell, you could argue it had done that by issue #1. Given that you could suggest Scalped took a story arc or so before it really got going, you might even argue that Southern Bastards has launched itself out of the starting block even faster than that classic. Immediately, you could tell this was two masters at work, with a sweaty, sun-scorched atmosphere that immersed you in the Deep South. Craw County is simultaneously depicted as a tangibly awful place that no one would want to go near, but also so well-realised in its scenery and its diners selling fried pie that I kinda want to go there. Latour’s red-hewn colour palette helps a great deal with this distinctive atmosphere, as does his hard-bitten character design. This is a tough world, and one laced with pain and tragedy. At first, we think we’re getting one kind of story, and we imagine we’re seeing the well-worn story tracks laid out before us. But then that train is derailed in the most gut-punching, upsetting of fashions. “Upsetting” is something this book does well. I think I’ve had my heart broken reading this comic half a dozen times in as many issues. It feels like we’re still in the opening salvos of a much larger narrative, so the bigger picture of the plot may not yet be clear, but what truly elevates this comic are the characters. They feel nuanced, like real people (though maybe people you’d never want to actually meet), with Aaron once again displaying real skill for finding the bruised humanity in even the most seemingly awful of people. Six issues in, and already Southern Bastards feels like appointment reading, the book I know I’ll rush to read immediately as soon as I get it home, its cast of characters already nestling their way into my brain and into my heart. One thing that somewhat sets it apart from Scalped is acclaim. Scalped was one of the best comics ever, but it always felt a bit like an underrated gem, beloved by those who discovered it but overlooked by wider audiences. I would put it at #1 on my lists while beseeching people to give it a try. On the other hand, I write this knowing that Southern Bastards is almost a boring choice to top my list with, as everyone seems to be putting it in their lists. But sometimes a choice is obvious because it is absolutely deserved. And I for one am glad that the rise of Image Comics and creator-owned comics means that a comic as excellent as Southern Bastards can get the recognition and respect it deserves. Roll on year two!
And that’s that! What will next year’s list bring? Will Southern Bastards be the first comic since Scalped to take the #1 spot more than once? Or will one of the books currently slated for a 2015 release that I’m eagerly looking forward to, like Junji Ito’s Fragments of Horror or Scott McCloud’s The Sculptor, nab the top spot? We’ll have to wait until next December to know for sure. In the meantime, as ever, I’ll end with an overview of the annual standings, and what comics have made the #1 spot each year I’ve ran this feature on my blog….

2010: Scalped
2011: Scalped
2012: The Underwater Welder
2013: The Manhattan Projects
2014: Southern Bastards

Thanks for reading, everyone. Merry Christmas, and a Happy New Year!

SouthernBastards2

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Coming Soon: Thought Bubble 2014!

It’s been a fun convention year for me, hitting my local shows at Glasgow Comic Con in July and MCM Scotland in September, then traveling to New York Comic Con in October.  And as has become tradition, the convention year will come to a grand close with Thought Bubble in Leeds.  Held at Royal Armouries over the weekend of Saturday 15th November to Sunday 16th November, it’s always a great show with a buzzing atmosphere, and this year promises to be the biggest ever, with an array of high profile guests including some of the hottest names in comics.

Oh, and I’ll be there too.

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You’ll find me at Table 77 in the TB Teepee, the brand new exhibitor venue on the Royal Armouries campus.  I have a table of my own this year, partly because the amount of comics I now have available for sale is spiralling madly out of control and can no longer be contained to a half-table.  But though it says “John Lees” on the marquee, this is very much another case of “John Lees and Pals”, as I’ll be joined by some awesome guests.

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And Then Emily Was Gone #1-#4 will all be on sale from my table, as will a selection of exclusive prints based on the series’ eye-catching covers.  This horror-mystery series tells the story of Greg Hellinger, a former detective plagued with monstrous visions, whose search for a missing girl takes him to the Scottish Orkney Islands, where strange and terrifying things are happening.  This has been a breakout hit this past summer and really seems to have built up a bit of momentum, so I’m really excited to bring it to Thought Bubble and hopefully introduce it to some new readers just in time for the final issue coming out a couple of weeks after the con.  To represent the book, I’ll be there, and so will Iain Laurie, the incredible artist of the series.  He’ll have some original art from the comic for sale, and is doing sketch commissions too.  I’ve seen him work on the show floor first hand, and trust me when I say an Iain Laurie convention original is something any serious comic art collector is going to want to add to their repertoire…. a sight to behold!  Iain will be at my table for most of the weekend.  And Then Emily Was Gone letterer Colin Bell will also be on-hand at the show… he’ll be at his own table in New Dock Hall, table 161, selling his own excellent comic, Dungeon Fun, so when you stop by his table to buy that make sure to get him to sign your copies of And Then Emily Was Gone too!

