“Ok, some loose thoughts, that may or may not add up to anything and that not only will you disagree with but, over night, I’ll probably find fault with too.

In order to prevent me be a dithering waffler (as I am prone to do) I will state the following as ABSOLUTELY correct assertions and shall brook no compromise. Though, obviously, that’s just an affectation. As I’m probably dead wrong on all fronts.

1) The NEW digital comic format is landscape. Uh hu. It is. We’ve all been fighting it, because, frankly, we’ve too much invested in the old portrait format of print. But we’re all wrong. DC have a couple of books that are pure landscape format (they seem to have started by producing work that can be both landscape ipad and portrait print, by having an artificial half way point on the art, and getting the artist to keep that in mind when drawing. But, I don’t think it’s a strange hybrid animal and if you do it so it works for ipad it works less well for print – and vice versa)

2) Cheap comics weekly or Expensive long one offs. That’s it. That’s your choice. The monthly comic book format, 22 pages for $2.99 is a result of the current distribution model and, while it sort of works ok, produces books that are really perceived as not being great value for money.”

There’s more in there that should be of interest to anyone creating comics and trying to get them out there, so go and have a look. I also found it interesting that PJ flags up the portrait versus landscape format. I’ve never downloaded a comic on my tablet, I mostly prefer to read paper versions and that isn’t going to change. But I have used my tablet to read some advance digital copies of upcoming work sent by creators or publishers as a simple, effective and affordable way to let bloggers get a look at their work and I read webcomics on it. Of course like any tablet, Android or iPad, I can turn it and the screen flips itself from landscape to portrait display automatically, but PJ has a point, although I can read a portrait format page comic, the screen is wider than it is high, in the now standard ‘widescreen’ design, and frankly I can read a page easier and at a larger resolution in landscape format. But then I have to keep scrolling over and up and down as the page isn’t formatted that way, which is annoying and distracts from the reading experience. Of course, if you do design your comic in landscape, as PJ notes, it will work better on a screen but not so well for print…

Panel Borders: Comic Book Caption(s), tonight on Resonance FM at 5pm, podcast on Panel Borders afterwards

Starting a month of shows about comic book shops, we have three interviews recorded at Oxford’s small press comics convention ‘Caption’. Alex Fitch talks to Doctor Who comic illustrator Al Davison, who runs a graphic novels and art supply shop in Coventry and to former Gay Comics writer Will Morgan, one of the proprietors of a comic book shop in Putney which specialises in classic British titles. Also, 2000AD artist P.J. Holden is interviewed by comics journalist Matt Badham, about the shops he frequented while growing up in Belfast.

(The smiling eyes of the Corinthian in The Dreaming, borrowed from Al Davison’s site)

Panel Borders: The art of P.J. Holden

An extra online exclusive episode of Panel Borders, to compliment this week’s broadcast show – in an interview recorded at Oxford’s Caption comic book festival in 2010, comics journalist Matt Badham talks to 2000AD artist P.J. Holden about his work, from his formative years combining art and computers to getting his first Judge Dredd assignment and his most recent projects.

Recent podcasts:

Electric Sheep Magazine Podcast: Stanisław Lem and Russian Science-Fiction

Electric Sheep Magazine editor Virginie Sélavy talks to Russian scholar Sergei Kapterev (Institute of Cinema Art in Moscow) about Soviet science fiction and the connection between SF cinema and politics, the impact of the space race and the Cold War period, and Roger Corman’s re-edits of popular Soviet SF films. (Originally broadcast 15/07/11 on Resonance FM)

Plus, in a Q & A recorded at Sci-Fi London, April, 2010, Alex Fitch talks to Polish poster designer Andrzej Klimowski and SF writer / journalist Wojciech Orliński about cinematic adaptations of the work of Stanisław Lem from Steven Soderbergh and Andrei Tarkovsky’s adaptations of Solaris to more offbeat films such as Edward Zebrowski’s The Hospital of Transfiguration.

