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A4 Issue Four

If you prefer you can download the pdf here.

My unending gratitude to Matt and John Yuan (deputy publishers of 1First Comics) who volunteered way back on issue 1 to proofread (off the back of a plaintive twitter plea) and ending up both being great proofreaders and even better editors - constantly encouraging and giving little notes that never alter the fabric of the story but always help.

Stories this issue:

Notifications, Memories of War, Cold Caller, The Civil War, The Monster, Sign Unseen, Ghosts.

A4 Issue Four Notes!

Gah, two stories with War in the title. So annoying. Hadn't spotted it until now, but there it is. It will be my eternal shame.

There were two things drilled in to me from English lessons in secondary school (which I did rather enjoy, I loved writing, and was told to apply for O-Levels early, so I did, and then I didn't do any work because I was fundamentally lazy - so failed it) anyway, the two things: never use the word got/gotten (I think this was my teachers personal bugbear, with teenagers writing "I got given a book then got a clip round the there and got out of there, before he got me" even I'm uncomfortable seeing the word "got" in anything I write) and never repeat a word if you can help it (obvious "I", "and" and so on are all fine). So two wars. Not good. Am annoyed. (Should point out, this is entirely a quirk of my own making!)

From hereon in there will likely be spoilers!

I had planned on a halloween all horror special - or at least as best as I'm able, but of course, I couldn't quite come up with every single story as a horror, so let's start with the least horror like story:

Notifcations

I suppose this and Ghosts share a very common through line, rejection and knowing the person who rejected you never even thinks of you. For a full exploration of this idea, watch the amazing "The Eternal Sunshine of the Spotless Mind".

Memories of War

There's a lot going on in the world, and much of it can be traced back so far that you'll never find the beginning point (hello from Northern Ireland!) - and the question is, if everyone lost their memories would those wars still continue. (this story optimistically says we'd all stop, I have a horrible feeling we wouldn't)

Cold Caller

Phew! Lighter fair! Actually there's a different story that uses the same sort of idea (the no-hawkers caveat that many people have at their door) I've been sitting noodling as a short comic for a few years (how many? oh man, it's embarrassing to tell - but let's say I first thought of it pre-pandemic) it would be far too long to do as one of these stories, so this slightly different version of it popped in to my head.

I am pretty proud of that title though, it came late - after I'd written a bunch of the stories and I was thinking "gah, now i need a title" and ping! there it was!

I did want to do stuff that was just a smidge lighter than last issue, because I've been told some of this stuff is DARK. I think of it all in the abstract, words on paper rather than real monsters. But we're haunted by the real and the imaginary, I suppose.

The Civil War

I saw a writer (a good writer;   it'll be a good book) talking their new Zombie book and it got me thinking, that zombie stories tend to be the ultimate "yeah of course I was the assehole prepping for the end of the world, and look, I WAS RIGHT" and I thought "what if instead of it being zombies, it's that everyone was just really really nice to each other ... oh... those asseholes wouldn't change..."

The Monster

I'll be honest, andI bet readers can tell, I shoehorned frankenstien in too this (because I wanted monsters, dammit)

Here's my orginal story idea from the apple notes app:

He had fragmented himself, Pumping his entire written and audio corpus through AI Large Language Models, and created an army of bots, one for each of the balkanised social media platforms. And he was finally free. Free to get on with work.

Is it better? it might be.

Sight Unseen

This could be policitical satire, I suppose. In the hands of a better writer. Instead it's simply a piece of fiction.

Ghosts

Gotta be honest, I just loved the shape and sound of the story. I love that it works on a couple of levels.  It pretty much came out fully formed, and so short. Honestly this is the joy of these shorts, there's not an ounce of fat on the idea, there's no point trying to extend it, and there's a sort of poetic quality to it. Anyway, might be one of my favs.

 

Hope you enjoy it, I would love to know what you think - you can fire me off an email to pjholden at gmail dot com if you like!

Wolf Dredd(reprise)

One of the things I’ll do on the patreon is revist work and see if I can, using a minimal of editing tools push and pull it to improve the storytelling. There’s a surprising amount of improvements can be made by resizing things and finding a better balance of a composition.

