Food for Thought: the UK's "Soft Power" and the small press

Monday 19th’s edition of Andrew Marr’s Start the Week began with the premise that, whilst the UK continues to labour under a harsh economic climate, we are now the world leader in “Soft Power”, a term coined by Harvard scholar Joseph Nye to describe a country’s global influence through politics, diplomacy, business, sport, education … and the arts.

This last measure struck a particular chord with me, having just spent the proceeding weekend at Leeds’ Thought Bubble comic art festival. Now established as one of the country’s leading festivals of sequential art, Thought Bubble encompasses indy film screenings, exhibitions and seminars delivered by some of the leading lights of the industry. And at the festival’s core lays the Thought Bubble convention, which fills two sizable halls at the Royal Armouries. And how it fills them. Everywhere you look there are—amongst artists sketching and stalls selling various toys and comic/TV related memorabilia and merchandise—tables crammed with a dizzying host of comics and graphic novels. But we’re not just talking the big franchises like the Avengers, Batman and 2000AD here, because at Thought Bubble the UK’s indy press was out in force.

For the past few years I’ve been stunned by the increasingly impressive output of the UK’s indy publishers, and this year was no different. From ongoing series and one-shots to graphic novels and anthologies, the array of titles is astonishing. Equally astonishing is the quality. Gone are the days of A5 photocopied black and white comics stapled together in someone’s bedroom. As Thought Bubble demonstrated, modern indy publications can boast full-colour covers and glossy pages, hardback covers, pull-out and pop-up sections, and DVD ROMS. And it’s not just the production values that are so impressive. The artwork, concepts and writing bless us with imaginative stories and beautiful artwork. Leading indy publishers like Accent UK, Murky Depths and Time Bomb Comics offer fabulous titles like Who on Earth Was Thaddeus Mist?, Dead Girls, and Dick Turpin and the Crimson Plague. Add the likes of Brian Talbot’s incredible Grandville series and Paul Scott’s consistently inventive Omnivistascope—any one of which boasts more innovation than most of Marvel and DC’s uninspiring cross-overs and movie tie-ins that drown the shelves at your local comic shop—and the UK’s Soft Power ascendency is very much in evidence.

But Andrew Marr’s radio program made me wonder if this invention and craft were enough in the face of these austere times. As rewarding as it is to read these beautiful examples of small-press publishing, do they offer the same fiscal rewards to their creators? And how badly had the UK’s economic downturn effected our indy scene?

“Well […] to even think about starting a business you need optimism in gargantuan proportions, and a bottomless wallet,” says Terry Martin of The House of Murky Depths, award-winning publishers of such titles as I Dream of Ants, Going to the Moon and Probably Maybe Perhaps. “You hear tales of small press publishers mortgaging their houses, and I could have saved up and been able to buy a brand new BMW with what The House of Murky Depths has cost me, but we struggle on with our dreams. Marketing is the downfall of the small press—we just don’t have the budgets—and social media isn’t all it’s cracked up to be for the majority who try to use it for promotional purposes, unless you just hit lucky. High quality limited editions still seem the best bet for small press, but then production costs are higher and margins lower. The downturn has certainly a lot to answer for but I think it’s always going to be difficult for small press publishers. We still struggle on with paper too, when online content is beating us down. Bottom line? If there hadn’t been a recession there’d be a lot more comics around but we probably wouldn’t be that much better off.”

So it could be easy to dismiss the effects of the downturn as—for the small press at least—as something of a culling process, an economic filter that shields conventions like Thought Bubble from a greater glut of indy titles. Could it even be said to aid the average publisher by the simple process of eliminating some of the competition? This would certainly seem to be the case with FutureQuake Press, an indy publisher which continues to enjoy success with titles such as Something Wicked, FutureQuake and 2000AD fanzines Dogbreath and Zarjaz.

“This year is a little down on previous,” says editor Dave Evans, “so the economic situation may well be a factor there, but before this year sales have been on a steady growth since we first started publishing back in 2005. Granted, the actual turnover is low, but until this year we experienced growth, and for all I know this year may well just show the start of the sales reaching a rough balancing point.”