TheStandard06_03I’ll also have, for the first time at Thought Bubble, the entire series of The Standard available to buy.  The Standard #1-#4, and the double-sized finale, The Standard #5The Standard is the award-winning story of a superhero legacy that spans across two generations, and the interconnecting lives of the men who have worn the mantle.  Supplies of issue #1 are VERY limited, so make sure you get to the table quick if you want to pick up a copy.  Also in attendance at the show will be Will Robson, a highly-talented artist who joined the series as co-artist for issue #5.  He’ll be at my table signing and sketching from 12:00-1:30pm each day.  When he’s not at my table, you’ll find him at his own table in New Dock Hall, table 181a.

I’m really looking forward to Thought Bubble, and can’t wait to meet up with friends old and new and spread the word about my comics.  If you’re at the show, please stop by Table 77, TB Teepee, and say hello!

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What’s That Smell?

Uh-oh, it’s a political comic!

I don’t claim to be the most politically engaged person, and others have got into the nuances of the Scottish Independence debate more comprehensively in comics elsewhere.  I mainly just put together this vignette because I thought it was a funny idea.  It came to me when I was watching a televised debate about the referendum shortly after reading the Wee Blue Book, which was filled a lot of interesting documented, verifiable facts quelling a lot of the fears put forward by Better Together.  So watching the advocates for No trailing out these same old points, now armed with the knowledge that most were factually disprovable, I was left wishing that someone could just step up and go, “Ho, that’s a lie, mate!”  Cut through the political protocols and niceties and just call bullshit bullshit.  And that’s when I started riffing on popular TV skits based around that very idea, and imagining what it would be like to mash those up with the political sphere…

WhatsThatSmell1 WhatsThatSmell2 WhatsThatSmell3

The jokes in this are pretty specific, so apologies to those of you who don’t have a working knowledge of either the magnificent TV escapades of Karl Pilkington or Karen Dunbar’s delightful skit from Scottish sketch comedy show Chewin’ The Fat.

In case you hadn’t guessed, I’m voting Yes for Scottish independence.  Here’s the Facebook post I wrote at the start of this month explaining my reasons:

Brace yourselves: this is going to be a long post, on the subject of the Scottish Independence referendum.

The vote is just over 2 weeks away, now. I have said before that I was trying my best to stay undecided for as long as possible to be open to arguments on both sides, and at around this stage I was going to write two status updates – “Why I’m voting Yes” and “Why I’m voting No” – to lay out the forces swaying me in each direction. But now, I find myself pretty unable to write any convincing post for the No side, which confirms what has become increasingly clear to me: on 18th September, I’m definitely voting Yes.

People who have known me for a long time will know that, even a year ago, this position would have been unfathomable to me. For as long as I have been aware of the particular political matter of Scottish Independence, I’ve been hardline No. I was someone whose heart sank when the SNP were first elected into power in the Scottish Government, because it made an independence referendum a possibility, if a remote one. My whole life, I’ve been proud to be British as much as I’m proud to be Scottish. I’m proud of much of our shared culture and history, of our NHS. I like England: I’ve often visited, and I have family and friends there. I’ve never been one of those Scots who hate the English, who cheer on whoever’s playing against them in sporting events, and to be honest I’ve always found such attitudes embarrassing. And I always felt that the SNP and any move towards Scottish Independence pandered to such nasty, small-minded, parochial sentiments. I felt like, as a people, it was better to be part of something bigger than to split ourselves up into little factions and seal ourselves off. And I was basically happy with the political situation of the United Kingdom. Sure, it wasn’t perfect, but compared to what’s going on elsewhere in the world, all things considered it felt like there wasn’t all that much seriously wrong with it.

