Posts Tagged ‘UK small press’

New Drake Ullingsworth Comic!

Monday, July 24th, 2017

New Drake Ullingsworth comic!
Published July 2017
36pp, A4 size, glossy covers, interiors with halftones

“Drake Goes Into The Underworld, Becomes a Demon and Also Meets King Shop”

Price £5.00 plus post
Click the Lulu icon to order your copy now

Drake Ullingsworth, the psychic detective with the talking dog, is one of Ed Pinsent’s oldest characters, originally invented in 1983.

This all-new story takes a wry look at the modern world encroaching on Drake, who now feels himself to be an old relic and out of step with society. He is beaten up and taunted by young people in society and alienated from the joys of shopping. Despite this, the forces of monopoly capitalism embrace Drake as one of their own, and he’s recruited by the mysterious King Shop to serve time in the Iron Mall, a new shopping development. Simultaneously the agencies of the underworld, as epitomised by streetwise kid “Mor”, drag Drake into their subterranean world, eventually transforming him into a flying demon. Drake’s Dog, aloof from all of the action, observes life from the safety of his lair in the cloud.

This story’s got everything…violence, urban decay, flying devils, mobs running riot in the streets, supernatural dark forces, an overpowering television presence in the sky, and ubiquitous mobile phones. Only Drake can see what’s really going on, or so he thinks. Here we see the sense of doubt.

New Illegal Batman Comic

Tuesday, August 9th, 2016

003

Available now at Lulu.com

lulu-logo

Batman copyright and trademarks are owned by Warner Brothers and DC Comics. Illegal Batman Meets The Man Behind The Curtain was written and drawn by Ed Pinsent in 2016 and is a work of fan art. Please direct any questions to the artist.

Please note: I am making zero profit on any sales, and the cost of ordering / shipping reflects the prices Lulu.com charge for creating the book and sending it to you.

More additions to the galleries

Saturday, August 18th, 2012


Found some more A4-sized zines to scan into the galleries. This upload includes the remaining issues of ZUM!, the UK small press review zine of the 1990s; plus most of my collection of Savage Pencil comix. Links below.

Additions to cover galleries

Friday, August 17th, 2012

Some more comic cover scans added to the following galleries today:

Gallery additions #2

Sunday, July 10th, 2011


Created a new gallery for 1980s UK article zines; these are mostly text-based reviews and interview fanzines. Not quite in my line as they mainly covered genres of comics which held little interest for me personally, but AKA was a very incisive and well-written Scots publication; the 7th issue has an extremely readable interview with Harry Harrison, the science fiction writer who worked in comics in the 1940s. It ends with his scathing comment about working in the industry at that time: “It was utterly boring, you know, I was very glad to leave it behind”. Also published in this issue was the two-pager by Graham Johnstone, ‘Dead Trees’, his experimental rendering of a brief excerpt from L’Etranger by Albert Camus.

Catalyst was edited by Norman Herrington in Sussex. I’m not sure if it went beyond two issues. The magazine folded out into a large poster, with each panel of the folded page containing one short article; it covered small press and more mainstream comics in its reviews. In #2, I contributed short articles on Joost Swarte and Asterix.

Probably more titles to come; watch this space.

Gallery additions #1

Sunday, July 10th, 2011


Some additions to the UK small press gallery of A5 comics…this includes some issues of Automatic, a 1990s venture seeing an editorial collaboration between Darryl Cunningham and Rich Holden, representing the work of artists in the north of England.

Burton on Flickr!

Monday, June 13th, 2011

Lawrence Burton has made a large number of his small press comics available on Flickr. He’s uploaded some very hi-quality scans up there, enabling anyone to download and read his comics for free. There’s also a set containing one-off gags, drawings, cartoons, drafts and sketches – over 300 images!

A few examples are linked below, but once you browse the photostream you’ll find more things, including examples of his Mexico paintings.

Additions to comics galleries

Monday, March 28th, 2011


Added a sizeable number of scans to the A4-sized comics galleries, including Witch #2, Velocity #6, Scenes From The Inside, Beathag #1-4, Dark Tales, and numerous issues of Mauretania Comics. The work of Chris Reynolds and his friend Paul Harvey is, to me, one of the most singular achievements in the world of the UK small press, although I realise you might not appreciate this from seeing the covers alone (even though they are beautiful). One of these days an appreciative essay is in order. In the meantime, please browse the covers in my collection (I’m shattered to realise I’m missing a few issues). Issues #1-3 are photocopied A4 size; it went to US comic book size for issues #4-6, then settled on a magazine digest size until #16, which might have been the end of the run. The books were professionally litho-printed by Robert Blamire, the third partner in the Mauretania triumvirate. To me, the cover to #8 is just sheer perfection.