Panel Borders: Kieron Gillen – Gameplay and fantasy comics

Concluding our month of shows looking at the crossover between comics and games, Alex Fitch talks to writer Kieron Gillen about how his history as a video and computer game journalist has influenced his comic writing career. Alex and Kieron talk about the latter’s experience writing for Warhammer Monthly, developing an online game The Curfew for Channel Four and how game playing has only had a small impact on his writing Thor and Uncanny X-Men.

“Screen size. Largest anticipated screen size I’ve seen mentioned is around 10″ – this is just a little smaller than a US comic, and, combined with really hi resolution screen will keep US comics readable, 2000ad – not so much. We’ll either have to see chopped up art, some form of on screen loupe for reading content, or zoom in/zoom out reading – none of which are perfect, but, at with a bit of luck, the entire 2000AD back catalogue could be available on a single device”

(fabulous cover art to 2000 AD Prog 1669 – the brilliant Stickelback rendered by the equally brilliant D’Israeli)

I don’t completely agree with PJ – “almost overnight it will completely reinvent the comics industry ” stikes me as rather too bold a claim; we’ve had increasing numbers and varieties of digital comics for some time now and they most certainly have changed things and will continue to do so increasingly, but they haven’t reinvented the industry and certainly not overnight (even people who grab illegal free scanned digital versions on pirate sites hasn’t changed everything because a lot of those folks probably never buy paper comics anyway). But that said its not an area that can be ignored, of course and no publisher can afford not to be thinking of these potential new markets. But again I have to say I don’t see it reinventing the industry, rather supplementing and complimenting it. For starters there’s cost – even if publishers make comics available digitally fairly cheap the reader still has to purchase the actual tech, which isn’t exactly a few pounds like a comic its hundreds of pounds; its not an impulse buy for most folks/ Then there’s running costs of mobile broadband contracts; the Iphone has been very successfully marketed and these don’t seem to have been barriers to it, but then again, popular though it is, how many are there in use compared to the number of actual cell phone users? And is it really more comfortable and convenient to read a paper comic or a tablet on the move, in the park, on the train? No.

And heavy comics buyers, like heavy book buyers, want the physical object not only to read – reading being a tactile as well as cognitive experience – but for their shelves. Physical copies which can’t suddenly be removed from your device as has happened with some ebooks and music tracks for any number of reasons. The tablet will no doubt become an additional platform and outlet for comics as smart phones have – especially handy for small presses who struggle to get print copies of comics into stores or even through distributors and make little on them even if they do – but again I think the idea that they will reinvent the industry is over ambitious. Its unlikely anyone will be buying these devices just for reading (even devices which are made simply for that purpose, like ebook readers, are still expensive compared to a book), rather, like some gaming machines, they have them for other reasons and find the comics to be a fun and handy app to add to the device, which is great and does add more potential outlets for comics distribution but compared to the number of book and comics readers that’s still only a fraction. Perhaps when some of the tech that’s been discussed recently in science journals, with flexible, thin films carrying print and images -, effectively smart paper – is available and almost as cheap (and in the case of periodicals, disposable) then it will actually largely replaceactual  paper, at least for some titles (probably periodicals, journals, papers and weekly or monthly comics), but an expensive device isn’t going to do that.

Before anyone thinks I am tech-bashing I should point out I love my gadgets – I’ve been online since 1991 and had a computer since 1980. I have read books and comics on screen, from short strips to full graphic novels and digital proofs of entire novels (a handy way for a small press to show work for potential review without the costs of printing proofs and posting them out) and while I found it okay as an experience, I can’t say I particularly cared for it and it wouldn’t be my choice for more than a few short strips like some web serials or short prose stories – for anything more, give me Mr Gutenberg’s remarkable printing moveable type on that other wonderful technology that did really reinvent things, paper. My quibbles aside though, PJ still brings up some good points and its kicked off a discussion on the forums with more people expressing opinions pro and contrary and, as I said, while it may not reinvent the wheel it does add another spoke and anyone who read, writes, draws or publishes has to consider it.