So, once the Yes/No campaigning began in earnest, initially I was dead-set against Yes. I didn’t even want to read any of the stuff in support of it, my mind was already made up. But then I stopped myself, and thought, “This referendum could be the most important vote you make in your lifetime. You owe it to yourself to engage fully, and learn all you can about both sides of the argument to make an informed decision.” And so that’s what I did. And very quickly, it became abundantly clear that the campaign of Yes Scotland was leagues ahead of that of Better Together. Yes Scotland has a positive vision for Scotland: there are aspirations, goals for the country with tangible ideas laid out for how to attain them. Better Together has been relentlessly negative. At the earliest stages there was this kind of smug, condescending disdain, the idea that Yes Scotland were beneath their notice, and that us lowly Scots should feel excited and grateful whenever a “real” politician from Westminster made a half-hearted appearance on our shores to give us a pat on the head and tell us we all knew what was good for us. But my friend Ashley Storrie made a great point about the “fuck you” attitude of Scottish people, where if you tell us that we can’t do something, then we want to do it to prove you wrong. And so every time David Cameron came to talk in Scotland, the Yes campaign saw a bump in the polls. And before long the Yes campaign went from a blip no one was taking seriously to something that was still the underdog with a minority, but enough momentum to make this a close-run thing. And at this point I was a frustrated No voter, bemoaning the fact that this blundering Government was playing right into Alex Salmond’s hands by giving the Yes campaign fuel without Yes Scotland even needing to do anything. But then the scare tactics began from Better Together, the doom-and-gloom and the threats of punishment or retribution that would come if we defied them by voting Yes. “We’ll take your pound away.” “We’ll take our business away.” “Scotland can’t manage on its own, this disaster or that crisis will make it fail. This is too difficult for you.” And that “fuck you” attitude started swelling up in me too.

There are ways of summing up the spirit of the respective campaigns. You could say that Yes Scotland has promises, while Better Together has threats. I prefer to look at it this way: Yes Scotland has a primary focus on engaging voters, while Better Together has a primary focus on DISengaging voters: it’s all “this is too difficult,” “this is all a bit scary to think about,” and “best to leave things as they are so you don’t have to concern yourself with it.” And that rankles me. And the more I found myself leaning towards Yes, the more apparent the media bias against Yes became. Heavily slanted newspaper coverage in favour of No from most publications. And even the BBC, an institution I’ve long respected and cherished… I’ve felt totally let down by them during this campaign, more than ever I’ve seen the bias and strategic reporting in a channel I’ve long praised for its relative objectivity. And when I see mobilisation of the powers of the media in the name of deceit and slander, I naturally incline towards the injured party in such a situation. And when you look at the forces assembled in favour of No – the Tories, UKIP, BNP, Britain First, the Orange Order, the Daily Mail – it makes you wonder about whether you’d want to throw in with such an axis of evil.

Even recently, the differences in the campaign have been night and day: look at that wretched “Patronising BT Lady” ad as opposed to the uplifting message behind the Yes ad in last week’s duelling TV spots. And even something as simple as the signs in my local area: the Yes slogan is all stickers plastered around town or signs hanging up in people’s windows, while No Thanks hangs oppressively on lampposts throughout the streets, high up beyond human reach. It feels like The Man, the establishment, while Yes feels grassroots.

But I’d be pretty shallow if my decision was just based on who has the snazzier campaign. While the Yes campaign might have opened my eyes to them, in truth there are deeper reasons behind my decision. I said before that the British Government are basically okay, but more and more lately I’ve realised that’s not the case. I’ve seen an alarming rise in political attacks on immigrants, on the unemployed, on the working poor… the vulnerable in our society we should be protecting. Even that NHS I talked about being so proud of is under attack. After promises the NHS would be untouched, the Conservative Government first brought in cuts, then tried to introduce privatisation to mass public derision. They initially backed off the idea… but then began the sustained media attack on the NHS, it seemed all of a sudden hardly a week could pass without some fresh scandal “leaking”, and calls for Something To Be Done. And now the privatisation has been filtering in a step at a time. I don’t like the direction the UK is going.

It lies deeper still than just policy, it is the whole political attitude. Scotland is under a Conservative Government, despite only having one elected Tory MP. Scotland can vote overwhelmingly in favour of Labour and the SNP at elections, but at the end of the day it won’t make a dent in the Conservatives coming to power if that’s the direction England decide to vote. They’re bigger than us, their votes carry more clout. That in itself is one of the most compelling arguments for independence: surely we should be able to elect a government that reflects who the majority of our population want in power. Isn’t that democracy?