Usually, I’ll try and do this before a thing sees print, but, of course, the nature of print means once it’s printed it’s done.

Here’s a reprise on the Dredd Wolf pic. The original and edit…


So, the only real difference is a punched up the size of Dredd. He’s bloody massive now, but the flat, dark red colouring keeps him recessed – he’s not as front and centre as a b&w image would be. He better frames the wolves behind him and we’re more engaged with what’s happening – we’re pulled much much closer to the action, and the threat feels more real.

Basically we’ve turbo injected the original idea.

Not sure why I didn’t spot that easy of a fix, I suspect I was still thinking of it in B&W rather than colour. I’ve created a mock up of how the b&w might have looked, and it’s clear in b&w at least, your focus is drawn ENTIRELY to dredd. The wolves in the bg get a secondary glance. The big block of pure b&w draws your eye, and the many lines of the wolf merge to a grey in your vision.


Story telling is about figuring out where the focus needs to be for the image, and how to balance the various elements to tell that story. The b&w fails on that count, I think, but succeeds in the colour.

Something to file away for the next pin up I think.





Dredd Wolf

When John McCrea told me he was writing a sequel to the Judge Dredd white werewolf story, I pretty much forced him to accept a pin up for it. 

The Cry of the Werewolf was one of those defining moments in comics for me, even now it tingles my spin thinking about it. Steve Dillon, werewolves, Dredd? A perfect blend of awesome stuff.

I was lucky enough to meet Steve a few times, the first when I was in my early 20s or so, in Belfast. He was a guest at The Talisman comic shop (later to become Forbidden Planet) and because I knew all the guys they invited me out for a drink. We went to the Empire in Belfast.

Steve, was, Steve. A funny, warm guy with lots of great stories. He told us about drawing the wolves in that story one hot summer in London (later on I found out he was living with Jerry Paris at the time, famous for C&VG and Bug Hunters).

I told Steve I wasn’t much of a drinker. “Oh” he said “You’ll have to learn if you want to be a comic artist”.

Second time I met Steve was in New York, decades later and only a few years ago. He was drinking with Garth. I’d everything with me to head off to my flight that was due to depart in a few hours.

“Hey”, Steve leaned in, “he’s trying to get you drunk, you better make your excuses and head off!”

Steve’s untimely death, came I think, when his artwork was actually reaching new heights. For an artist as naturally gifted as Steve (working professionally from the age of 16!) it would have been easy to sit back and let your experience drift you along, but the recent punisher work he’d been doing felt like an artist pushing themselves further.

John’s story and my pin up offer happened before Steve’s death. Work went on and Steve left a hole in comics, and it felt more important to me personally to contribute a pin up.

Here’s some of the background stuff to that. 





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Hey, hope you liked this post. Posts like this will only be available to Patroens with Back Stage Passes from Thursday, if you’re one of the early birds you can get a back stage pass for $5 – first 25 people only! After that it’s $10 for the same thing. I’ll be posting about story telling, using Clip Studio Paint as well as layouts and thumbnails for lots of projects. Come join me! (And if you’re already signed up – you crafty bugger!)

Happy birthday Kirby.

The excellent Tom Rainey drew a picture of Modok and like a thieving weasel I downloaded it and coloured it.

HULK!

A quick Clip Studio Paint Sketch (15-20minutes?) drawn using some of Frenden’s natural media tools. Sort of Bruce Timm/Kirby inspired.


Hunted Pencils




This is from Hunted Series 2, episode 4 


Inks were a frustration for me, popping between digital and pencil. I think they look better than I felt about them at the time, but that’s sometimes the way it goes.

I tend to pencil multiple pages before I start inking them, a habit picked up a few years ago doing a Garth Ennis Battlefields book that required approvals on the pencils and then inks, before then I’d’ve inked panel by panel (I should probably go back to that, it feels like you’re more intimately involved in the drawing process, pencils then inks pushes you further away from the feel of drawing a page).

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Starting next week, these sorts of backstage things will be behind the patreon paywall! If you’d like to see them for the ultra low price of $5 per month, sign up quick!