Thursday, July 31, 2008

Mouse Guard Autumn 1152

A Review of the book by David Petersen…

Issue 3 Cover - The one that started it for me

The Collected Hard Backed Cover

Back when it first appeared I picked up a copy of issue #3 of Mouse Guard Autumn 1152, so when I saw it had been collected together as an hard backed book version I bought it.

The square format sets it apart from many of its contemporaries as soon as you see its cover, but it isn’t just the design aspect of Mouse Guard, which engaged me, there is far more to it than that.

Engaging me nowadays, as I tend to buy more re-issued hard backed collections (my Jack Kirby collection is coming along nicely) or the occasional European albums with only the occasional foray into new books, is no mean feat.

The artwork, obviously the first thing you notice with sequential art is exquisitely executed and the writing fills in the space behind the pictures perfectly, adding to the warmth and charm of the characters.

The story is an engaging tale and carries the reader along at a pace. It is one of the few books recently that I have sat and read in one sitting. Not that it is a simple or sparsely worded tome, no just a well balanced and well told tale of characters you can immediately identify and associate with.

The use of anthropomorphic characters is of course nothing new, but these kinds of stories have always held wonderment for me. After all companies like Disney have made an empire out of their use, but David’s Mice are so easily recognised as Mice with all the qualities of men and women, without the guise of human form.

I liked issue #3 when I bought it, and my assumptions about the overall storyline upon reading that issue, where correct, as I found out when I recently read the full story.

I can’t wait to see the second series, Mouse Guard – Winter 1152 and the third series, Black Axe – 1099-1016, if this first foray is anything to go by.

I recommend you go out and check out this wonderful story.

It’s the kind of thing you can read on a winter’s evening, although I don’t for one second suggest you wait that long, just re-read it when the cold, dark nights draw in.

Until next time have fun!

Tim Perkins…
July 31st 2008

Wednesday, July 30, 2008

A couple of plugs Down the Tubes…

Or some of my stuff at John Freeman’s wonderful website…

One of the best editors I have ever worked for was John Freeman, on Doctor Who magazine, way back in the eighties.

Since then John and I have kept in touch, especially since the advent of the Internet. If you have never checked out his website “Down the Tubes”, then do yourself a favour and pay him a visit…ASAP.

Presently John is plugging the fact that the UK comic The Beano is 70 years old today and as part of the celebrations I have a produced a piece of artwork - Billy the Cat, which you can view here on the Down the Tubes Blog:

Billy the Cat

On the main Down the Tubes website John is also promoting Wizards Keep for me in the form of a mini-interview, promotional piece, entitled "Keeping up with the Wizard", which you can find here:

Wizards Keep

Once you have had a look at my stuff, take a stroll through the rest of the website.

There’s always lots to look at…

Until next time have fun!

Tim Perkins…
July 30th 2008

Saturday, July 26, 2008

Jack Kirby Quarterly 15…

The new Quality Publication designed and edited by Chrissie Harper…

A short while ago now I spoke to Chrissie about maybe contributing to the next issue of Jack Kirby Quarterly or as it is most commonly referred to as JKQ, as I had heard about the forthcoming issue too late to submit anything. It was as a great surprise when Chrissie contacted me earlier this last week, asking if I would like to submit something as there was now a last minute space in the magazine?

Well suffice it to say I didn’t hesitate a second on that one. As regular readers and folks that know me well will know I am a great Kirby fan; his artwork was what initially attracted me enough to comics, back when I was around eight years old, into wanting to become a comic artist myself. It’s a great honour to be able to celebrate his wonderful work in print as well as here on my Blog.

The chosen subject matter for my piece is, “Toxl - The World Killer”, which in my honest opinion was, although only a short twelve page story, one of Jack’s finest pieces of work. The magazine sports some excellent Kirby artwork and some marvellous reviews and studies of his work by some fantastic folks and being included in there is a wonderful feeling for me.

The book is rammed full of all things Kirby and I for one can’t wait to get hold of copies to read it all.

Jack Kirby Quarterly 15 is out in August, so you haven’t long to wait.

