Blogging Frequency

I think one of the things that killed my interest in blogging is that twitter became the first place to drop a thought. Over time, that slowly morphed my thinking into twitter formats, short, 180 characters (as was) blurts of information that could be linked into a longer post. Which then formalised the idea of blogging being something that I can only do once in a day and required more thinking (a spiral I suspect of preventing me from ever blogging).

Now, I did use to blog through the day, if something occurred to me, I’d post it on the blog first, but again, twitter (and all social media) took that impetus away.

So I’m wondering if I can reverse out of that thinking cul de sac. If, instead of going to Bluesky1 first, I hit up my blog first and type up whatever nonsense it is I’m thinking off there, will I break the habit?

I don’t know. I do know that checking social media every morning, right now, is just a spiral into dark moods and depression – maybe instead of that, I can open my phone and type up some early morning nonsense and just blog it. I mean, who cares? right? I set the rules for this place myself, that’s the whole point. So let’s see what happens when I start doing that.

  1. I’d written twitter original out of habit, but I’ve been off twitter for awhile ↩︎

Terran Omega, 20 pages in…

I’m about to start on page 21 of Terran Omega, and 24 pages mark the actual halfway mark and 25 pages is a good chapter break for part one. But actually I think getting to page 20 is a thing in itself.

Here’s how it started: about a decade ago I was approached by Broken Frontier to do a sci-fi story -I pitched an idea I’d noodled around for a bit – Terran Omega, the last human being who was a weapon who had worked up 10,000 years after she was useful and decided to become something not a weapon. The Iron Giant mixed with Kung Fu. It meant I could write and draw multiple stories with this one character, because she could stumble in to each one and help resolve it but she would move on to the next – a story engine, is how I thought of it. I enlisted the help of my pal Scott Ferguson (we were doing a podcast together at that point, along with our mate Ron).

Of course, I didn’t do more, I had a bunch of ideas, some more developed than others. And I kept coming back to the idea of space ship ghost story, and I kept trying to figure out how to make it work – both the story and more importantly, the actual method of doing the thing such that I could afford to do it.

So the solution and the plan I decided on is this, and it’s been successful thus far (and by successful I mean I’ve stuck to it).

Write the entire thing in advance. Write a story you want to draw, because you’ll be drawing it for a year. Don’t worry too much about descriptions, just write enough that you know what’s happening. I wrote it fully scripted, you could also write marvel style (where you write a paragraph a page and add dialogue after) but I worried by the time I added dialogue for, say, page 15, I’d be 15 weeks away from doing the dialogue on page 1 and consistency might be a problem.

Then I do all the layouts, just making sure I know what each page looks like (I have of course, LOST the layouts!)

I have a art shelf specifically put aside for the project, and everything I do on it, goes in there, so I can put it away and take it out when I need it.

I pencil and ink a page on the weekend (hopefully), then upload it to go live for Wednesday on patreon for free. I want to build an audience for the eventual kickstarter, so building that audience out before the kickstarter is important, and while I could do that on my own website, I felt like patreon would allow me to grab some people that wouldn’t stumble across the blog.

(I’d already had a little success with building an audience on patreon a few years ago with John Reppion doing our folklore comics)

I set a few tiers on patreon, free (B&W&Green comics on Wednesday) $1, $2, $10 – those tiers all get the same but it allows people to pay what they’re comfortable with. I’ll be honest, I don’t make enough from paid subscribers to even make one page of B&W art, so trying to figure out how to give three tiers of people didn’t things felt like a job. This way I get to say “Hey I appreciate you giving me money, I’ll let you access stuff early and see the colour work and whatever else I can think of, but I’m not going to draw a distinction between you”

With this book, as it happens, it divides neatly in to two parts. So I think I’ll have a two issue pdf comic BEFORE doing a kickstarter with the whole thing.

The magic ingredient for getting it done for me is getting the script done and just slowly but surely chipping away one page per week and ignoring the horrible urge to start other things.

Finishing is a skill of itself, and one I know I have (because I’ve finished so many projects) but with stuff I’ve written and drawn them myself I tend to do four page strips at most, and often don’t finish those so this – even now, at 20 pages- is the longest entirely creator owned thing I’ve ever done, and so I take a little pride in that. Wait til I hit page 48 I’ll be unbearable!

One thing I’ve decided to do is add a newsletter I’ve found there are people who are unwilling or unable to go to patreon. I suspect Substack would be best for this, but Substack has fallen prey to the billionaire nazi-bar problem (you know, you allow one nazi in to your bar, and before you know it you’re a nazi bar) So instead I’m using Kit. I know nothing about kit except it looks good and is free for less than 10k people. (And laughably I’m vastly orders of magnitude below that so can’t imagine it’ll be a problem.)