Worse still, these past couple of elections have seen a startling rise to prominence of UKIP. After years of relief that ragtag racists BNP were far too ridiculous to ever get any serious political influence in this country, that Britain were far too civilised for such things, UKIP and Nigel Farage have come along with the same nastiness at their core but with just enough of a veneer of class and credibility to dupe large factions of England, riding the tide of a growing anti-immigrant sentiment brewing in middle England. Scotland isn’t taken in by them to anywhere near the same degree: we’ve largely rejected them in the polls. But again, that doesn’t matter, not if England votes them in. And rather than oppose their anti-Europe sentiment and their hatred of immigrants, the other major parties have played them in a race to the bottom: “Look, we hate immigrants too!” Good on Salmond, the SNP and Yes Scotland for actually having some backbone and standing against that tide, saying, “No, actually we want MORE immigration, migrants are a valued part of Scotland.” I’m not saying England is full of racists or that there is no racism in Scotland – far from it – but these differing stances in terms of who we elect and who is and isn’t buying the shite Farage is selling suggests we really are two different countries. And as much as the prospect of unelected Conservatives having powers over Scotland annoys me, the prospect of unelected UKIP having those powers infuriates me, especially since Farage still nurses a grudge over the humiliation of being driven out of Edinburgh and UKIP have publicly talked about teaching us Scots some humility when they get the chance.

The aforementioned Europe point brings up another key thing to consider: many might think a vote for No is a vote for status quo, but it really isn’t. Once again bowing to that UKIP pressure, it would appear an in/out referendum on the European Union is on the table for some point over the next couple of years. Now, a broadly speaking, Scotland is pro-Europe, but increasingly, England has become anti-Europe. And remember what I said about how much bigger England is. So, if we vote No, we could potentially be facing another referendum with huge implications for our future in a couple of years, only this time we wouldn’t have a say on the outcome. If we vote Yes, there’s a conceivable situation where Scotland is in the EU and the UK isn’t. And though I now lean in favour of independence, I still believe we’re better as part of something bigger: being a part of the European community offers that. Change is coming one way or another folks, so we shouldn’t be voting just in hopes of avoiding it.

I realise this post is gargantuan now, so I’ll try wrapping things up. I hear the expected voter turnout is over 80%. That’s huge, and really heartening. One of the worst enemies of democracy is voter apathy. So, whatever way the vote goes on September 18th, it’ll be the will of the Scottish people. But I’ve gone from being terrified by the prospect of a Yes vote to being dejected thinking on the likelihood of a No vote. It’s just a depressing thought, the notion that we as a country might decide that we’d rather not make our own decisions, that we’d rather someone else take responsibility for us. And so we may go on being the contrarian voice shouting out against majority UK policy from the cheap seats, but we’ll toothless in our protestations, because we’ll have made the decision that we want to be there. And we’ll have forever have lost the right to complain about Westminster decisions not made in our best interests or not reflective of our desires. Yes, there are risks in independence. We may fall on our faces. But at least the decisions that will see us fail or succeed will be ours to make. It can be frightening thinking that we’ll have no one to credit or blame but ourselves, but I find it invigorating. I love Scotland, and this is one of the most exciting, promising times ever to BE Scottish. On 18th September, we all get the chance to take part in perhaps the most important vote in our country’s history. I’m voting Yes.

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This Weekend: MCM Scotland Comic Con!

From Saturday 6th September to Sunday 7th September, MCM Scotland Comic Con will be running at the SECC in Glasgow.  The show returns to the venue after the huge success of last year, which saw an attendance much bigger than anticipated, and massive queues on the day.  So, book your tickets ASAP! This year’s event promises to be bigger and better, and that carries over to this year’s expanded Comics Village.

I’ll be there, and just today I received a shipment of full-colour copies of And Then Emily Was Gone #1 and #2, which I’ll be selling at the show, along with a black-and-white advance preview edition of issue #3.  I also have a fresh supply of the And Then Emily Was Gone prints that proved so popular at Glasgow Comic Con in July.  Both issue #1 and #2 of And Then Emily Was Gone have sold out at a retailer level worldwide, and so these comics weren’t easy to get a hold of!  Supplies are limited, so if you want to pick them up, make sure you get to our booth – table A5 – while stocks last!

I’ll also be bringing my remaining Glasgow exclusives of THE STANDARD #5 and #6, along with my remaining stock of all the other issues.  Again, stocks are limited, so stock by the table quickly to avoid disappointment.

I won’t be at my table alone this year.  I have a tablemate in the form of the incredibly talented Iain McGarry.  He’s an up-and-coming writer who’ll be launching his debut collection of work, Night & Day, at the show.  Trust me when I say this will be an essential purchase of the Comic Village this year!

