Practitioners 7: Joe Madureira

As a catch up for all new visitors to Beyond the Bunker, we’ll be representing the original Practitioners series 1-55 (Simon BisleyChris Bachalo and featuring the most influential comic creatives in history). Thoroughly incomplete but featuring legends like Stan Lee, Jack Kirby, Frank Miller and Alan Moore already more will be hitting the site every two alternate weeks. For now though, sit back every Tuesday for a run-down of the men and women who created the comic industry we know today. (Or check the full list in the menus above). This week: 2000AD Legend and Judge Dredd creator Carlos Ezquerra.

A controversial choice this week with Joe Maduriera. Known to everyone as Joe Mad, Joe Madureira’s style combines Western comic book convention with the wildest and broadest Japanese manga style and has been creditted for helping the latter to influence the western comic book market in recent years – clashing the two in a way that has not been matched before or since. Most reknowned for his work on Marvel Comics Uncanny X-men he was a bold choice. His populist and cartoon-like visuals have made him a foil of ‘credibility-hungry’ critics throughout the years however the reason for his inclusion here is sheer, raw, distinctive talent, perhaps not his diligence on release of independent series as will be revealed below.

Few artists in the history of Comic Books (Jack Kirby, Steve Ditko, Frank Miller, Alan Silverstri all of whom will appear here) have had a bigger effect on the ebb and flow of the comic industry than Joe Maduriera with their own natural drawing style. He drew comics out of love of it and this is illustrated most clearly by how little there is to tell about his working history in the field. He arrived high up, splashed around – made his mark – and left.

Maduriera’s first published work was an eight page story for the anthology title Marvel Comics Presents featuring Northstar, a fringe character in the Marvel fermament. He became the regular penciller on Uncanny X-men in 1994 with issue 312, seeing through the formation of Generation X, the tenure of Sabretooth and the stuff of legend that is ‘The Age of Apocalypse’. His work even influenced the title itself. Archangel and Wolverine pitched headlong into an Eastern adventure in order to save the soul of Psylocke – an adventure that ran for three consecutive issues – involved none of the other characters, no Blackbird, no mansion and no other mutants. A complete departure from continuity that seemed in the reading as a neat excuse (as well as hinting at Psylocke’s oriental half-self’s mystical past) to showcase Maduriera’s distinctive and fun artwork.

Ultimates 3 (2008)

A hint at the effect his artwork would later have on the much later 2008 run of Ultimates 3 1-5 with Jeph Loeb. Critically and publically lambasted for its near total disregard for the conventions introduced and made popular by Mark Millar’s run on the series it was an enormous hit for Marvel. Its secret to longevity? The immersive and unabashedly shame faced comicdom taking place in every panel – the luxurious redesign of the character’s making the continuity jump worthwhile.

Battlechasers (2001)

It was his independent title, Battlechasers, published under the Cliffhanger label, which Madureira founded with J. Scott Campbell (Danger Girl) and Humberto Ramos (Crimson) that stirred the biggest fervour. Set in a high fantasy setting and utilising steam punk and sci-fi genres the story follows four central characters – most notably Red Monika and the outlawed War Golem, Calibretto. A simple enough premise but one that showcased Maduriera’s work faultlessly – which was exactly what he had in mind. It is this title’s production he has received the most criticism for, producing 9

Red Monika of Battle Chasers

issues in 4 years – constantly pushing up the value of the title rather than reducing it as fans anticipated the next instalment with ever increasing enthusiasm. He cancelled Issue 10 and placed the series on permanent hiatus after forming a game development company, Tri-lunar with Tim Donley and Greg Peterson.

Upon the announcement he would be returning to comics for Ultimates 3 he was asked about a conclusion to Battlechasers to which he replied ‘”one of those things that I think about every once in a while, and not having finished it bums me out… I would love to do it at some point, but it would be very far out.”

In July 2007, Vigil Games’ Darksiders was announced, of which Joe Madureira was creative director. It follows War, one of the Four Horsemen of the Apocalypse, on his quest to find out who prematurely triggered the apocalypse. It was released on Xbox 360 and PlayStation 3 on January 5, 2010 and September 23, 2010 on PC.
Madureira has also provided cover artwork for Capcom’s Marvel Super Heroes for the Sega Saturn and Sony PlayStation, and the Sony PlayStation game Gekido: Urban Warriors.