Oh yes and 10% of proceeds from JKQ will go to Randolph Hoppe’s wonderful Jack Kirby Museum project, even more reason to buy a few copies.

Until next time have fun!

Tim Perkins…

July 26th 2008

Sunday, July 20, 2008

Fantasy Art Unlimited…

A look at the 2008-2009 Sessions for the popular course…

Well it’s that time of year once again and the highly successful, evening Fantasy Art Unlimited Course I run is about to start its second season within our new venue at Livesey Children's and All Age Centre, here in Blackburn.

The course has been in existence for the last four years and there are a few places left for this next semester.

Here are a few details for the latest course:

  • Duration of FAU course: 30 x weeks
  • Duration of sessions: 3 x hours each session
  • Evening: Wednesdays
  • Course Start Date: Wednesday 10th September 2007
  • Cost of course: £100.00
  • The deadline for payments is: Wednesday 3rd September 2007

Address of Venue:
Livesey Children's and All Age Centre - Andrew Close - (off Scotland Bank Terrace) - Blackburn - Lancashire - BB2 4NU – UK

There is plenty of on-site car parking.

Some details about the course content:
The course will cover lots of things from the basics of sketching loosely and confidently, through to inking and painting.

Topics covered include:

  • Comic books
  • Graphic Novels
  • Game Design
  • Book Jackets
  • Children's Books
  • Cartoons
  • Storyboards
  • Character Designs
  • Background designs
  • Logo Designs
  • Film/Animation Conceptualisation
  • Storytelling techniques
  • And lots more besides...

The course is geared up to suit each individual student.

One student may wish to do comic book styled work whilst someone else wishes to work with storyboarding, and so on.

All students learn the same techniques but each employs these techniques with their own subject matter.

My experience in the art fields enables his students to draw from a wealth of information, whether it is used for purely leisure or potentially commercial purposes.

During the course other professional illustrators and designers are invited along to act as guest speakers. The students are then able to watch as each creator works on an original piece of artwork, thus enabling them to see how different people all work in individual ways to achieve similar goals.

The course is not just about learning to draw and paint, etc, it is also a valuable resource for learning how the industries work and what it entails when looking for a career in the arts fields.

The students' work is usually exhibited at Blackburn Museum, at the end of the course.

This year the students produced a magazine entitled Hybrid XII, which you can check out at their forthcoming events. *See Below for further details*.

The students each receive an induction pack consisting of resource lists of recommended artists, reference books, how-to books and websites where they can purchase the books from, etc.

I’ll have ongoing demonstrations, throughout the course.
E.G. how to "Loosen up" and "scribble" to sketch quickly and accurately.
Students are introduced to blueline pencilling techniques.

The emphasis on the course is having lots of FUN!!!

Upcoming Events for your Diary:

Local Family Fun Day:
There is an open day at the Livesey Centre on Saturday August 10th from 11:pm – 3:00pm and the Fantasy Art course will be there with an exhibition stand, where you can see the students working and also me running a series of demonstrations. Come along and join in the fun.

Taster Session:
There is a “FREE” taster session on Wednesday 3rd of September beginning at 6:00pm and lasting until 9:00pm. There will be original artwork on display at the session for you to look at and my students and I will be on hand to answer any and all of your questions.

The session is open to the public and gives potential new students a chance to sample the course for themselves.

For further details email me at:

So if you live in or around the area and you would like to learn to draw like the Marvel and Disney artists feel free to pop along to the Livesey Centre and see what’s going on.

Until next time have fun!

Tim Perkins…
July 19th 2008

Wednesday, July 16, 2008

Kirby FIVE-OH…

A Review of the latest Jack Kirby Collector…

I thought, this time around, I would look at the new book from TwoMorrows Publishing.