Fast Fiction info sheets

Sunday, February 27th, 2011


I’ve started to add scans of the Fast Fiction info sheets, which I hope will do something to enhance readers’ understanding of the history of the UK small press. These four-page pamphlets contained listings of small press comics as they appeared, offering what was then a form of “instant” recognition. As Nick Jones has expressed it, “Fast Fiction was the name of the ’80s scene’s mail order distributor (with Elliott and Pinsent in command, as well as Paul Gravett), not to mention the name of the table the outfit had at the regular London Westminster Comic Marts. Essentially, Fast Fiction was the hub around which countless small press comics creators twirled, and the means by which one bought small press comics back then. The way it worked was, you either bought comics off the Fast Fiction table at the Westminster Mart, or picked up one of their four-page flyers, chose the titles you liked the look of, and sent in your order form and money.”

My collection starts in October 1982 with #7 of these sheets, which marks the date when I first went to the Westminster Mart. If anyone has copies of #1-6, please get in touch. I’ve scanned everything quite large to allow for maximum legibility, although the text isn’t OCRd (if you read them, you’ll understand why). Later years will be soon added to the resource, so watch this space.

Illustration on this page is © Eddie Campbell 1983/2011.

John Watson

Saturday, January 15th, 2011


Continuing the galleries for UK small press mini-comics, I’ve started a page for John Watson. 16 covers up so far; more to come from this exceptionally wonderful and talented illustrator. As an introduction to this artist, here’s an appreciation I wrote for him soon after his death in 2002. It was published, along with other tributes, on the occasion of an exhibition of his work.

John Watson (2002)

John Watson was an exceptional artist, and one with a quirky side which he exhibited in an extraordinary series of small publications. Between about 1986 and 1988, John produced at least 25 titles of these small-run pubs, most of them under the general title SPY. Other titles included HUMP, CUCKOO, OVO, FLY, MONSTER, NOSE, MOUTH and HUM. I helped to sell these through the Fast Fiction distribution system which I was operating at the time. John’s little publications were sold as mini-comics, although they weren’t strictly comics at all. Usually xeroxed onto sheets of A4 cream or blue paper, they unfolded to reveal – not a strip cartoon, but a huge sprawling imaginary landscape, peopled with weird semi-human creatures parading around bizarre, twisted cities and crazy ramshackle buildings. Characters spoke in word balloons, but that’s about the only concession to conventional comic strips John made. He never told a story and never had a recurring character.

Everyone bought the SPY series and came back hungry for more. No wonder. These tiny slices of oddness were addictive – I think that nobody (myself included) could quite figure out what was happening in them, and we just kept reading to try and get onto John’s wavelength. Sure, they promised plenty laughs. The characters looked superficially like ‘bigfoot’ cartoons; but a closer look revealed them as ingeniously delineated grotesques, positively reeking of ugliness. His one-liners promised conventional gag-joke hilarity; read them carefully, though, and they turned out to be absurdist utterances, each one operating with a bizarre, self-cancelling logic.

I’m looking again at the SPY comics now after some 12-13 years, and find they are steeped in fairly dark, bleak observations on the human condition. At the time I used the phrase ‘life seen as an energetic pageant of lunacy’. John wasn’t a bitter man. The callous indifference and casual selfishness of his characters is observed, not with a Swiftian despair, but with a complaisant shrug. John was preoccupied with the way human relations didn’t really work. All his characters fail to communicate; instead, they speak in twisted versions of well-known phrases, mostly to themselves (I can’t recall a single dialogue taking place in any SPY). Suicide is the life-option of many of them; usually they do it by leaping from one of Watson’s many bleak tower blocks, to the general indifference of the remaining populace, who either don’t notice, or don’t understand.

John couldn’t escape the physicality, the dirt and filth of human relations; most of his characters stink, and cheerfully discuss their smelliness with each other. If there isn’t any stink, John will find some to dig up; even his buildings proudly displayed their huge sewage pumps, spewing effluent onto the streets. Perhaps he found human behaviour too clinical; we all like to hide our feelings, but John’s SPY would dig them up and make us wallow in them. Maybe he used stink as a metaphor for real emotion. I think this also informed his totally idiosyncratic take on sexual relations. I can’t figure out if John found sex completely absurd, or dangerous and frightening, or all three. He stopped short of drawing it in a vulgar way, but he found other ways to really let fly. Never afraid of huge phallic symbols (or breast substitutes), he allowed his characters to develop enormous growths and protuberances which were little short of nightmarish. The nose was his favourite penis-substitute, but long worm-like necks and tentacles also abounded. These growths acquired a life of their own, literally. Lust In Space depicts a half-human, half dustbin-robot with the ubiquitous Watson condom on his nose, while his sex organ has grown a pair of feet and walks ahead of its owner, boasting ‘My mental capacity is as big as my sexual capacity’. There aren’t many artists short of Hieronymous Bosch who could pull off an image like this.

I always wondered if John was troubled by what he saw as a basic lack of compassion in the world – certainly nobody in SPY world exhibits much in the way of love. Rather, everyone seems motivated by need. Basic human needs – they’ll use each other for sex, but in the end will settle for anything they can get their hands on. ‘Can I have your tin of beans?’ they ask one prospective suicide. The most touching statement he ever made was on a visiting card. ‘Your heart doesn’t work properly until it’s been broken’.

John Watson – the Spy in the House of Lust!