Battlechasers for Cliffhanger 2001

Dan’s Blog: Kapow Debrief

I was pretty tired in this photo. If you have a chirpier one of me, please let me know!

Kapow’s something of a special convention for us. The con’s first outing last April was also the first time that Moon saw action at a major convention and Kapow 2011 remains one of my highlights from last year. In the end Kapow 2012 turned out to be something of a mixed bag, not awful by any stretch but certainly a very different to last year.

It was pretty hard to get a sense of the overall vibe of the con as we were kinda tucked away in the new Artist’s Alley on the upper level but on the whole the atmosphere definitely seemed somewhat muted compared to 2011. That’s not to say that people weren’t enjoying themselves but the electricity which permeated the air last time was lacking and the audience numbers certainly looked to be down (though this is pure speculation).

Ultimately I think you have to put this down to the decision to postpone the convention until May in order to allow Marvel Comics to attend (they were a little busy in April with a certain movie). This move placed Kapow exactly a week before one of London’s other Goliath cons, MCM and just 2 weeks after the Bristol expo. To be fair, all three cons have slightly different audiences but cramming them all into one month was always going to force fans to pick one or two and both Bristol and Kapow appear to have been hit by this (though, let me again stress that this observation isn’t based on concrete attendance figures).

The Kapow Floor begins to fill up.

One thing that wasn’t lacking was the work that the guests and exhibitors themselves put into the event. Of the few events I got to see the Lucha Britannia‘s wrestling shows remain the highlight for me. Wrestling shows at comic cons have become a pretty common sight but the Lucha Britannia guys put on by far the best show I’ve seen in this country and I heartily recommend that you catch one of their shows if you get the chance. Jonathan Ross also continued to carve out a reputation as the ultimate convention guest, at one point even diving into the ring to help the good guy wrestlers win the day.

Lucha Britannia

Reactions to the new Artist’s Alley seemed to be kinda mixed too. Some people enjoyed the quieter atmosphere as it allowed them to talk to fans without clogging up the isle and certainly for the fans who found their way up there it offered a lot of opportunities to spend time meeting creators. Of course the down side is that not all the fans found all their way up there and because the layout didn’t funnel people directly past tables, it was tough for exhibitors to strike up conversations and ultimately sell books.


 In all honesty, use of the upper levels of the business design centre was inevitable given how crowded the main floor got during the day. I take some issue with the price that was charged for the tables in the Alley, given that they were always going to be inferior to the main floor in terms of sales. Other cons justify the existence of these less desirable plots by renting them to small press publishers and creators for a reduced rate. It’s a deal that works for everyone as you essentially get what you pay for. Kapow’s stance has always been that they don’t do small press and everyone pays the same for a table. This was fine last year, we paid a premium sum but we got a premium table in a premium location. This year however I can’t help but feel that we paid way over the odds for a less desirable location. Die hard critics will leap on this as “another example of Kapow stiffing small press” but I’m not sure I see it in quite such extreme terms. The Artist’s Alley was a new venture and it takes a year or so to work the bugs out of things like that. Jumping to conspiracy theories serves nobody and it’s far better to offer organisers constructive feedback than jump down their throats. So here’s the feedback, Kapow: The Artist’s Alley works, it’s a good addition but it’s too expensive and you need to make it clearer during the booking process that it’s located on the upper level…oh and if you could book even more luchas, that’d be great too.

While we’re on the subject of feedback, I want to offer one additional thought. Kapow, your wristbands suck. They look like creepy, escaped hospital patient bracelets and they are scratchy as hell (my poor wife has the scars to prove it and that’s just from rolling onto my arm in her sleep during Saturday night). Give exhibitors lanyards. Lanyards are cool, you can take them off at night and they sound like the name of a family from Game of Thrones. There’s no reason not to use them.

Scratchy scratchy!

On the whole, the weekend was a lot of fun for us. Despite the disappointment of our table, we sold reasonably well, met a lot of incredible Moon fans (seriously, you guys are incredible) and had a lot of fun. I want to send out some congratulations to Band of Butchers artist Rob Carey who not only successfully launched his Lightning Strike project but (justifiably) had big name editors drooling over his artwork. Never get tired of seeing people I know get recognition they deserve. Also want to give some thanks to Stuart Gould from UKComics for coming through again with some amazing print work for us. If you make comics and you don’t use Stu for your printing then you’re possibly mad.