MCM Scotland was a total blast last year, and I’m looking forward to another fun show this weekend.  So, come along, and make sure to stop by Table A5 and say hello to me and Iain!

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My 2014 Convention Schedule

Glasgow Comic Con has come and gone for another year, but I still have a few convention dates on the calendar.  Here’s an overview of what conventions you’ll be able to find me at over the remainder of 2014, and what I’ll likely have available there.

MCM SCOTLAND EXPO, 6th-7th September

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We’re just a couple of weeks away from the second annual MCM Scotland Expo in Glasgow’s SECC.  Last year’s inaugural event had a few question marks hanging over it.  With Glasgow Comic Con already firmly establishing itself as my hometown’s native con, was there a niche for another con on the calendar?  And with the comics quotient reduced to a Comics Village within a more general geek culture event, did exhibitors risk being ghettoized and overlooked?  And with relatively little publicity for the event beforehand, would people even show up for it?  The answers ended up being yes, no and HELL YES!  The show ended up being massive, with queues round the block and people waiting hours to get in.  The event was so huge that this year it has been expanded to a two-day event to cope with the demand.  It’s a suitably different event from Glasgow Comic Con, based in a large warehouse rather than the more intimate vibe Glasgow Comic Con creates by peppering multiple small dealer’s rooms across the CCA and nearby venues.  And the demographic MCM attracts seems to be a lot younger and more diverse, a lot of teenagers – teenage girls in particular – more into anime and manga than traditional comics.  But last year, this new audience seemed very keen to explore the Comics Village and try new things, so let’s hope that carries over to this year!

For this show, I’ll be sharing a table with Iain McGarry.  Iain is an exciting upcoming writer I’ve been a fan of for some time.  He’s been making a name for himself by having his shorts published in various anthologies, but at MCM he’ll be debuting Night and Day, the first collection of his work.  Trust me when I say this is going to be one of the hottest comics of the show, and one you’ll definitely want to get your hands on.

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As for me, I’ll be selling copies of the full-colour Diamond edition of And Then Emily Was Gone #1, along with black-and-white advance preview editions of issues #2 and #3.  I’ll also have a supply of the highly popular And Then Emily Was Gone prints from Glasgow Comic Con.  I’ll also be selling through my remaining stock of The Standard: be warned, stock for some issues is VERY limited!  I’ll have Glasgow exclusive editions of the final two issues, so anyone who missed out at Glasgow Comic Con will have the chance to find out how the story ends ahead of the worldwide release at the end of September.

 

NEW YORK COMIC CON, 9th-12th October

TheStandard6CoverThe biggest show on my calendar, my annual trip to New York is something I eagerly look forward to each year.  This will be my fourth time attending the big show at the Javitts Center, and I can’t wait to meet up with my American comics friends once again.  But this year is extra special, because not only will I be joined at the ComixTribe table by returning NYCC veterans Tyler James (Epic, The Red Ten), Joe Mulvey (Scam), Cesar Feliciano (The Red Ten) and Alex Cormack (Future Proof, I Play the Bad Guy), but Iain Laurie, artist and co-creator of And Then Emily Was Gone, will also be coming along for the trip and making an appearance at the show!

And what a jampacked table of goodness you’ll find at the ComixTribe booth.  You’ll find all the available issues of Scam, The Red Ten, Epic, as well as the gorgeous hardcover collected editions of Scam: The Ultimate Collection, The Red Ten, Vol. 1, The Oxymoron and C is for Cthhulu.  As for my stuff, for the first time at NYCC I’ll have the entire run of The Standard, all 6 chapters collected into 5 comics (including the double-length final issue set for release in September).  Having the whole series available at New York Comic Con is a major milestone I’ve been wanting to reach for years, I’m so happy to have finally made it happen.

ATEWG4CoverBAs for And Then Emily Was Gone, by the time New York Comic Con rolls around the first three issues will have been released worldwide.  We’ll have all those in stock at the convention, but by that point, we also expect all the artwork on the series to be complete, so we could possibly have an advance preview edition of issues #4 and #5 available for those in attendance: watch this space for more news on that front.  With Iain Laurie in attendance, there’s also a good chance you’ll be able to get a sketch from one of the breakout comic artists of 2014!

