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07th Sep 2019

Ness and The Cattle Raid of Cooley now available as graphic novels!

Finally. The Cattle Raid of Cooley, my comics adaptation of the ancient Irish epic Táin Bó Cúailnge, is available in a single volume. I serialised it on the web from 2008 to 2015, and sold it in print as ten comic book issues, but now, with minor revisions, it’s in the format it was always meant for: a 284-page oversize paperback, printed as it was drawn – in red ink.

Ness, the prequel, has been collected before as an A5 black and white volume. But I’m out of copies, so I’ve now reprinted it in the same oversize, red ink format as the Cattle Raid. Both are available to buy online from my Comicsy shop via the links to the right (or possibly below if you’re reading on your phone).

I have a table next Saturday, 14 September 2019, at the Omagh Comic Fest in the Strule Arts Centre, Omagh, where the books will be on sale in the real world for the first time. I hope you can make it.

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07th Sep 2019

Moggie Moggie Moggie! Out Out Out!

The memes have been amusing. I’ve had my own go at one…

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16th Dec 2018

From Hell – now in colour!

You may or may not be aware – there doesn’t seem to have been much publicity, especially compared to Peter Jackson’s They Shall Not Grow Old – but Eddie Campbell is colourising From Hell, the monstrous graphic novel he did between 1989 and 1998 with Alan Moore, for the Kindle. Two installements of the From Hell “Master Edition” are currently available from Amazon, containing the prologue and first four chapters.

Chapter 4, page 9. Not much has changed, but suddenly this panel is awash with sunlight.

This doesn’t sound like something that would work – Campbell’s art on From Hell is very black-and-white, and evokes a very sooty and grimy Victorian London. But it does.

Chapter 4 page 12: colour creates both sunlight and depth.

Campbell’s colouring, like his art, is rough and ready in places, but that’s always been part of the charm of his work. It’s subtle and fairly simple – he lays down flat areas of colour, and rarely does any kind of modelling with it. But, combined with tweaks to the line art and occasional outright redrawing, it’s remarkably effective in creating a sense of place. Where black-and-white Victorian London was a distant, alien setting observed from afar, coloured-in Victorian London is a place you can imagine yourself into.

Chapter 4 page 14: simple, flat colour creates more space.

And in chapter four, the tour of London chapter, Campbell pays particular attention to time of day. The chapter starts before dawn with washed-out colours. As the sun rised, the colours become brighter and more contrasting. A shower of rain, and things become oppressive and grey, and as the rain stops, the colours become cold and washed-out again, before darkening as evening draws in.

Chapter 4 page 15: same again.

I wasn’t expecting it to work, but it really does. Highly recommended – and gives me a few ideas…

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