FPI: Can you pick three comics/webcomics/graphic novels which you especially enjoyed over the last twelve months and tell us why you singled them out?

PJ: Without wanting to sound like a big ol’ tharg bum lick, 2000AD -- for two reasons: 1) I don’t really read anything else and 2) it’s hit a real high recently, between John Wagner’s on-form Dredd epic to strips like the bonkers “Zombo” (by Al Ewing and Henry Flint -- currently to be seen in Prog 2010 for “Merry Christmas Mr Zombo”) and the sweeping “Kingdom” (Dan Abnett and Richard Elson).

Scott: OK so my favourite Graphic Novel of the year was a dead heat between Parker: The Hunter and The Nobody and I expect The Hunter will be on a lot of peoples ‘best of the year’ list I decided to write about Jeff Lemire’s take on the classic H.G. Wells character The Invisible Man.

www.youtube.com/watch?v=t6Taxhw_40E

Lemire sets The Nobody in rural North America and, if you have read the Essex County trilogy, small town mentality is something Lemire does very well.  John Griffen arrives in the secluded town and checks into a motel and attempts to find a cure for his mysterious condition. A task made more difficult by the prying and judgemental eyes of the towns-folk, the inquisitive questions of young Vickie and the sudden arrival of his former lab partner.

All three chapters are preceded by title pages that mimic classic comics. Lemire provides his own unique take on Horror, Romance and Suspense comics, each designed to set the tone of whats to come. The twist of a horror comics, the drama of a romance comic and the inevitable tradgedy of our ‘monster’

Ron: Asterios Polyp -- I suspect David Mazzuchelli’s thoughtful and experimental graphic novel will be on many folks end of year lists, but that won’t stop me declaring it as the finest comic I’ve had the pleasure to read this last 12 months. On the surface it’s the tale of an inflexible, self-centred person learning how to stop being an asshole. However, it’s as an exercise in form, structure and story-telling technique that I believe it deserves to enter the canon of essential graphic novels.

FPI: Can you pick three books which you especially enjoyed over the last twelve months and tell us why you singled them out?

PJ: As part of the research for “Happy Valley” I read and enjoyed a book called “Aircrew” a collection of anecdotes about air crews flying various missions during WWII compiled by Bruce Lewis -- horrifying sad and often darkly funny.

Ron: I don’t think I’ve read a book this year. For SHAME!

FPI: Can you pick three TV shows and/or movies which you especially enjoyed over the last twelve months and tell us why you singled them out?

PJ: “UP” -- man, you can’t beat pixar, the first 10 minutes of which will tear anyone up (and for TV easily Misfits, what Heroes would be if the British were in charge…)

Ron: Mad Men Season 3 has been a treat from start to finish, as the truth of Don Draper gets further away from the person he presents himself to be. Stand out characters have to be Roger and Peggy though -- the former for some of the funniest, dryest wit available on the box at the minute, the latter for simply being one of the most interesting and compelling female characters I’ve ever seen. Give the show a chance if multi-character narratives like The Wire and The Sopranos are your thing. Film: What to pick, what to pick… look, all I say is that if Paranormal Activity didn’t make your skin crawl, then I’d check your pulse if I were you…

FPI: How did 2009 go for you as a creator? Are you happy with the way you got your work out this year?

PJ: 2009 was a peculiar year for me, it was the first year that I leapt without a parachute -- the frenzy around iPhone comics and Murderdrome was the catalyst needed for me to leave a really cushy part time job (which was driving me mad) to work in the new and innovating field of iPhone/digital comics. Shortly after that though, I realised that I was exchanging one part time computer job for another full time computer job (albeit in a comics related industry) so I leapt again, this time into drawing comics full time. Happily I’ve survived the year intact, and I think I’ve done some of the best work of my career.