I’ll send monthly updates with the pages in them, I think. Because again, this is about gathering readers for the end goal of a kickstarter.

So, how’s it working?

As far as numbers, the patreon has gone from around 20 people to 325

Chart from Patreon showing growth of Active members up by 286 (to a total of 325) new members grew by 283 and cancelled 24(!)

My Patreon is collecting about $90 per month, which is probably really about £50 a month, the thing is, I’ll dip in to that when I get to the point that I need to turn the work in to something physical (though I suspect I might have to do that before the tax year ends) it’s been three months already so it’ll pay for… something. I’ve grown the free readers but paid readers have stubbornly refused to grow at the same rate. Maybe it’s because I’m not asking for much (perversely, people are more willing to cough up more than cough up less, if you don’t appear to need the money they don’t feel the need to pay it to you – it’s that thing where a thing of value looks better when it’s priced higher, so maybe I haven’t done myself any favours here)

I’d love to grow the patreon to around 500 by the time the kickstarter happens, I think that’s a really good base to a successful kickstarter (And I’ve no idea how to grow it but looking at other comic creators on patreon it’s not an outrageous number)- though I’m not expecting all of them or even half of them to make the leap to a paid kickstarter. For a start a lot of those readers may be in the US and postage may just make any kickstarter entirely unaffordable. I’m in Belfast and I’ve yet to figure out what that means for postage to the Eu and to mainland GB, I HOPE – but am not convinced yet – it puts me in a weirdly good position, where I won’t be hit by European de minimus rules (because NI is in a liminal European Union condition) and similarly I won’t be hit by GB de minimus rules, but the US remains a bit of a nightmare for figuring that stuff out (last I heard the post office was telling people not to send stuff to the us due to backlogs!)

I do need to reach out to various websites to do interviews and so on, but it’s something I’m not great at doing (I’m a great interviewee! but rubbish pr person). I think that’s something I should try and get better at.

All in all, been a good start to this. I turned 56 in December, and I’m more conscious than ever that there’s only so many pages in me and I’d like more and more of them to be stuff I wrote.

Christmas Hulk

I’ve still got unread graphic novels from a couple of years ago and not enough space to store them all! BUT! I’ve made a start on this Incredible Hulk series volumes 1-4. Mother in Law very kindly bought them for me for xmas.

Got a lot of comics stuff this Christmas, to be honest, a little too much.

I’ve still got unread graphic novels from a couple of years ago and not enough space to store them all! BUT! I’ve made a start on this Incredible Hulk series volumes 1-4. Mother in Law very kindly bought them for me for xmas.

I will admit, I wanted this entirely for the art of Nic Klein. And boy does he not disappoint. It’s also very very monster heavy (I approve).

Though I think in Volume 3 it offers a very confusing interlude that was part of a cross over. You be the judge, but the chapter opens with the title “The Incredible Hulk Blood Hunt” then 9 pages in, as Banner asks another character “What Happened? Where is everybody?” they helpfully explain “Left. Went home. The Movies shut down when the sun went dark*” and that asterisks leads to a caption that reads “*See Blood Hunt #1”. Wait. What is this NOT Blood Hunt #1? Needlessly confusing (turns out Blood hunt was a five issue miniseries and “Incredible Hulk Blood Hunt” was the hulk issue that tied in to that)

But that little oddity aside, it’s monster bone crunching fun.

Recommend.

(Not entirely sure how many volumes are in this and the follow up series Infernal Hulk looks even more Kleintastic Rock Band Cover Bat of Hell mad so looking forward to getting to that)

I am declaring a blog bankruptcy!

I’d like to start with a blank slate. Wipe it all out. But it’s a hard to do so. So this is it, anything prior to this can be ignored. New start.

Honestly, I thought I’d be clever and try and archive a whole bunch of blog posts, but that ended up being chaos, so I unarchived them, which then sprung a bunch of blog posts out of my drafts folder into published (which is why there’s suddenly a lot of old blog posts). and I don’t even know where the blog posts from 2025 went, they just seem to have fallen in to a wordpress black hole. Then I altered the layout to at least make it feel different in here, but that turned out to be a nightmare because the “blocks” system in wordpress is an unforgiving nightmare that pretends to be easy but is any thing but so I went back to a pre-blocks layouts (wordpress uses templates, those templates can be good if you use them exactly as they’re given to you, but the moment you try anything slightly different, hooboy!)

I’d like to start with a blank slate. Wipe it all out. But it’s a hard to do so. So this is it, anything prior to this can be ignored. New start. Yes, I had decided my blogging days were done, but actually, no I still have the itch to talk about stuff beyond using bluesky (a platform which I think will never really hit the peak that twitter did) and any other big US platform (because they all seem to fall prey to billionaire brain rot).