Kapow closes down for the night.

I now have four days to “relax” by doing my day job, meeting with my film writing partner Jim Eaton to work on our next big project and finalising the new Unseen Shadows comic I’m doing and then it’s off to MCM for three more days of madness. I’ll be live tweeting the Eagle awards from @danthompson2099 on Friday and given how much free beer they gave me last time, this should be something that’s worth tuning in for.

Well done, Kapow for pulling off the difficult second album. There were some logistical issues but every fan I spoke to had a cracking time. Here’s to another year of a very unique convention.

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Avengers Assemble Trailer

 

If you’ve not seen it yet then sit down and prepare to freak out. Marvel dropped the best trailer yet for the upcoming Avengers Assemble movie. There’s a tonne of stuff in here that will be familiar to anyone who’s read Mark Millar & Bryan Hitch’s run on The Ultimates (you could almost say the two of them planned it this way all along), but that is far from a bad thing.

Seriously, this is a very cool trailer.

Avengers Assemble is out this May.

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Practitioners 50: Stan Lee (Part two)

In 2011 the first Kapow convention in London pulled together a line-up of incredibly popular and legendary writers and artists. Mark Millar, Frank Quitely, John Romita Jr, Lienil Yu, Dave Gibbons, Chris Hemsworth, the cast of Being Human, Merlin, Misfits, IGN stands, Marvel, DC, film previews and a Guinness World Record attempt. In 2012, arguably it’s main competitor has Stan Lee in his first visit to a British Comic Convention. People actually saw this as a coup.

Stan Lee, legend of legends appeared at the first Super Comiccon in February 2012 at the Excel Centre in London. The effect was enormous. In an industry trying to find it’s feet it had exactly the right effect. The event was an enormous success. The crowds were more mainstream than had previously been seen. You can claim a number of reasons for this but what it boiled down to was this – it was a chance to meet the man who changed the face of comics.

In the late 1950s Stan Lee was working for what was known as Atlas Comics. He was disgruntled, writing Romance, adventure, westerns, humour, medieval adventure, horror and suspense. By the end of the decade, Lee had become dissatisfied with his career and considered quitting the field.

A curious set of circumstances began to accumulate that was to fuel the creation of Marvel Comics. In DC, Editor Julius Schwartz had run into considerable success with the updated version of the Flash, reviving the superhero archetype, and later had the same success with the Justice League of America. In response to this, publisher Martin Goodman asked Lee to create a new superhero team. Lee’s dissatisfaction with the industry was now turned into an advantage. With his intention to leave comics and with nothing to lose, Lee’s wife urged him to experiment with stories he wanted to write. It was here that the crucible of the entire Marvel Universe was formed. Lee, who, having dutifly worked for comics since he was 19 was about to change every rule.

Lee acted on the advice, giving his characters a flawed humanity, a leap from the god-like archetypes that had been striding the pages of superhero comic books. Lee introduced complex, naturalistic characters who could have bad tempers, melancholy fits, vanity; arguing amongst themselves, but crucially propelled downwards at terminal velocity back to the streets of the real, now forced to worry about bills, relationships, homework. The Superman had been knocked off his perch, dressed as Clark Kent forcibly and told to work his way back up to Superman. Champions were no longer heroes by right; Lee brought the demi-gods of Golden Age comic books back to their literary roots. They were now subject to heartache, anxiety and could even get physically ill. These aspirational figures had become accessible. No longer beyond the reach everyone on the streets, they are everyone on the street – struggling with the same impassable issues we all do.

The first was the Fantastic Four. Workaholic Reed Richards, brash and impetuous Johnny Storm, thuggish and crude Ben Grimm and the occasionally ferocious Sue Storm were hammered with cosmic rays and thrown back to Earth where they respectively gained the powers of elasticity, fire and flight, invulnerability, super strength and impervious rock skin and invisibility. The combination of super powers and real life drama is reflected now in the popularity of supernatural and superhero TV shows. It proved a flawless and undeniable combination; real life issues and concerns propelled into battles with monsters, investigation of interdimensional travel and space giants!! The most noteworthy character was Ben Grimm, named ‘The Thing’ thanks to his new found craggy demeanour. Reflected in his personality, his is in fact a science fiction story of a successful, confident figure being faced with dismemberment. Susan Storm’s feelings of abandonment by the man she loves and his lack of understanding as to why his work isn’t more important to her are universal ideas, locked in high literature and TV soaps. When the emotional story lines might dip in other genres now there were Mole Men to smack down, or intergalactic heralds declaring the arrival of a globe threatening natural disaster.