FPI: What can we look forward to from you in 2010?

PJ: “Happy Valley” has started and continues in the first two months of 2010, there’s some work for 2000AD/Megazine (“Judge Dredd: Lost Cases” which I’m really proud of) and … well, soon as I know, you’ll know!

FPI: Anyone you think is a name we should be watching out for next year?

PJ: Adam Law a fellow Norn Iron bloke, 22 years old and a phenomenal artist who -- when he’s spotted by the right people -- should be big.

FPI: And one final, special question – since its not only the end of the year approaching but also the end of the decade, is there any comics work you’d especially pick out as one of the best you’ve read this decade?

PJ: Well, clearly, I have to say 2000AD -- but I say it in all honesty; she’s been chugging along for a long, long time now, but in recent years she’s been in the best health of her life (and, don’t say it too loud … possibly a new “golden age”..)

Also, I think one of the most important things of this decade has been the internet, and, specifically, twitter -- there is NO better way to connect to the people who make comics than through twitter. I’ve become friends with many artists and writers through twitter, gotten work through twitter and been able to show work as I draw it through twitter. (And you can follow me too -- here)

(Dredd on the cover of 2000 AD Prog 1659, art by Neil Roberts, (c) Rebellion)

“It’s interesting to me that lots of the people I consider at the cutting edge of comics (people into experimentation with the form – like warren ellis) have started to refer to comics as ‘artifacts’ – ie actual non-digital things. I see two things in the future:

1) Digital comics, almost all marvel / dc / 2000AD / small press (which will be distinct from marvel / dc / 2000AD only in as much as the creators will probably never had anything in physical print) You could argue that many of those people doing webcomics now are actually getting a bigger readership than Marvel /DC/Whoever, but, because they’re all digital we think of them as small press.

2) ‘Artifacts’ – like the big absolute collections, these will be premier books – I’d still like the big dredd collections, etc, or collected works, but I’d be happy to buy 2000AD and the Meg digitially, picking up collections along the way. (I’d even pay! though not the current barmy pricing of £1.89 or so for the digital 2000ad, not when the actual print copy is roughly the same – the meg digital price, on the other hand, is a bargain)” (via PJ’s Twitter)

(Jenny Sparks strikes a light, art by Jon McCrea, pinched shamelessly from his site)

John at our Belfast branch tells me that he’s lined up a signing with two local artists I’m sure our readers are familiar with already, PJ Holden and John McCrea. PJ, of course, has carved himself a good (and growing) rep with his work for Image and 2000 AD, while John has worked on Ennis’ Hitman, Captain America and The Boys spin-off Herogasm (in fact I’ve just been told that JOhn’s Herogasm chum Keith Burns will also now be coming along) among many others. John and PJ will be in the Belfast FPI, 52-54 Ann Street (phone 028 9043 8744) on Saturday the 15th of August from 2 to 4pm, so please do come along and enjoy a chance to meet them and show your support for local artists at the same time.

(David Tennant’s Doctor Who by PJ Holden, borrowed from his online portfolio)

Our Belfast colleagues also tell us that they are again taking part in the Belfast Star Wars event, Invasion 09, in W5 on the 3rd and 4th of October, which promises to be bigger and better than last autumn’s well-received bash (see the video below); fans, cosplayers and actors from the Star Wars world (I see Dave Prowse has it down on his upcoming list of appearances already) will be present and FPI Belfast will be there too with a host of Star Wars goodies for your delictation and delight.

www.youtube.com/watch?v=vRDDBSYCxl4

And also sticking with a PJ theme, scribe Jasper Bark has scanned in an old Future Shock from 2000 AD (the short tale Future Shocks being a tried and tested place for many writers and artists to try out their craft and a much loved feature among 2000 AD fans, myself included), Autocrats Anonymous, complete with art by PJ and lettering by the late, great Tom Frame: