FQP 2018-2019 Quarter 3 Digital income…

Digital Funds- payments.

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FutureQuake Press on comiXology

This is primarily for all of those of you out there who have contributed to FQP over the years, and specifically all of those whose work is available via the comiXology platform  or the ComicHaus platform

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Comichaus Link

Back when we first decided to put FutureQuake and Something Wicked out digitally the decision was made that all funds returned would be split between the creators involved. The exact mechanism goes something like this:
• A comic is sold digitally- by whatever means and eventually the funds for that sale turn up in the FQP bank.
• The funds are divided down between the total page count of the comic to get a price per page.
• That is then divided equally between writer, artist and letterer (there are niggles around this that are dealt with as they arise but that is the general gist of it). FQP do not get a share of this.
• Finally this price per page is multiplied by the number of pages in the strip and voila- I can broadly calculate the payments required to each contributor for an issue.
So, catching up there is now an actual sum of funds in the FQP account that is to be shared between the creators for all comics available digitally at the end of December 2018. It is not a vast sum, so please do not think you will be able to live a lavish lifestyle on the proceeds, but the funds are there.

I am keeping a watch on the individual payment amounts due by calculating what some of the more prolific creators would be due. An example of this is:

Bolt-01 is currently due 1.68 gbp for artwork in the issues on sale.

Other creators are due more but to the best of my awareness there is not a single creator with a payment due of more than 3.00 gbp. If that amount approached 10.00 gbp I would seek that creator out in order to make a payment via Paypal.

If any of you reading want me to check what you are due, please get in touch and I will let you know what I owe you and we can take it from there.

When we get further payments I’ll post updated versions of this with a revised estimated payment so creators can decide if they want to contact me.

Thanks for reading all of this, I hope it made some sense to you and thanks again for working with FQP.

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The 13th Stone

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Press Release:

MALLET PRODUCTIONS BRINGS YOU A NEW TALE OF TERROR WITH THE 13TH STONE!

The reformed bastion of British horror has acquired the folk horror inspired The 13th Stone for digital release

United Kingdom, 2019: Following on from the success of the resurrected Mansion Of Madness, Mallet Productions returns to the field of digital comics with a brand new, expanded and coloured version of the English folk horror tale The 13th Stone.

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The story sees archaeologist Joy Lambton taking a job in the small English village of Argleton, and soon finds herself intrigued by the ancient stones that stand on the outskirts – particularly why the few sources she can find about them claim there are only eleven stones, when there are clearly twelve.

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But when she learns of a thirteenth stone, Joy begins to uncover the dark and terrifying connection they have to the village and its inhabitants…

Coloured by artist Bryan Coyle, this new version of The 13th Stone brings a whole new dimension to the creeping sense of dread contained within its pages, guaranteed to give you sleepless nights.

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The comic is available via Comixology now, priced £1.99.

In the interests of full disclosure, this strip has been available before- I talked about it here.

I also lettered it.

 

About Mallet Productions:
Founded in 1935 by Jonathan Williams, Mallet Productions (later known as Mallet Studios) was a small British film company based in London that became home to some of the most critically acclaimed films to ever come out of the United Kingdom.
Initially concentrating on challenging social dramas, such as The Glass (1937), the story of pub landlord who’s determined to give his daughter a better start in life than he ever had, and The Factory (1936), a gritty tale of class war in a munitions factory in the Midlands, Mallet branched out into war films, detective mysteries and even comedy (1939’s All Aboard! was one of the most successful British films of that year).
However, it was the release of The Girl In The Room (1941) that Mallet finally tapped into a rich vein of unsettling, psychological horror that would come to define their output over the next several years. Building on the critical and financial success of such outstanding movies as 23 Holborn Terrace (1951), Mallet eventually began to turn their attention to more mainstream horror and, before long, science fiction. With classics such as The Horror Of Ward 13 (1953) and The Silent Planet (1955), Mallet’s position in the cinematic landscape of the UK became assured.
In the 1970’s Mallet branched into TV, with their acclaimed anthology series Mansion of Madness. While the series only ran for five of its six episodes (ITV received a record number of complaints following the airing of the still disturbing The Devil’s Run and, as such, decided not to air the final episode of the series), Mallet used its success to branch into publishing with their comic series of the same name.
While the Mansion Of Madness comic only lasted a few issues, it burned so very, very brightly, leaving an indelible mark on the British comics landscape, and inspiring a whole generation of creators – and it’s that same anthology that Mallet’s new owners, George Fairlamb and Lee Robson plan to use to re-establish the Mallet brand.
“We’re beyond excited to be able to bring Mallet back to forefront of the cultural discussion,” Fairlamb said. “As fans of the films, this is a dream come true. We’re going to make sure we remain true to the ethos of the original brand we grew up with.”
Mansion of Madness will be the first release under the new digital imprint, with The 13th Stone by Lee Robson and Bryan Coyle to follow. More titles will be announced later.
Find out more about Mallet Productions and our future plans at http://www.malletproductions.co.uk