Dave West, editor and co-founder of Accent UK also offers this insight: “The downturn has effected sales in stores more than anything else. Retailers seem to buy fewer of our titles these days and I think this is due to the huge number of Watchmen Prequels, 52s and AvX or whatever Marvel are coming up with at the moment. At Cons we are getting more and more customers, new and repeat, and sales are usually better than the same Con the previous year.”

So, whilst it appears that conventions like Thought Bubble are vital to indy sales, Terry Martin maintains it isn’t quite that clear cut. “It’s very difficult for those of us who have tables at conventions to fully appreciate their success or otherwise,” he states, “particularly if you’re the only bod manning the tables. We tend to gauge success purely by our sales, and one dealer can do well while the next dealer has a bummer.”

As real as the effects on the recession on the indy scene are, therefore, they do not appear to be insurmountable. Yes, economic reality dictates that retailers like Travelling Man and Forbidden Planet must dedicate the majority of the shelf space to big selling titles featuring the likes of Batman and the Avengers, but this does not spell the end for the indy scene. Conventions like Thought Bubble, Hi-Ex and Kapow! give the small press a priceless shop window to display their wares and attract new readers … and the small press seizes this opportunity with both hands. As I saw at Thought Bubble, indy publishers are stepping up their game and transforming the small press beyond all recognition, and that can only be good for not only the consumer, but the creators also. Anybody who harbours any ambition of breaking into the comics industry at the grass roots level now knows the bar is set very high indeed, with a level of professionalism undreamt of by the likes of Eastman and Laird. And that can only be a good thing for publishers and punters alike. And whilst the small press, by definition, may make only the tiniest contribution to the UK’s Soft Power, it is a microcosm of the greater imagination and passion that has propelled our country to the top of the pile. And as a writer and contributor to the indy scene, that makes me feel very proud.

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Their Law: A review of the "Judge Minty" fan film ... and why it's better than "Dredd"

My name is Paul L Mathews, and I’m a Judge Dredd fan … and a fan film has finally done justice to the character I love.

I’ve been reading 2000AD for the best part of three decades now, and, naturally, Judge Dredd is amongst my favourite characters in the comic. Imagine, therefore, my excitement when I saw this trailer for something called the Judge Minty Fan Film:-

I mean, c’mon, that things got it all right? Judges, Lawmasters and the coolest rendition of Mega-city One you’re ever going to see on screen, fact. Hell, there’s even a reference to Rowdy Yates Block, for Grud’s sake. Surely, I thought, this is in with a shot of being the best rendition of the Dredd universe committed to screen. And now, some four months on, having finally seen Judge Minty, I have my answer. My suspicions are confirmed, and judgement is served…

… But first a short interlude. Between seeing the trailer for Judge Minty and the film proper, I saw its big-screen cousin Dredd … and I hated it.

(Fair warning: if you like Dredd, or don't want to read any SPOILERS, you might want to look away now ‘cos it’s about to get ugly).

I had initial misgivings when I first saw the poster, publicity shots and trailer, and the film only confirmed my initial fear: Dredd is not a Judge Dredd film. Yes, it features a man called Dredd, who acts like Dredd, and who dispenses justice like Dredd … but, well, it just isn’t the Judge Dredd I grew up with.