The blog’s purpose was about comics, but actually I do more than that – and I’ll use the blog to talk about more than that. My main focus for comics will be on the patreon, though I’d even like to move back off that but it’s been the way I’ve been trying to build an audience for Terran Omega. Sometimes making a decision and sticking with it is better than no decision at all.

So things you might see in the coming year on the blog: terran omega updates about how I’m doing things (including the b&w and green art for those that don’t want to do patreon at all), I’ve got to get a newsletter going (purely for comics), but actually I might talk about writing a bit (I’d like to explore that more this year) and improv and performance stuff (which I did a lot of last year, this year I may pull back a bit, but we’ll see)

Anyway, sign up the newsletter, which I will endeavour to make happen on a monthly basis (last sunday of the month? sound doable?) and I’ll send art for terran omega (if you don’t fancy the patreon) and updates on whatever other comics business is happening. You can find it here.

In Print In December 2024

I haven’t been great at keeping people up to date about what’s happening in print, let’s try and do better next year!

2000AD Judge Dredd Megazine issue 474 “Devlin Waugh: Two Months Off Part 2” Things get weird for Devlin and chums. Written by Ales Kote.

Monster Fun issue 26 FINAL ISSUE. Bit sad about this one, the final issue of Monster Fun, it had a good run (longer run than the issue numbers describe as originally it was only once every two months). I draw Gums, Draw with ‘Andi and a Prankenstien strip in this one.

And finally… coming in the new year (February!)

Battle Action issue 7 Major Eazy, written by Rob Williams.

The Ghost Train

Well, the play is over – six shows, all done and sold out every night.

I’ve really enjoyed going back to acting (again) – and it has been great fun. It’s a bit of a time sink, but, to be honest, I spend far too much of my time at the drawing table anyway, and this is a fun way to escape it.

What’s next, I dunno – Southbank Playhouse (the am dram club I’ve been a member of since 2016 and who did the show) do three shows a year, so will wait and see what they’ve got lined up next before deciding to audition, but I feel ready for more.

A few members of the cast also do improv comedy, and I think I’m going to take a swing at that too – there’s a local guy who teaches it, and classes start in February.

Anyway, enjoy these photos of me sporting a beard and my actual belly, and not padding as my dad thought.

Anatomy in Perspective, thinking outside the box.

One of my many (many) drawing difficulties is the dead body lying on floor syndrome. This pushes one thing I think I’m good at (the human body) against another thing I really struggle with (perspective). Perspective isn’t hard, per se, and often my most successful perspective drawings are where I try not to get too rigid with it, but inevitably (especially as I’ve gone digital) I tend to fall in to the everything-is-a-box and can be drawn in perspective. And since the human body is extra hard to draw, that means extra boxes and extra hard perspective.

And that’s sort of useful, but it really steals a lot of fluidity away from the human form. Plus, and I dunno if this is a feature of my brain but it tends to lead to a lot of floating boxes. These notional boxes taking up head, torso, arms and legs, still sort of follow the placement of wherever I put them – rather than, as with the human body – sagging int other space that’s there.

When stuck on this problem I start looking at Geoff Darrow, who’s Hard Boiled is a bible for bodies lying on the ground.

I mean, look at that. Every body is painful reminder of the fact we’re only human flesh bags.

Anyway, staring at this, it seemed to me, the boxes where my problem, and if I could think of another metaphor (it’s not the right word, for what I’m trying to do – a drawing anology?) that might help it might be worth considering and staring and staring and it occurred to me if I thought of the torso as a sack of spuds, that would give me much of the flexibility of a real human body –

I feel the weight of a sack like this, much more than I do a box, and it has a bend to it that the body does that none of my box drawings ever do.

And if I extend the metaphor so instead of a box human we end with a person made of bags of spuds (or other less-norn-irish stuff) we can have a better way to think about the body in perspective, something that can keep the all of the relative lengths of the body parts the same while also making me think about weight and giving me the flexibility to move the body.

Anyway, this has JUST occured to me, so maybe it’s a bad idea, but sometimes I think you need to question your assumptions so you can rethink stuff, especially stuff you’re stuck on.

This month in Comics!

Here’s what you can find:

This month’s Judge Dredd Megazine, part 1 of the six part Devlin Waugh tale, Two Months Off. In which Devlin takes a well deserved break and as we all know nothing can ever go wrong on holidays, right? RIGHT?

Here’s the pencils and inks from page 1.

Also, coming up, Judge Dredd Case Files 46 – more details here

Finally you should be able to pick up Battle Action this month featuring me and John McCrea on HOOKJAW!

Look at this mad Steve White cover!

I don’t know what I can show you of Hookjaw, I did the scaffolding and plumbing for John and he built this extraordinarily pretty comic.