2019…and so it begins…

Hi all, just a note to say that now we have opened to scripts I’ve just logged the first batch- 8. and it isn’t even lunch time yet.

Thanks to those who have already sent theirs in and a reminder that I tend to read one a day, and those that get past me have to go through the rest of the editorial team so please be patient.

FutureQuake Press- Open to new Scripts.

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FQP are pleased to announce that from January 1st to March 31st they are open to new scripts.

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FQP titles FutureQuake and Something Wicked are two premiere level titles with a focus on new talent & developing talent and a proven track record in help new creatives hone their skills. Scripts are being welcomed for both titles- script length of ideally 4-6 pages with a ‘twist’ in the tail.

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The 2000 AD fanzines Dogbreath & Zarjaz are still open to scripts so there is room for writers of all levels to contribute.

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Note that all scripts will be read in the order received and only short stories are being sought. FQP do not publish serials or complete graphic novels.

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If accepted, writers will be informed of the next steps towards getting the script commissioned and turned into a comic strip.

Currently both titles can accommodate around 40 strips a year, so it may be that scripts have a significant delay between acceptance and commission. If that is an issue to you, keep in touch with editorial to see where you are in the lists.

 

Send all script submissions to futurequakepress@googlemail.com and good luck.

Good Cop Bad Cop

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Cover art by Alex Ronald

Long time readers may well recall the series of comics published by ‘Planet Jimbot’. Among them was Good Cop Bad Cop- written by Jim Alexander, which won a fair few awards for its first collection, returned for a second bout then all went quiet.

I asked around after Jim and was told he’d gone off to write books! Like you do.

Fast forward to this morning and what do I find in my inbox but the promo for Jim’s first book- and it is  a return to the world of Good Cop Bad Cop so fingers crossed this will be as good as the comics.

Here’s Jim’s promo text:

GoodCopBadCop is a crime novel with a twist. It is a modern crime take on Jekyll and Hyde where both ‘good cop’ and ‘bad cop’ are the same person. This is not a story about a good man turned bad, or a bad man turned good.  Both good and bad arrived at the same time.

GoodCopBadCop was originally released as a Graphic Novel, which went on to win the True Believers Comics Awards. The novel delves deeper into the psychological trappings, black humour and surrealist overtones that made the title such a hit with readers. It really gets into the gut(s) and mind(s) of the main character.

Jim Alexander is an award-winning writer who has worked for TV (Metal Hurlant Chronicles) and for DC (Batman 80-Page Giant, Birds of Prey) and Marvel (Uncanny Origins, Spectacular Spider-Man). GoodCopBadCop is his debut novel.

Book is available far and wide. Some links to follow:

UK

Amazon (print & digital)

Blackwell’s (print)

Kobo (digital)

 

US

Amazon (print & digital)

Barnes & Noble (print & digital)

Kobo (digital)

Good luck with the new venture Jim.

Carlos Ezquerra- Tributes.

On October 1st, Carlos Ezquerra died. His importance to 2000 AD is beyond definition. Here we present images and testimony from creators to the pages of Zarjaz & Dogbreath. Many of whom would not be creators if it was not for Carlos.

 

Richmond Clements,

“How to even begin writing this?  How to put in words what Carlos Ezquerra meant to me? What he meant to comics?

2000AD.

What’s the first thing you think of when someone mentions 2000AD comic?

It’s Judge Dredd, right?