The Fantastic Four’s immediate popularity led Lee and Marvel’s assembled Marvel Illustrators, including Steve Ditko, Bill Everett and led by Jack Kirby to create a field of dreams that would outlast almost every other book on the market. With Kirby, primarily, heroes known throughout the world, representing ideals and concerns and fears recognisable to everyone began to appear out of the smoke of heady creation. Bruce Banner saved Rick Jones moments before a Gamma blast irradiated him and created the angry, defiant, thundering Hulk, genius inventor Tony Stark meets his greatest fears as he is forced to create a metal suit to save him from shrapnel wounds to create Iron Man, the mutant X-Men are assembled in a Westchester School of Higher Learning by Professor Xavier, Lawyer Matt Murdoch gains super senses as a result of losing his sight as a young boy, swearing to represent justice at both ends of the spectrum. Captain America returns from the icy seas of the North Atlantic, Namor is resurrected from war-time comic books, the Norse God Thor appears from the thunder and the Avengers are formed. Finally with Steve Ditko, Doctor Strange – an arrogant doctor who loses his hands and uncovers, in his desperation to regain them – the art of mysticism and finally, the figure that represents most clearly Stan Lee’s ideals.

Lee had been watching a fly crawling on the surface of a window and ‘marvelled’ at it’s ability to move as it did. Imagining a man capable of the same thing he decided that ‘Fly-man’ had little appeal however perhaps a ‘Spider-man’ would have a better time in the cavernous streets of Manhattan.

Stoic, brave and heroic, Peter Parker is the absolute embodiment of the Marvel ideal and it’s most successful character. Representative of every one in America, his struggles are real, his fears and worries palpable and his capacity to overcome them unlimited. Parker is the little guy, the sickly, victimised orphan boy mollycoddled by his Aunt, he is clever and brave but struggles to utilise either. With the bite of a radioactive spider, Peter Parker gains the proportional power of a Spider. Over the years Spider-man has fought every major villain in the Marvel Universe, wise-cracking all the way in a fit of denial as to the situation he is throwing himself into. Those idiosyncracies and habits are real. The overcompensation of Peter Parker to be Spider-man on the battlefield historically irritates more seasoned, honed fighters but that’s the point. He’s no professional. And Lee understood this and presented a boy trying desperately to keep up with the lot life had shown him, without realising, as so many of us do, how capable he always was. The perpetual underdog, Spider-man shines with a humanity that Lee gave him more than half a century before – and one that will never dim. Editor-in-chief Joe Quesada’s decision to scrub out Peter Parker’s life with Mary Jane, his wife, was one of genuine affection and a need to return to the vulnerability that Lee had imbued him with previously. While the character was growing, it was the innate lack of experience that Lee had given him that made Spider-man such a mainstay character and it’s testament to Lee’s decisions so long ago that Quesada felt the need to reset it.

The other defining characteristic introduced by Stan Lee was that of a shared universe. This connected all of the various characters together in a way that united the creators and readers in a way. A community could now be formed around that universe. Based in the real world, the cities were those that the readership woke up in every day. The Human Torch left a message for Spider-man across the sky over the real Manhattan. Gods walked amongst men in a way unseen. The Hulk smashed in real states, not the purpose built spires of an imaginary city such as Metropolis, Gotham or Coast City. It also reduced the level of destruction that took place in the confines of the books which bred greater creativity in developing the plots. It turned the real world, in particular New York into a sandbox world to be played with, both recognisable by real and fictitious characters. It raised the stakes as well as the events taking place had the potential to end everything we all knew. Galactus would devour our homes and towns. The nuclear threat created by Magneto would radiate part of our planet. These were gods given consequences.

While Superman’s Metropolis had been laid to waste by Doomsday and flood and rebuilt, Batman’s Gotham destroyed by plague and earthquake and Coast City decimated by star ship as a mere plot point someone else’s story in order to facilitate a plot that would bring back Superman in Stan Lee’s Marvel Universe a single school is destroyed in middle america in a dust up between super powered ‘heroes’ and ‘villains’ and the effects are far more divisive and far reaching than the destruction of an entire state in DC. Stan Lee gave Marvel pathos, real life drama, boundaries and greater emotional punch. He gave us figures that could bring down buildings but crack under emotional pressure. He gave the super humans their humanity. It is something that cannot be undervalued.