And that’s everything.  Oh, wait, one more thing…

OxymoronTeaserAt New York Comic Con last year, ComixTribe announced Oxymoron: The Loveliest Nightmare, a 4-issue miniseries with a story from me and Oxymoron creator Tyler James, and art from the incomparable Alex Cormack.  The series won’t be launching until 2015, but the script and art for the first issue is complete, and word on the grapevine is that, with Alex, Tyler and myself all in attendance, attendees who stop by our table might just get a first look a little bit sooner.  Again… watch this space!

With such a wealth of content, ComixTribe seems poised to stand as the king of the Small Press section on the NYCC floor!

THOUGHT BUBBLE, 15th-16th November

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Thought Bubble is always a cracking way to wrap up the con year.  Really cool venue, and a great, relaxed atmosphere, it gets bigger every year but has still captured that elusive intimate small con vibe.  But this year is poised to be the biggest yet, with some huge names from the world of comics descending on Royal Armouries in Leeds for a weekend of comics festivities.

I’ll be in attendance, with my table at the Thought Bubble Teepee at the center of the convention campus.  I’ll be sharing a table with Nathaniel Walpole, a very talented cartoonist whose distinctive, experimental work is sure to see him get a reputation in the years to come.  I’ll have all the stock I sold at New York, some of it making its first appearance on UK soil at the show.  Also, Will Robson, co-artist on issues #5 and #6 of The Standard, will be in attendance, and will likely be on-hand to do a bit of signing and sketching.

And that’s how my convention calendar is looking.  I hope you’ll be in attendance for at least one of these shows.  If you are, please come find me and say hello!

 

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On Comics Custodianism and the Illusion of Change

avengers-nowThe comic book news cycle has been ablaze over the past few days with news of some big changes coming to Marvel comics in the months ahead.  As part of what the publisher is calling their “Avengers NOW!” initiative, some of their flagship characters are having their titles relaunched with new issue #1 and jarring new status quos.  The biggest of these changes have merited announcements on mainstream media outlets.  The View revealed that Thor will now be a woman.  Then The Colbert Report revealed that the new Captain America will be black.

As one with any familiarity with the internet may have anticipated, this has already been met with much howling and gnashing of teeth from large segments of the comic fan community.  And of course, we all breathlessly anticipate the ultra-Conservative tin-foil hat brigade wading in to declare that this is some politically correct conspiracy by The Liberals to destroy comics and, by extension, America… somehow.  Plenty of people have already astutely pointed out that people seemed to have little problem with Thor being replaced by a frog, or a horse-faced alien, or another white dude in the wake of the recent Fear Itself event, but a woman taking the mantle is seemingly a bridge too far!  I’ve seen people spitting out with venom the idea that this is all a cynical ploy to pander to black people and women.  First, it seems there’s a certain breed of white straight male reader who defines “pandering” as anything that doesn’t pander directly and exclusively to them.  Second, I think such a status quo shift is going to appeal to more than just female and black readers, respectively, for reasons I’ll go into later.  And third, if this does pique the interest of women or black people who previously didn’t feel engaged by Marvel’s output, how is that a bad thing?

However, I don’t think that anyone who hates these relaunches is inherently racist or sexist.  Though some of them certainly are, it would be unfair to paint all with the same brush.  The comic fans I want to focus on more in this particular bit of commentary are the advocates of comics custodianism.  Allow me to clarify.  There’s a bit of a problem with a large chunk of Marvel and DC’s fanbase, something that prevents them from ever truly being happy with the product.  They’ll complain that the comics are stale, that some life and energy and good high-stakes storytelling needs to be injected back into their favourite superheroes.  But the dilemma is that, if you get a great writer and put them on a superhero comic, the tools they’d be most inclined to employ in order to tell the best story – new threats, shocking changes to the protagonist’s life, a genuine sense of peril and uncertainty over how the hero will be able to restore status quo – stand in direct contrast to what this segment of the fanbase actually wants.  They claim they want great storytellers in their comics, but what they actually want is a custodian.  They want their favourite heroes, static and forever unchanging, wearing the old clothes they always used to wear, fighting the old villains they always used to fight, hanging around with the same supporting cast they always used to hang around with, with nothing about their comfortable status quo changing in any notable way.  These readers don’t want the best story… they want comics comfort food.