While the name and the concept came from John Wagner and Pat Mills, everything else came from Carlos. Famously, Dredd had been envisioned as a near future gritty cop, but Carlos turned in an initial image with towering super skyscrapers and impossible looping highways. And history was made.

Now, you’d think that would be enough. To co-create one iconic British character and to draw it for the best part of 40 years. Not Carlos, though. He and Wagner went on to come up with Strontium Dog – for me the greatest comic character ever created.

I could go on talking about Carlos’ art and his contribution to comics. But really, his importance to the history of comics is beyond contestation. I saw someone describe him as the European Jack Kirby. That’s a perfect description.

Instead of that, I’d like to highlight Carlos’ relationship with the fans. He was always welcoming. Always warm. Always funny. Always patient.

And that patience extended to, for example, nerdy fanboys who published a fanzine when they emailed him with uber-nerdy questions about the minutiae of characters and their weapons and he’d mail them back a brilliant and thoughtful answer within a few minutes.

In summary: he was the best.

Farewell, Carlos. Thank you for all the comics.”

 

Kerchow,

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Leigh Shepherd,

“It is hard to overstate the importance of Carlos Ezquerra’s contribution to comics, and any attempt to overview his work is bound to fail.  Many of the most beloved artists trade productivity for quality and their reputation rests on a handful of strips. Others can take an existing strip to new heights, but have never designed a world from the ground up.  Most 2000 AD artists have their period, where they burn brightly in the progs, before they are gone to greener pastures. Carlos stands alone as an artist who could turn out pages seemingly at whim, designed the most important character of the comic  (and in Strontium Dog, arguably the comics second most important character)  and never left.

While Spanish artists in the early 70’s could work for British comics from Spain through the agencies, Carlos packed up his bags and came to the source in 1972. Such a bold  move was a good indicator of the character of both the man and art we would be treated to for decades to come.

It took very little time for Carlos to make a splash, and when head hunted by Pat Mills and John Wagner for Battle, his iconic work on “Rat Pack” and “Major Eazy” made him a natural go-to when 2000 AD was being developed.  His futuristic designs for both the character of Judge Dredd and the City he would patrol inspired the editorial to push the story from the near future to the fantastical world we know and love – It is often said that the real star of Dredd is Mega-City One, but would that city have ever become half of what it is without Carlos’ inspirational outré design pushing the strip to greater heights?

By the time Strontium Dog came along, no one was doubting the ‘Carlos Method’, and the strip hit the floor running. “Grim flamboyance” was a phrase used in one of his obituaries, and I would struggle to beat that as a perfect summation of his genius –we often talk about how Dredd and Strontium Dog are stories that can be humorous, horrific, down to earth and fantastical, often simultaneously. Was there ever an artist more able to effortlessly match that range?

It was Strontium Dog that made me a lifelong fan of 2000 AD. The first strip I read in my first prog was the second part of “Bubo and the Bad Boys”, the infamous scene of the Deputy being roasted by the alien outlaws – That first page was all I needed to know I’d done the right thing switching from Dr Who Monthly! When I started collecting 2000 AD, it was initially only the issues with Strontium Dog that I was after. When I was collecting, I used to have recurring dreams that there were other Strontium Dog strips in comics like Warlord, and I would wake up anxious that there was a story I hadn’t read and disappointed that the story didn’t exist. But I would also be exhilarated at the fading images of Carlos’ art as imagined by my overworked mind and reassured that before long I would see the real deal from the man himself.

When I heard the news of his passing I was taking a break from painting the Fly’s Eyes Wagner miniature from Warlord Games Strontium Dog game. Earlier that day, I had used this as an excuse to dig out and reread “Journey Into Hell” in the original progs on the pretence of researching the right colours. After a frustrating morning attempting unsuccessfully to do some adulting, there was no better salve from the stupidity of the real world than a quick journey into Ezquerra’s stunning hellscapes. I was listening to the excellent Space Spinner 2000 podcast discussing how brilliant Carlos Ezquerra’s art was on “Stainless Steel Rat For President”. As I sat at my desk, I was surrounded by gronks of various sizes, watched over by the Re-Action Johnny Alpha figure, lined up in front of the complete Agency files.