Stan Lee’s Marvel revolution extended beyond the characters and storylines to the way in which comic books engaged the readership and built a sense of community between fans and creators. There has been some dispute as to the creative credit associated with his works – particularly in the case of projects with Kirby and Ditko, however Lee did more for creative credit than any other editor previously. Lee introduced the practice of including a credit panel on the splash page of each story, something now adopted into every book brought out in some manner, naming not just the writer and penciller but also the inker and letterer. This has fuelled fans of writers and artists as well as characters, titles and companies over the years and has really allowed articles such as The Practitioners to develop. Regular news about Marvel staff members and upcoming storylines was presented on the Bullpen Bulletins page, which (like the letter columns that appeared in each title) was written in a friendly, chatty style. Lee had made the Marvel Universe friendly and easy to visit – his welcoming and inclusive style and his love of people clear in his approach to how he ran this company.

Throughout the 1960s, Lee scripted, art-directed, and edited most of Marvel’s series, moderated the letters pages, wrote a monthly column called “Stan’s Soapbox,” and wrote endless promotional copy, often signing off with his trademark phrase “Excelsior!” (which is also the New York state motto). To maintain his taxing workload, yet still meet deadlines, he used a system that was used previously by various comic-book studios, but due to Lee’s success with it, became known as the “Marvel Method” or “Marvel style” of comic-book creation. Typically, Lee would brainstorm a story with the artist and then prepare a brief synopsis rather than a full script. Based on the synopsis, the artist would fill the allotted number of pages by determining and drawing the panel-to-panel storytelling. After the artist turned in penciled pages, Lee would write the word balloons and captions, and then oversee the lettering and coloring. In effect, the artists were co-plotters, whose collaborative first drafts Lee built upon.

Because of this system, the exact division of creative credits on Lee’s comics has been disputed, especially in cases of comics drawn by Kirby and Ditko. Lee shares co-creator credit with Kirby and Ditko on, respectively, the Fantastic Four and Spider-Man feature film series.

In 1971, Lee indirectly helped reform the Comics Code. The US Department of Health, Education and Welfare had asked Lee to write a comic-book story about the dangers of drugs and Lee conceived a three-issue subplot in The Amazing Spider-Man #96–98 (cover-dated May–July 1971), in which Peter Parker’s best friend becomes addicted to pills. The Comics Code Authority refused to grant its seal because the stories depicted drug use; the anti-drug context was considered irrelevant. The comics sold well and Marvel won praise for its socially conscious efforts. The CCA subsequently loosened the Code to permit negative depictions of drugs, among other new freedoms.

Lee also supported using comic books to provide some measure of social commentary about the real world, often dealing with racism and bigotry. “Stan’s Soapbox”, besides promoting an upcoming comic book project, also addressed issues of discrimination, intolerance, or prejudice. This has been seen throughout Marvel’s history as writers introduce plots they feel particularly strong about, Peter David’s continued inclusion of gay and lesbian agendas in his work from The Incredible Hulk and X-Factor has allowed a subject he feels strongly about be presented in an unusual but popular medium. That, in part, is thanks to Stan Lee’s years of effort and devotion to putting out positive messages of tolerance and civility.

But it is Stan Lee’s lasting legacy (one that he still fuels) that has elevated him above other writers, artists and creators. His relationship with his fans and his creations have made him synonomous with them. If you type in Stan Lee into any search engine, the majority of the images generated will be of the man himself; as famous as any one of his creations. That was what we saw at Super Comicon in London on February 25th and 26th in 2012. A man who allowed millions to dream of seeing a man fly through the sky on rocket jets – but more importantly – made it clear that they could just as easily be that man themselves.

Next: The Legacy of Stan Lee.

Comics, Controversy and Joe Quesada. Full Kapow Guest List Announced!

Ever since London Super Comic Con announced Stan Lee as their guest of honour, all eyes have been on the UK’s other big cons to see how they would respond. Well, the first retaliatory shot in the (largely imaginary) battle for convention guest supremacy has now been fired as Kapow Comic Con announced today that Marvel Chief Creative Officer, Joe Quesada will head up their own guest list. Now in its second year, the Mark Millar fronted convention is seen by many as the closest match (in terms of style) to the new born LSCC, so a lot of people have been very excited to see what kind of guest list Millar’s team would pull out in the face of LSCC’s behemoth of a line-up.