And when someone does come in and make seemingly drastic changes… they get angry.  It doesn’t need to be a matter of the hero changing race or gender, any change seems to be enough to get them up in arms.  Peter Parker remained, physically at least, the white, male Peter Parker in Superior Spider-Man, yet writer Dan Slott received so many death threats on social media over the storyline that it made national news.  But these people never seem to learn, do they?  Because anyone with an ounce of rationality was able to say, “Of course Otto Octavius isn’t going to be Spider-Man forever, of course Peter Parker is going to be Spider-Man again in time for the movie.  It’s not a permanent change, it’s a storyline.”  These people were angry because the writer has succeeded in making then genuinely stumped about how the good guy was going to possibly triumph over evil, which is what he’s supposed to do!  These people must find watching a season of 24 unbearable: do they have to skip to the last episode where Jack Bauer wins?  I don’t know how long these people have been reading comics for, but they should know by now that a dead hero doesn’t stay dead for long.  Superior Spider-Man was about taking Peter Parker out of the role of Spider-Man for a while to illustrate how integral Peter is to the Spider-Man mythos through the void left by his absence, and by its end it was recognised as one of the best Spider-Man stories in years.  Just like how “The Death of Captain America” in Captain America a few years ago, where Captain America died for a while and was replaced by Bucky Barnes (who’s white, so people didn’t seem to mind as much), it became a story used to illustrate how integral Steve Rogers is to the Captain America mythos through the void left by his absence, and by its end it was recognised as one of the best Captain America stories in years.  Or “Black Mirror” in Batman, where Dick Grayson took over as Batman in Gotham City while a recently-resurrected Bruce Wayne established a global crime-fighting franchise, where the story was used to illustrate how integral Bruce Wayne is to the Batman mythos through the void left by his absence, and by its end it was recognised as one of the best Batman stories in years.  Are we beginning to notice a trend here?

If there’s a criticism to be made here, it’s that Marvel are going back to the well of what has proven to be a tried-and-true formula for success too often, and risk blunting its impact.  But if you’re out there and you’re outraged because you genuinely believe that female Thor or black Captain America are a permanent or even a long-term replacement?  Sorry, I don’t know a polite way of saying that you’re a fucking idiot, so I’ll just come out and say it: you’re a fucking idiot.

Amidst all the cries of fury about black people ruining Captain America and women ruining Thor, it’s amazing how few people seem to have actually read the small print of what’s actually happening in these various comics, story-wise.  Indeed, it seems a large number of the fans outraged by this haven’t even been reading the books, and just seek comfort in traditional, unchanging versions of these heroes as an abstract concept.  This was wonderfully exemplified by one outspoken user on Twitter demanding that Jason Latour be fired for writing Thor so terribly as to make him a women… when of course it’s Jason Aaron who has been writing Thor: God of Thunder (which is brilliant, by the way) and who will be carrying on through the Thor relaunch.  But if all these people bemoaning the loss of their favourite heroes actually took the time to look into the story and the context, they’d see that they actually aren’t losing their favourite heroes at all!  The original Thor and Captain America aren’t dying, which in itself makes this status quo shift less drastic than many.  Let’s take a closer look at each one.

First, female Thor.  Yes, Thor is relaunching, and yes, the new God of Thunder and holder of Mjolnir is a woman.  But while the designs of the new masked female Thor have been widely distributed, this image has been shared less frequently:

thor-unworthyYep, it’s the same male Thor we all know and love.  And if you read Jason Aaron’s interview over on Comic Book Resources, he makes it abundantly clear that Thor remains a main protagonist in the series going forward.  Indeed, the central thrust of the plot is that plot machinations have caused Asgard to turn on Thor and deem him “unworthy”, stripping him of his hammer Mjolnir and removing him from their pantheon.  So now a humbled Thor must fight to regain his mantle and unlock the mystery of the mysterious woman who has replaced him.  Surely any level-headed person could read that and think, “That sounds like an interesting Thor story.”

Now let’s look at All-New Captain America.  After seeing Captain America: The Winter Soldier, a lot of people talked about Sam Wilson, AKA Falcon, deserving his own series.  But it seems some of them didn’t want that coming at the expense of Steve Rogers.  The story seems to go that the Super-Soldier Serum is wearing off on Steve Rogers, and he’s no longer able to continue being Captain America.  And so his close friend Sam Wilson steps into the role in his stead.  But again, let’s look at some Marvel promotional material:

Avengers-Now2Black Captain America is in there, but to the right of the shot we have an elderly blonde man.  Surely this is Steve Rogers, and that suggests that Steve Rogers will remain an active character in this All-New Captain America comic.  I would imagine that a major element of the book will be, after decades of being a man out of time, suddenly he’s placed in a position where time is catching up with him, and how does he deal with that?  Again, as a fan of Captain America, I think that’s an intriguing story to tell.