Carlos and John  Wagner had been due to attend the Birmingham ICE comic show in September, as well as a special screening of “Dredd” in the evening.  Whilst Carlos had to cancel for urgent surgery, things had looked promising – Carlos had posted to his Facebook page suggesting the procedure had been a success. At the screening, John Wagner said that he had an idea for another Strontium Dog story, but first Carlos had to recover from his surgery and before that, they had revived an unused character “Spector”, which would be appearing in the Megazine. It is hard to take in that we will not see those strips – Carlos has been such a part of our lives for so long, that it was easy to take him for granted – dependable, professional, still creating at the top of his game, as indestructible and permanent as the characters he had created.

As I said earlier, it is hard to overstate Carlos’ contribution, because his contribution is not as an important part of 2000 AD, but as a fundamental ingredient, perhaps THE fundamental ingredient of the comic that changed the face of an entire Industry. Other great talents have come and gone through the doors of the Nerve Centre, and every one of them will be remembered as a friend of Tharg, there for a brief shining moment preserved in our memory.  But Carlos was not just a passing friend, he was family, the lifeblood of the comic. For more than one generation of readers his incomparable and irreplaceable vision not only entertained but shaped the way we saw the world. His is a vision that will, like all truly great art, live on.”

 

John Farrelly,

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Lee Robson,

“Carlos’s art was an integral part of my growing up. Everything he ever had a hand in just exploded off each and every page and pulled me right into the centre of the action, refusing to let go until the end. He was like no other artist before or since: everything about his work was – and is – unique, and I’d spend hours drinking in every page, marvelling at the sheer brilliance in his storytelling. So, thanks, Carlos, for all the joy and excitement you’ve brought me down the years. Rest in peace.”

 

David Broughton,

“Like so many fans of 2000 AD, I have enjoyed Carlos Ezquerra’s work for over 40 years. I was hoping to finally meet both Carlos and John at a convention in Birmingham a few weeks ago. Alas it was not to be. My thoughts, love and best wishes go to his family and friends. I choose to honour his memory by rereading his work starting with Strontium Dog. I will wallow a little in the nostalgia it will surely evoke, and shed a ‘manly’ tear when I think no one is looking.  Goodbye Carlos.”

 

Scott Twells,

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Mark Howard.

“When I first met Carlos Ezquerra, in Wales of all places, I was living through a pretty dark period and almost didn’t go – but was persuaded that I had to because of the “Supersquirrel Undefeated” get well comic. They say you should never meet your heroes but Carlos, whose art has been part of my life for longer than I can remember, was a twinkling tuft of pure joy. He hugged me, and called me his friend, and drank with me, and we talked, and we laughed, for hours. That afternoon I took a significant step on the road out of my darkness and I shall never forget it. I loved Carlos for his art, which I told him, and I adored him for making me feel so damned special, which I wish, I wish, I wish I’d told him.
Farewell, Carlos, from a proud friend.”

 

Adrian Bamforth,

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Alexi Conman,

“I couldn’t claim to have been a mega-fan to the extent that others are, but his work was, over decades, consistently great and highly recognisable – as his, and as 2000AD, and, by extension, as what generations of readers came to understand as modern British comics. There are very few creators who can be viewed as having helped define a whole culture, but I think Carlos is one of them.”

 

RoboMonkey147,

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“I was 8 and all my friends at school had this new comic called 2000 AD. Instantly it was the talk of the playground with its hyper violence and futuristic ideas. I badgered my folks to get it for me. And they did.

Soon there was a future lawman called Judge Dredd. I wasn’t instantly taken with him but then The Cursed Earth happened. McMahon and Bolland’s double whammy was seismic for our collective school consciousness. You were either in McMahon’s camp or Bolland’s.

The hits didn’t stop Cursed Earth launched immediately into The Day the Law Died. Closely followed by Judge Death then the Judge Child. Within the space of 244 issues, just shy of 5 years we also had Death Lives and then Block Mania to name but a few.

By now some of my school chums had given up on the galaxies greatest comic and had moved on. But me and my mate Martin were putting pen to paper with our own spins on Tharg’s mighty heroes and villains. Even my older brother got in on the act (although he much preferred Rom Space knight and Micronauts) adding scripts and his own art.