As well as serving as Editor in Chief for 10 years, during which time he masterminded much of the modern Marvel universe, Joe Quesada is also a hugely celebrated artist in his own right. A feature that we ran back in October, collecting a selection of his “building the cover” tweets, remains our highest ranking post (largely due to Joe himself being kind enough to give us a shout out on twitter and facebook). While he may not be a household name in the way Stan Lee is, Joe Q is a massive guest in comic book terms and a lot of fans are going to be very happy indeed about this announcement.

Other guests announced for the show include Warren Ellis (another good catch as he’s a relatively infrequent convention attendee), Frank Quitely, Frankie Boyle and Jimmy Carr (who apparently wrote some stuff for CLiNT Magazine). It’s not a list devoid of controversy (it is a Mark Millar project after all) and the failure (once again) to feature any female creators is unlikely to do Kapow any favours when it comes to silencing some of their more vocal critics (the con has been accused of deliberate sexism in the past). Likewise packing the top of the bill with stand up comedians while relegating writers and artists to the lower rungs could be seen as something of a cynical move for a convention that claims to be all about the comics. On the whole though, it’s a pretty solid line up and the majority of fans should be pretty happy.

If you want to learn more about Joe Quesada’s work then you can check out his Practitioner’s article and you can buy tickets for Kapow itself from their website.

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Avengers Superbowl Trailer

The Superbowl has long been the forum for débuting  new adverts and movie trailers and this year was no exception. With the Avengers film just a few months away, Marvel hit the screens with a brand new trailer offering more plot hints, more footage and much more Hulk.

It’s looking more and more like the the film will draw extensively upon Mark Millar & Bryan Hitch’s run on The Ultimates, but that’s not exactly a bad thing.

 

Avengers comes out this May.

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BTB Awards: Best Convention

This was, in all honesty, about the toughest category that we’ve had to face in the process of putting these awards together. Before launching Moon earlier this year, Steve and I’s experience with comic cons could at best be described as “limited” and the past 12 months have been something of a culture shock. We’ve had some great experiences and some not-so-great ones (though it should be said that on the whole it has been almost entirely positive). The UK convention scene is incredibly varied and knowing how to go about ranking these events has proven to be something of a challenge. The two events that we’ve chosen to recognise are about as far apart as its possible to get but in their own ways I think they both demonstrate some of the best aspects of what conventions have to offer.

Winner – Thought Bubble

Thought Bubble is a week long sequential art festival which is held in Leeds every year. The comic con portion of the event runs for two days across two convention halls. Very much a fan run convention rather than a commercial venture, Thought Bubble focuses on the artistic aspects of comic books and tends to lean more towards Indy books and UK publishers. That isn’t to say that TB lacks big name creators, this year saw appearances from the likes of Gail Simone (Batgirl, Secret Six), Kieron Gillen (Uncanny X-Men) and Adam Hughes (Catwoman).

The odd thing about our love for Thought Bubble is that we very nearly didn’t go. Beyond The Bunker is London based and while that’s great most of the time (I can actually see the Excel Centre from my window) it means that trekking up to Leeds for a weekend is quite an expensive venture. They say that publishing Indy comics isn’t about the money and, while that’s true to an extent, it’s also true that you only get to print your next comic if you make a profit on the last one. Blowing a chunk of our summer’s profits on an adventure up north seemed like a risky play so close to the print bill for Moon #2.

In the end what convinced us to take the plunge was the astounding amount of goodwill towards the con that flowed from almost every creator we met. At every con we visited we bumped into people who raved about Thought Bubble at every opportunity and, having now attended it ourselves, I can see that they were exactly right to do so.

Me holding down the fort in between sprinting into town for more change

What makes Thought Bubble so good is the way it flawlessly balances scale with intimacy. At two days in length and two halls in size, Thought Bubble is just as big as its London counterparts and its guest list is easily as impressive (more so in many cases as the London cons tend to focus on film and tv guests). You could quite happily skip every other con and walk away from TB with a comprehensive convention experience. At the same time though, the event still feels like an intimate social experience where you share a pint with the creators, attend panels on niche subjects and discover a range of incredible Indy books. It is this combination of size and soul that make Thought Bubble such a joy to attend both as an exhibitor and a fan and it’s a worthy winner for this award.

