The Forbidden Planet International Blog Log

Today’s Best of the Year is a double act from that Stan and Ollie of the London indy comics scene – well, actually its from the Sean and Oli, being as it is a dual effort from two of London Underground Comics’ core members Sean Azzopardi and Oli “that’s another fine mess you got me into” Smith (we believe the engagement will be revealed this weekend). Its been a pretty good year for both, I think – not just in terms of their own work (I’ve really liked Sean’s work for some time now – great to see a collected edition of Twelve Hour Shift – and as Richard pointed out behind all the LUC promotional events Oli has also created some very fine comics with some lovely art – “lush, almost watercolour effect washes over his black pen and ink” as Richard described it. Not to mention his ongoing film project Stumbling Block) but in terms of promoting the British small press comics scene.

(cover to the collected Twelve Hour Shift by and (c) Sean Azzopardi)

The Camden Market stall for London Underground Comics became a focal point for readers and independent creators and the popular buzz around the scene was enhanced by special events and promotional videos which didn’t just publicise the fact there are some diverse and cool comics out there, they made the scene look fun and inviting to a wider audience, which has to be good for anyone who loves the comics biz. With the LUC Christmas bash this Saturday at the Alphabet Bar in London (complete with DJs, music, comics and art on exhibition and sale – see here for details) it seems like the perfect time to ask Sean and Oli what rocked their world in 2008, from self published comics to videos to the importance of boobs in making comics attractive (no, we’re not talking about Power Girl’s unlikely physique):

(cover to Hazy Thursday by and (c) Oli Smith)

FPI: Could you tell us what your favourite three comics/graphic novels and/or books have been this year and why they stood out for you?

Sean & Oli: Dan Lester‘s collected book- collecting the first six issues of his twenty four hour comic monthly odyssey. As well as the content, the fact that he had physically hand-made it himself, blood, sweat, glue gun and all, made it a perfect example of the fundamental small press ethos. It was launched at No Barcodes and we felt it perfectly suited the tone of the event.

(a page from issue ’1 of Circle by and (c) Josceline Fenton)

Circle by Josceline Fenton – this comic was a genuine discovery for us on the stall; manga with genuine personality and warmth, beautiful dot tones and the occasional ransom-note style typeface. The elegant story about two autistic kids tugged at the heartstrings and Josceline herself has been a passionate participant in all our events.

Weekend Friends 2 by Oli Smith, Sean Azzopardi, Oliver Lambden and Dan Lester- it might sound vain but this really solidified LUC for us. The stall anthology in many ways, it documented a week in our lives working on the stall and planning No Barcodes and really brought home to us the strength of the friendships formed in the last few years.

(one of Dan Lester’s scenes from the first Weekend Friends)

FPI: In other art forms was there anything in the world of radio, TV, film or other artistic endeavours that really drew your attention this year?

Sean: the Archers.

Oli:  My new Xbox 360.

FPI: On the professional front how did you see the comics world in 2008, from your own point of view as a creator putting your work out there (did you feel it was a good year for you?) and what did you think of the way the comics biz was in general this year? The business becoming more diversified, more accessible to new readers and creators or less welcoming?

Sean:  Well from my point of view its been a great year both as a self publisher and tackling more mainstream work, but apart from seeing my friends progress into the professional circuit, which is my core interest, the ongoing big two crossover events just seem to be, to an outsider like myself, an even more insular, inward looking event that doesn’t seem to be open to the general public or myself, but seeing as it’s an ongoing cash cow I doubt we’ll see that end any time soon.

Oli: From my own personal viewpoint it does seem to me that small press has flourished a lot in the last few months, with small groups feeding off the increased excitement of the others, more events, accessible venues and lower prices, it looks like the indy side of comics is pushing its profile out beyond the bubble industry far more than any professional circuits. My personal social network in comics seems to have increased and I’ve met a lot of new faces, including a far greater number of girls at last. You can never underestimate the power of boobs to inspire creativity.

FPI: What’s the next project you are working on that we can look forward to?

(page from Necessary Monsters, written by Daniel Merlin Goodbrey and illustrated by Sean Azzopardi; you can follow it via Sean’s site and the AiT/PlanetLar site)

Sean: I’m working on it, for me it’s hoping to finish Necessary Monsters by next year; it’s not a project as such because it’s ongoing.

Oli: Well when Oliver Lambden gets off his fat arse and finished the last few pages of BLOC then I’ll be excited about that. But in terms of anything else I’ve hit a bit of a comics lull, I am doing a bit more paid work for a couple of magazines and other things I can’t really talk about at the moment, but it’s all very cool.

Also Oliver’s arse isn’t fat it’s a skinny streak of meat.

(promotional image for BLOC, art by BLOC Oliver Lambden, written by Oli Smith)

FPI: Lastly, are there any new names you’ve come across recently you’d like to pass on as one to watch for?

Sean & Oli: Jake Harold with his serialising of his Justine Tyme graphic epic; Sally-Anne Hickman (reviewed here by Richard) is going to carry on churning out cutesy filth. Phil Spence is getting a very distinct style these days and I hear Dave Gibbons is going to be pretty big news one day after his Eagle Award for inking.

(a dream sequence from Jake Harold’s Justine Tyme which may point to a disturbing childhood trauma involving Thomas the Tank Engine and a rather dodgy use of some OO gauge model rail track...)