Our styles were definitely heavily biased to either McMahon or Bolland.

But then prog 245 happened. 25 weeks of global decimation. Full on action. The cold war writ large across the future. And all skilfully rendered by one man.

I’d seen his name in the prog here and there.

CARLOS EZQUERRA

Stainless Steel Rat was entertaining but Carlos style grabbed me more on Fiends of the Eastern Front. Moody, dark and menacing.

And then it was prog 245.

Apocalypse War. To say I was blown away was an understatement.

Carlos’ clear storytelling made this THE highlight of the weekly prog. Carlos’ lines were sketchy but full of energy. You could feel that furious energy bristling in every image. Blocky outlines making key moments jump out of the page and almost punch you in the face.

It’s difficult to explain to anyone how just thinking about some of the 1000 plus strips Carlos produced just takes me back to my younger self. The thrill and excitement pouring over those punk images. The endless potential, the untampered imagination that anything was possible. And even the impossible could be made real by Carlos.

As well as the utmost admiration I have for Carlos line work it’s his sheer workman like output that I’m in awe of. Carlos was a creative genius and a complete workhorse.

I drifted away from comics at some point, well, certainly 2000 AD and my next brush with thrill power was Necropolis. The Dead Man had caught my eye. A bit of a different, slow burn strip for 2000 AD. That hoodwinked the readers into the nightmare that was Necropolis.

And there he was again, Carlos Ezquerra. The lines more assured. The emotions and expressions more nuanced. The action just MORE. And all rendered in colour from subtle to garish to suit the pace and situations happening.

Carlos’ influence was beyond huge.

A true legend who will be missed. It’s been said more eloquently by others but thank you KING CARLOS.

You will never be forgotten.”

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Santiago Mayaud,

“In every possible way, Carlos was a titan of comic book art. His style, brimming with confidence and wild imagination yet crystal clear in its storytelling, was truly irreplaceable. Muchas gracias por todo, maestro. Se lo va a extrañar.”

 

George Coleman,

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Adam Breen,

“Carlos Ezquerra’s creations have been a fixture in my life from a very young age. John Wagner’s grim humour found a perfect match in Carlos’ colourful pop-brutalism. A true giant, who will be deeply missed.”

 

Ed Whiting,

“The world is a poorer place without Carlos in it, but the legacy he leaves behind is truly amazing.”

Kev Levell,

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Bolt-01,

“Every page of Zarjaz or Dogbreath that you hold in your hand would not be here if it wasn’t for Carlos. His work inspires me every time I see it; from the sweeping organic landscapes to the reality of his figurework. A Carlos Ezquerra page is instantly recogniseable. His effortless storytelling lifted everything he drew. Few artists could do more with simply- ‘Dredd, grim.’”

Zarjaz 32- Now available!

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Cover art by: Paul Williams

The Galaxy’s Greatest Fanzine is back with a superb cover by Paul Williams featuring the Rogue Trooper. Within the thrill-powered pages Peeps the butler droid presents 7 scrotnig tales featuring the ABC Warriors’ Joe Pineapples, Judges Dredd and Anderson and a cautionary fable from the world of Flesh! All of this and a special tribute to the one and only Carlos Ezquerra for a mere £3.00.
Strips:

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A.B.C. Warriors- Joe Pineapples- 37 by writer Lee Robson and artist Alex Paterson. Letters by Bolt-01

 

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Anderson PSI- Tell Me Of Your Dreaming by writer Kieron Moore and artist Russ Leach. Letters by Bolt-01

 

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Flesh- MasterFlesh by writer David Fenn and artist Uwe DeWitt. Letters by Bolt-01

 

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Judge Dredd- Descendants pt03 by writers Robomonkey147 & Colin Clayton and artist Robomonkey147. Letters by Bolt-01

 

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Judge Dredd- Work In Progress by writer Alan Holloway and artist Andy Lambert. Letters by Bolt-01

 

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Rogue Trooper- Silent Night by writer Matt Sharp and artist Alex Paterson. Letters by Bolt-01

 

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Tales Of Mega-City One- Boatman by writer Steven Fraser and artist Jack Davies Letters by Jack Davies.

Available from The FQP Webshop

Reviews:

The Imaginarium.