Runner Up – Kapow!

At the other end of the scale lies our runner up, Kapow! The Mark Millar backed mega-con held its debut event this past April at the Business Design Centre and promised to bring the San Diego experience to the UK.

Kapow certainly lacks the intimacy of Thought Bubble. It is (by its own admission) entirely focused on big names and big companies with small creators offered almost nothing in the way of incentives to attend. But what it lacks in small town charm it makes up for in raw star power and polish. With the likes of John Romita Jr, Frank Quitely and Jonathan Ross in attendance as well as booths for several major publishers and studios, Kapow absolutely delivered on its promise to provide something new. While many cons this year had a great atmosphere, nothing could match the sheer excitement and electricity that permitted the air at Kapow.

Kapow 2011 at the Business Design Centre in Islington, London

Sure, there were teething troubles – a somewhat unbalanced guest and badly managed queues succeeded in putting a few noses out of joint – but given how ambitious the project was, these are perhaps acceptable niggles for a first show.The thing that Kapow really shares with Thought Bubble is in how vocal its supporters are. While there seems to be no shortage of people who were happy to write off the con in absentia, I have yet to meet somebody who attended it and didn’t have a great time. Much like its surrogate father, Mark Millar’s convention isn’t subtle but it sure as hell kicks ass.

Check back tomorrow for another BTB award!

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Kapow Comic Con Line Up Announced!

The official site for Kapow Comic Con 2012 went live today and with it came not only this rather groovy trailer but also some details of the first round of guests. Fans who make their way to the Business Design Centre in North London next May will be able to rub shoulders with the likes of Frank Quitely, Dave Gibbons, (Marvel head of talent) C.B. Cebulski and many more. Kapow spokesman Mark (Kick Ass) Millar has promised an even bigger show next year which, given how good this year’s show was, is a big promise.

There’s already some negative buzz starting to circulate regarding the lack (or rather total absence) of female creators on the initial bill but with the full line up not due to be announced until February, there’s plenty of time to rectify that. the real challenge for Kapow this year will be how it’s supposedly gold standard guest list fares against Super Comic Con’s impressive line up.

Needless to say, Beyond the Bunker will be there. So if you are thinking of giving Kapow a go (and you should, it’s fantastic) then be sure to drop by and say hi

For full listings, check out the KAPOW WEBSITE!

See you there,

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BTB Investigates: Is Thanos the real Avengers movie bad guy?

The previews for The Avengers movie next year reveals the expected obliterated New York / Chicago / Seattle streets and the various Avengers charging into battle looking pouty and slightly impractically dressed and the suggested central bad guy, Thor’s half brother, Loki, flailing about in a cloak looking fairly imposing in a way an impish theatre actor might in a storm scene on stage. While we’re looking forward to the Avengers movie based on what we’ve seen – I can’t help but think that there’s an absent power behind the throne on this one. There’s a few reasons for this one:

  • Joss Whedon, assigned to direct this little number, is not one to work on a one threat script. Whether it’s Firefly or Buffy or Angel, it’s the initial threat, usually controlled by a shadowy puppet master and then often revealed to be a cosmic threat of unimaginable power. Not just that, he has a wry sense of humour and an acute understanding of what audiences like. He’s also a populist. Unafraid to do what is cool and follow expected narratives, he is a creature of loose habit. His plot structures have always incorporated big and very charismatic entrances of large scale bad guys. He’s also got a history of abstract and old school sci-fi and horror influences in everything he does, usually taking the source material and advancing it to be acceptable to TV/ Movie audiences.
  • Marvel has shown increasing bravery in bringing forward obscure characters from it’s ranks in it’s current spate of films and dealing with broad and fun themes rather than taking themselves too seriously. They also stick pretty close to source material and introduce figures that represent the proper threat for the development of the character.
  • The Avengers themselves have to be facing a threat on a scale that tests them well enough. Thor alone beat Loki. Loki is not a threat. The Hulk is clearly being held in reserve until the effects are finished but who is he going to face?
  • Mark Millar’s Ultimates is informing the Avengers. While there is an invasion of fantasy hordes in Ultimates 2 which may well fill the gap, it’s been well done and may still happen without undermining the theory that it’s Thanos that’ll step into the fray. An Alien invasion isn’t discounted either as appeared in Ultimates 1 and the Nazis might still be involved. Hard to say. Point is extra terrestrial or god attack, it doesn’t matter, Thanos is attached to both.
  • Rumours state that Thano’s glove from the Infinity Gauntlet series is visible on the Avengers set photos. Thanos brought the entire Marvel Universe to a standstill in the early ’90s as he took hold of the Infinity Gauntlet and threatened to destabilise the universe. A threat easily big enough to justify a call out at Avenger’s towers.

