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UK Comic-Cons Are Alive And Kicking: Talking With First-Time Show Organizers

By Olly MacNamee

When I first took up the chance to cover local comic conventions in the Midlands area of the UK, I thought I'd be covering the big MCM cons that bookend the year here in Birmingham and that would be about it. Over the last year and a half, however, I have witnessed something of a comic con Renaissance with new, independent shows focusing primarily on comics and their creators growing and taking root. So, why have comic cons, at least here in the heart of Britain, the Midlands, gone from strength to strength? And, how can so many shows survive? I asked some first-time organizers what their thoughts on this success story were.

ComicFestRecently, the guys behind the first Birmingham Comic Festival, Victor Wright (Geeky Comics) and Steve Tanner (Timebomb Comics), announced their triumphant return next year, having smashed their expected turnout by a good few hundred more than they were expecting. Theirs is not an isolated incident either, with many cons announcing their second year and a second show, often bigger than their first.

Wright and Tanner have wisely chosen to take up residency once again at Edgbaston's famous cricket stadium on April 23rd and will be offering not just the experience of the day, but considering satellite events too. Last time round, they worked in partnership with the Midlands Art Centre who scheduled a raft of superhero themed films ahead of the date. Maybe that's one of the secrets to the indie comic cons success; building a buzz and offering gateway opportunities whatever your age or experience as a comic book reader.

Speaking with one of the organizers of this festival, Victor Wright believes that the growth of comic conventions, "Comes from a lack of real comic conventions," adding that, "the main problem was the disappearance of 'comics' at any given convention.  Other than the likes of Thought Bubble and the The Lakes International Comic Festival there isn't really anywhere for the writers and creators of comics to express themselves just as there wasn't anywhere for collectors old and new to pick up an issue or two."

For the fans, shows such as Wright's offer them the chance to meet with the writers and artists of some of their favourite comics, past and present and for the creators, it offers them a chance to meet with friends. Indeed, bumping into artist Phil Winslade recently, he expressed a great affection for this particular festival. He informed me that he was having "too much of a good time," and as someone who was proud to be allowed to host a couple of comic related panels on the day, I can concur with this, witnessing this first-hand. That, and the lack of any egos at either this convention or any of the others I have been to since starting to sip from the Bleeding Cool-aid juice and you have all the ingredients of a successful, fun, entertaining day. Even now, my daughter has her Uncle Grandpa sketch cover variant comic book illustrated by Laura Howell (The Beano) pride of place on her wall. There were so many opportunities for fans to get original sketches; I think there may not have been enough time in the day to be fair. Something you can't often get from the bigger shows that can often only play lip service to the world of comicdom.

LeamAlso chiming in with his thoughts on the successful rise of the independent comic con is Dan Mallier, the man behind the Leamington Spa comic-con last October. Again, like Wright, Mallier was a first-time comic-con organizer until last year when he took over the historic Assembly Rooms in the centre of the town to bring comics and comic creators to this sleepy, suburban country town. As well as the easy accessibility by public transport, Mallier was quick to point out the growing camaraderie being forged between these newbie organizers.

"We have supported each other! I backed True Believers (Cheltenham's first comic con – Olly) crowd funding campaign and I have shared my con organizing experiences with (others). They have done the same for me."

Ease of access is a definite. But, a friendly support network that is growing and growing as each new con is announced can help immensely, offering advice and pitfalls to avoid for would-be organizers. These are not cons that are in direct competition with one another but rather fans giving back and supporting one another.

"Supporting local talent," was also mentioned by Mallier. A small convention can mean a bigger potential audience as comics and comic-related projects are not drowned out by the distractions that come with more pop-culture centred events and bigger, louder, flashier shows. These smaller shows allow independent comic book creators a platform onto which they can shine a spotlight promoting their own projects to like-minded people, or allowing fans access to big name artists with local connections (I was surprised to learn at one con that artist Steve Pugh grew up in the area of Birmingham in which I currently teach and even more surprised to learn that both inker extraordinaire, Mark Farmer and hep-cat Hunt Emerson reside in Britain's second city).

Another key to their success is the passion and enthusiasm these people have for the art form, the history and the characters. People like Mallier and Wright live and breathe comics. A good promotional campaign – often through simple word-of-mouth – can help build goodwill towards the con ahead of time. "I've been up and down the country getting the word out, meeting comic creators and potential exhibitors," says Mallier. While Wright echoed a similar feeling: "The passion and commitment the organizers are putting into the newer cons to make them work.  Sure it comes from the desire to succeed but first and foremost it's comics that drive us."

TrueSometimes, success of a comic-con can just come down to wanting to put on a show that you would want to go to. Staurt Mulrain, the man behind the aforementioned True Believers Comic Con in Cheltenham – a town known more for its horse racing than a burgeoning comic collecting crowd – honestly admitted that when he was looking to establish his own comic con, "When we started True Believers, I had no idea what fans were looking for in a con, I just did what I wanted to see in a convention and hoped people felt the same way – which fortunately they did."

The Midlands, and particularly Birmingham, have always had an affinity with comic book culture, having one of the oldest comic book shops in Britain (Nostalgia and Comics, a shop I have often waxed lyrical about), "testimony to the fact there is a loyal audience here" (Wright) but there's more to it than that. A comic con cannot live by older, loyal fans alone, and it is the dedication, the love, and the sharing culture of these very British comic cons –a desire to share the love, rather than commercialize the culture and take out your competitors – amongst these band of brothers that goes a long way to succeeding. And, if a show has been a success one year, as Mulrain point out, "(The fans) want to invite their friends to share the day and get to meet new people there (on both sides of the table) that they can talk about the thing that they love, with other people who love it too."

ICESo, it's all about the love at the end of the day, and how that is best channeled. I look forward to continue to share in that love too now and in the not-too-distant future with the return of Shane Chebsey's International Comic Expo to Birmingham on September 5th. But, more on that con another day. For now, I'll just mention three names to whet your appetite: Bob Layton, Joe Rubinstein and John Wagner. Evidence enough that you don't need to break the bank and travel to SDCC to se the stars and proof that the indie comic con can shake it with the best of 'em and introduce a whole new generation to the past-time we, dear reader, hold so close to our heart. It would seem that at least here in the UK, you can't have enough of a good thing.

Olly MacNamee teaches English and Media, for his sins, in a school somewhere in Birmingham. Some days, even he doesn't know where it is. Follow him on twitter @ollymacnamee or read about his exploits at olly.macnamee@blogspot.co.uk. Or don't.

 


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Hannah Means ShannonAbout Hannah Means Shannon

Editor-in-Chief at Bleeding Cool. Independent comics scholar and former English Professor. Writing books on magic in the works of Alan Moore and the early works of Neil Gaiman.
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