Meanwhile, Marvel have also announced Superior Iron Man, where Tony Stark moves to San Francisco and starts engaging in some morally dubious activity.  If the “Superior” tag is anything to go by, I imagine the twist in this tale will be that Tony is being controlled by a villain.  And if we’re talking movie synchronicity here, my money is on Ultron.

All this is coming together to paint a bigger picture of what “Avengers NOW!” is shaping up to be.  It’s a time leap narrative of some sort, it seems, where after a gap our main characters find themselves in drastically altered circumstances, and part of the fun is figuring out both how they got into these situations and how they’ll eventually get out of them.  And it all seems to be tying into Jonathan Hickman’s big climactic Avengers storyline “Time Runs Out”, which brings all these status quo shifts together and adds another big one.  It seems like Thanos is now the leader of The Avengers:

ThanosTimeRunsOutAnd this is where we get down to there being two different types of reader.  There are those who want comics custodianism, and they’ll be fuming at all this upheaval, all this shattering of status quo.  And then there are readers who like high stakes and surprises in their storytelling, who are viewing these as stories and are intrigued.  I know I’m interested, and that I’ll be picking all these up.  I already read Thor: God of Thunder, but after grabbing the early issues I’ve fallen behind on the Iron Man, Captain America and Avengers titles.  This will make me jump back on.  And I’m not black, I’m not a woman, I’m just a fan of good stories and good characters.  When you look at these characters as being more than just their specific costumes and power sets, you should be able to recognise that these storylines are actually potentially great fodder for Thor Odinson, Steve Rogers and Tony Stark as characters.  And it’s a real shame people can’t see past the “THOR IS A WOMAN!” and “CAPTAIN AMERICA IS BLACK!” buzzwords.

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Glasgow Comic Con 2014: THIS WEEKEND!

It’s that time of year again!  There’s a little less than a week to go until Scotland’s comic community comes together for Glasgow Comic Con.  The show will be at the CCA on Sauchiehall Street, on Saturday 5th July and Sunday 6th July. I’ll be at the con, promoting my various comic projects. You can find my table up on the Level 2 Club Room.

Like And Then Emily Was Gone? I’ll have the last remaining stock of the black-and-white small press editions of issues #1 and #2 before the colour edition debuts worldwide at the end of July (this may be your last chance to get those, as once this stock is sold out I won’t be getting any more!), and I’ll also have an exclusive black-and-white preview edition of And Then Emily Was Gone #3 – Glasgow readers will get to see it months before the rest of the world! I’ll also be selling a range of limited edition prints, which look stunning. Only available while stocks last.

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Like The Standard? Well, at last, the series is complete. The final two issues, issues #5 and #6, will be available to buy from my table, months before their general release, with convention exclusive covers. We also have limited stock of all the other issues to let readers get caught up on the whole series.

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Like Chris Connelly? Well, he drew the convention exclusive covers for The Standard #5 and #6! He’ll be sharing the table with me at the con to sign any copies of the books you buy. We’ll also be selling the first issue of our Glasgow sci-fi series, Bad Sun, and Chris will be selling some lovely original art, and – I believe – doing commissions.

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You’ll also be able to find me at a panel on the Saturday, at 12pm.  In the CCA cinema, I’ll be part of the “SICBA Best Comic or Graphic Novel: Meet The Shortlist” panel, hosted by Craig Nielson, where I’ll be joined by Colin Bell, Craig Collins, Gil Hatcher and Morag Kewell.  Come along to see us all chat up our various comics, and discuss the process of creating them and getting them out into the world.

All that, and my books are also nominated for a bunch of SICBA awards! The Standard is nominated for Best Comic, I’m nominated for Best Writer, and Iain Laurie is nominated for Best Artist for And Then Emily Was Gone. voting is open throughout Saturday 5th July at the SICBA voting booth in the CCA’s first floor bar. If you’re attending, make sure to vote!

Tickets for the show are still available from www.glasgowcomiccon.com. It’s always a great show, and this year we have top notch comic guests like Gail Simone, Howard Chaykin and Erik Larsen, as well as familiar faces from the Scottish comics scene. Come along, have a great time, and support one of Scotland’s fastest-growing creative industries!

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