For a start, that sure as hell doesn’t look like him. From the bulky body-armour to the supersized helmet, the Judges’ uniforms in Dredd are just as generic as the movie’s vision of Mega-City One. Looking for the soaring towers, sked-ways and flying traffic captured by the likes of Ezquera, Bolland and McMahon. Tough. Dredd’s vision of Mega-City One looks like nothing more than Johannesburg with a few CGI blocks imposed on it. Have a fondness for the the ‘Drokks’ and ‘Stomms’ used by the characters in the source material? Unlucky, ‘cos they’ve been dropped for liberal doses of ‘hard-hitting’ expletives like ‘fuck’ and ‘shit’. And as for the violence… Well, I know a lot of people—and people whose opinion I genuinely respect—say Dredd perfectly encapsulates the mood and feel of the titular hero and his unique city, but I disagree. Dredd was nothing more than an average dystopian sci-fi with Joe and Cassandra crammed into it, and which tried to distract its audience from its lack of authenticity—and, indeed, excitement—with oodles of bloodshed and needless gore more suited to the pages of Action comic than 2000AD. How can this possible be mistaken for the genuine article? Where is John Wagner’s wry humour or sly commentary on contemporary culture? Or McMahon and Ezquerra’s visual creativity and flare? Maybe they left it on the cutting room floor, ‘cos I couldn’t see it. It was also completely devoid of any tension. Not once did I get the impression Joe or Cassandra were in any kind of trouble, and that had a lot to do with a piss-poor choice of villain. I mean, c’mon, Ma-ma? With all the classic villains Joe’s faced, they seriously couldn’t do better than a drug dealer with a few bent coppers on her payroll? It’s barely credible. Hell, even the derided Stallone effort made a good fist of the Angel Gang, for Jovis’ sake!

Suffice to say, I left the cinema with a bitter taste in my mouth, and that taste—not to mention some trepidation—was still there when I sat down this week to watch Judge Minty. Could this, a short film with a tiny budget, really capture the unique essence of the comic? Could it do justice not only to Joe and his city, but also to the anticipation created by its trailer?

Yes, it could. And then some.

Let me be blunt about this; Judge Minty rocks, and it doesn’t just rock as a Judge Dredd film; it's a prime example of short, punchy and economical film-making. In a week I also saw the overlong and cumbersome Skyfall—which took a full 143 minutes to leave me feeling bored and unsatisfied—Judge Minty took only 25 to intrigue, amaze and exhilarate me. Yes, the plot is simplistic and, yes, it covers ground—and themes—already familiar to any Judge Dredd reader, but it’s no worse for it. And what it gives away in this department it more than makes up for in all others, from direction and camera to props and wardrobe. How a film with this budget has achieved such results is astonishing, and speaks volumes for the obvious devotion to the subject matter felt by all those involved. Nowhere is this more apparent than in the costume and prop designs of Daniel Carey-George, with the Lawmasters and Judges’ outfits deserving particular praise. Not only is the design of Judges’ uniform true to the source material, but it allows the actors to move about with speed and fluidity. Better still, they just look right.

Furthermore, Judge Minty’s excellence revolves around one thing, without which all this eye-candy could easily have been crusty make-up on a Sump-ugly tart; and that one thing is actor Edmund Dehn.

Dehn—cast in the titular role of the aging Judge Minty—perfectly captures a man struggling against the physicality of his advancing years, and hitherto liberal notions of appeasement and understanding. Contrast this with Dredd, where Karl Urban conveys little more than a man struggling against a flimsy script and an overly large helmet. And whilst Dredd lacks any hint of tension or emotional gravitas (yes, Joe gets shot blah blah blah, but, as with all heroes in a franchise, we know he’s going to survive, right? And Anderson—no matter how hard both the script and actress may try—can’t take up the slack either. Who really didn’t anticipate she’d survive and earn her full shield?) I spent the entirety of Judge Minty, however, expecting the hero to die, and the resulting tension as he fights his age, his environment and his delightfully visualised adversaries is augmented by a blended performance from Dehn which mixes determination, fear and a suprising melancholia which I felt gave Minty a subtle vulnerability. I truly haven’t felt that level of anxiety for a central character in any of this year’s blockbusters, and that includes the vaunted The Dark Knight Rises.

In conclusion, Judge Minty is the quintessential Judge Dredd film. It perfectly encapsulates the mood and feel of Wagner and Ezquerra’s unique creation, and the equally unique Mega-City One and its surrounding Cursed Earth. It is also a wonderful, bite-sized piece of sci-fi drama which will exhilarate, engross and surprise, and I feel both grateful for the cast and crew for creating it, but also thankful I’m one of the few who—to date—has seen it. I only hope more 2000AD fans are allowed the opportunity to see it, and they too enjoy it as much as I did.

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