It did give me a rare chance to pull the old “let’s drop the credits in the water” opportunity

It was, I think, one of the more technically complex things I’ve drawn (lots of sharks in the water, people on boats, and drones in the air…)

That’s not the only shark action I did this month, I also got to draw… GUMS!

Unsure when you’ll see that, but man, that was so much fun to draw!

Anyway, that’s your lot, more as I remember them!

Outside of comics, the rehearsals continue apace. Had forgotten just how much i love acting. Even the sitting around waiting part of acting, I’ve always really loved, so doing that again (while also acting as a prompt for other people’s lines) was a real proper pleasure. I fill so much of my time with DOING that not doing seems like a real luxury.

AND… I have finally completed couch to 5k – the 8 week course, took maybe 15 weeks, and I’ve run two park runs (in the slowest possible time for a human, hitting about 45 minutes both times, though a five/ten minutes of that was me walking).

Now doing a regular Monday/Wednesday/Friday (at least that’s the plan) 4-5k run.

I had to fill in a form asking how much exercise I do and, for the first time in my life, I had to scroll past “NO ACTIVITY” to “THREE-FOUR times per week”

I’m still fat. I can’t outrun that. I need to think about my diet, because I would like to lose some weight too – but feeling pretty smug, going from walking half a k and getting sore legs to regularly running 4k (30+ minutes non stop running) is pretty good. Now just gonna keep consistency for running and slowly get towards a 5k around 30-35 minutes. I’ll be happy with that.

Artists Schools

I often think there are schools of artists (and by schools I’m talking collective schools of fish rather than people who were actually trained together) – artists who either are influenced by each other, came up contemporaries of each other or share some essential dna (or are maybe simply simpatico) Then you’ll get the occasional artist who will look like they’ve turned up out of the blue and generate a score of people influenced by them, but even they in turn will diverge and pick up different influences until they’re either nothing like that artist or so unique in who they are you can no longer tell their primary influence.

Before I start I want to make it clear, NONE of this is meant in any negative way, this is how artists make things – we draw influence and ingest it and combine it and get something out that we love (which is what Picasso means by “Great artists steal!”) also I’m probably deeply simplifying the influences here, for which I apologise.

So for example (and these are all artists I love) Frank Quitely, self admittedly is hugely influenced by the artist Dudley D Watkins (and many others, but he’s essential in that DNA)

X-Men by Frank Quitely : r/comicbooks
Upcoming Sworders auction of Modern and Contemporary Art sees Dennis the  Menace offered alongside Picasso! – downthetubes.net

I think Watkins clarity of story telling, exaggerated features and Claire Ligne style is still very present in Frank’s style.

Frank went on then to influence a bunch of great artists.

Bill Sienkiewicz drew early inspiration from Neal Adams and then every other artist he could swallow into his own art until what he produces is nothing like anyone else alive. Except you’ll occasionally get some Adam’s like rendering on stuff. Adams’ influenced a lot of artists, I suspect you could also draw a family tree from Adams to Alan Davis and those who were influenced by Davis.

Neal Adams Green Lantern #77 Cover Original Art (DC, 1970).... | Lot #91002  | Heritage Auctions

When I was first putting pen to paper, my influences were largely Steve Dillon and Jerry Paris. To a greater or lesser extent I think both artists remain in my art, but as I got older I attempted to grab some broader influences, never all that successfully, but certainly slightly more mindfully (less demure though* this will make no sense as a joke in about a year)

Mignola, Adam Hughes, Kevin Nowlan, I took what I could from them – where I failed to grab those influences that failure is mine rather than their particular genius, and of course, the singular genius that is my pal John McCrea, whose influence is so deeply imbedded I frequently surprise myself by drawing what I can only describe as a McCrea face (First Dredd strip I ever drew, the took a small image of dredd to use in the index and when I looked I thought “Oh wow, for some reason they’ve used a John McCrea drawing in the index”)

Having not really been picking up comics for a while I’m out of the loop on what talent is out there, so I’ve decided to scour around and find artists that I would like my art to sit comfortably with – people I think plough a similar furrow (and I apologise for dragging them in to this, this is purely an exercise in my head) largely because well, it’s good to have a sense of what’s possible.

If you’re an artist, it might be a useful exercise to see what artists out there draw in a way that you can find inspiration in.

What surprises me about this list is that my initial list (Mignola, Hughes, Nowlan) are clean lines, beautiful tight line work and are generally, very controlled.

This list I’d describe, for the most part, as much more … muscular? maybe. Inky? I’m not sure. Any way… my list, in no particular order:

So instantly one common trait they share is all of them, I think, are traditional pen and paper and ink artists (and the ones that aren’t, well, they use a brush)

This may not be my artist school, but it’s one where I think I can learn a lot.