But why Thanos? 

Thanos is a being of credible bad that has sulked, skulked and schemed his way around the backwaters of Marvel’s cosmic universe, occasionally bringing the whole thing into doubt with his plans. Lover of the dubiously aged Death and as such effectively immortal, he is a corrupted Titan, a shrugging destroyer of time, space and any sentient being stupid enough to wander into his path. He’s Marvel’s Lobo. He has a death grin, incurable curiosity for how much chaos and death he can cause and how brilliantly he can destabilise the powers of the universe. For fun.

  • He’s a cosmic being and a god. Thor made it clear that Valhalla was a realm in space, responsible for galactic peace. Thanos is a deity on par with the Frost Giants. A corrupted and deformed child of gods. As the story goes according to Marvel.com – On Saturn’s moon of Titan lived a colony of Eternals, and Thanos was born as one of the last sons of the original colonists, Mentor and Sui-san. However, he was born misshapen and monstrous in comparison to the other Eternals, particularly his handsome and carefree brother, Starfox.
  • He is a collector of Cosmic Cubes. The one connecting link between all of the films (excluding Iron Man) is the Cosmic Cubes. The Red Skull was killed by it, underestimating it’s power in Captain America while the Cosmic Cube was cared for by Odin and stolen by Loki at the end of Thor. Thanos has long been associated with the cosmic cubes – which he aquires and uses regularly to keep causing trouble.
  • He’s just returned to the Marvel Universe in a plot involving a cosmic cube. Guardians of the Galaxy, while a lesser known title outside the industry is critically acclaimed and one of Marvel’s most consistent books. Returning wild and beserk, Starlord effectively punches him in the face with it to bring him down. But the fascination with the Cosmic Cube is obvious in the character and clearly a fundamental aspect of Thanos from the view of Marvel.
  • Abnett and Lanning aren’t writing him in the usual way. Thanos has never been hailed or fanfared like a galaxy spanning threat, narratively. Thanos is a tinkerer and walks in from the side lines to see what he can get away with. That wry curiosity and mischievousness was always the defining characteristic of Thanos. Even when associated with the destruction of butt loads of planets, Thanos is intellectually involved but never held up as a purveyor of all-hell-breaking-loose. But Thanos has been elevated this time. He’s not stronger, Thanos was always tough. He’s not more imposing, or larger. But the way he’s being written this time round suggests a greater awe, as if this character is just about to lift beyond his station in Marvel. It’s not uncommon, Iron Man, Thor, War Machine have all had massively increased status in the universe since seeing celluloid. Is Thanos gonna get the same treatment?

Thanos is a great bad guy and although the natural resistance has been removed now that Marvel is under the Lassetter banner of Disney and internally responsible for it’s own brand there would be sensible resistance at using an obscure, radiator chinned, purple god with a chip on his shoulder as the central pivot for a major blockbuster that’s never been tried before. Abnett and Lanning’s response is likely a reply to the existing rumours that Thanos almost got a big screen appearance.  The contrivance of plot that would be needed to introduce a second disgruntled child of the Gods when any sensible writer can apply the same emotional palette to the existing character without dropping a stocky, purple, alien gorilla face with 1980s shoulder pads into the action. But it’d Thanos. Against the Avengers. Directed by Whedon. Keep wishing guys but in all liklihood it’s just too cool to risk.

Moon Returns to Kapow Comic Con!

We’re very happy to announce that Beyond the Bunker will be returning to the Kapow Comic Con next May!

Launched by Kick Ass/Ultimates writer Mark Millar earlier this year, Kapow has already secured its status as one of the UKs top comic cons. It’s a grand day out and (unlike some other cons) is designed to appeal to both hardcore fans and casual fans alike. It’s a fantastic event and we’re really excited to be a part of it.

The Kapow website is in the process of being updated ready for the event but keep one eye right here on the bunker for updates on the guest list and other Kapow related news!

Kapow 2011 at the Business Design Centre in Islington, London

See you there!

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