The square bound book version of the magazine is, as the title suggests, a collection of fifty of the top best of everything by Jack Kirby and a celebration of 50 years of the “King” of Comics:

  • 50 Best Kirby Stories
  • 50 Best Kirby Covers
  • 50 Best Examples of Unused Kirby Art
  • 50 Page Kirby Art Gallery
  • 50 Best Kirby Character Designs
  • 50 People Influenced by Jack Kirby

For any Fan of Jack Kirby’s work there are some excellent reproductions of his pencilled pages at pretty much original size, as well as examples of his work at the inks stage too. There is also a full colour middle section to the book containing photos of Jack and his family and also some examples of his colour artwork. The book also contains an Afterword by John Morrow.

I am not sure I agree with all the choices, but then again they are only my opinion on the matter and we each have our own favourites, plus with so much material from Jack’s inventory of work throughout his illustrious career, even with a 500 best not everyone would agree with the choices.

The cover sports a Kirby rendition of Superman, strange choice maybe as I would personally have preferred to see maybe one of Jack’s most famous or perhaps best voted covers reproduced here, but again that’s only my opinion.

Coming in at a whopping 168 pages plus heavy weight stock cover, it really is a substantial tome. Add to that the size of the book at, 10” x 14” or 255mm x 355mm for us metric types and you can see you are getting a great book.

The book is superb, but then I am biased as I love Jack’s work so much. It is packed full of examples of his wonderful artwork and John and the gang at TwoMorrows should be knighted for keeping the “Kirby Kandle” burning!!!

If you love great comic art go out and buy a copy now.

I am now waiting for the next issue and also the Jack Kirby Quarterly from Dez Skinn’s Quality written and edited and designed by Chrissie Harper.

Just for a bit of fun I thought I would add my 50 best Kirby moments:

  1. “Himon” – Mister Miracle Issue #9
  2. “The Pact” – New Gods Issue #7
  3. “Toxl The World Killer” - Weird Mystery Tales Issue #2
  4. “To Smash The Inhumans” - Silver Surfer Issue 18
  5. “The Mountain of Judgement” - Jimmy Olsen Issue # 134
  6. “Orion Fights for Earth” - New Gods Issue #1
  7. “The Paranoid Pill” - Mister Miracle Issue #3
  8. “Super War” – Forever People Issue #3
  9. “Unleash the One Who Waits” The Origin of the Demon - The Demon Issue#1
  10. “The Power” - Forever People Issue #8
  11. “The Wrecker” – The Mighty Thor Issue 171
  12. “The Fear Machine” - New Gods Issue #2
  13. “The Year of the Rat” – Kamandi Issue #2
  14. “The Madbomb, Screamer in the Brain” - Captain America Issue #193
  15. "Genocide Spray" - Jimmy Olsen Issue #143
  16. “The Apokolips Trap” Mister Miracle Issue #7
  17. “Beauty and the Beast” Incredible Hulk Issue #5
  18. “Let There Be Life” - Fantastic Four King Size Special Issue #6
  19. “The Electric head” Manhunter – First Issue Special Issue #5
  20. “Atlas the Great “ Atlas the Great - – First Issue Special Issue #1
  21. "Tales of Asgard" Issue #1
  22. “The Howler” – The Demon Issue #6
  23. "The Mister Miracle To Be" - Mr. Miracle Issue #10
  24. “Him” – The Mighty Thor Issue #165
  25. "The Return of the Frightful Four" - Fantastic Four Issue #94
  26. “New Bodies for Old” – OMAC Issue #5
  27. “When Fall The Mighty” – Fantastic Four Issue #70
  28. “And So It Ends” – The Fantastic Four Issue #71
  29. "Captain America joins the Avengers" - Avengers Issue #4
  30. "Marak" - 2001 A Space Odyssey Issue #3
  31. "The Avengers Battle the Space Phantom" - Avengers Issue#2
  32. "Day of the Gods" - Eternals Issue #1
  33. "The Coming of Ka-Zar" - X-Men Issue #10
  34. “The Hunger Dogs” – New Gods Graphic Novel
  35. “What Lurks Behind The Beehive?” – Fantastic Four Issue #66
  36. “When Opens The Cocoon” – Fantastic Four Issue #67
  37. “What was ‘X’, The Thing That Lived?” - Tales to Astonish # 20
  38. "Gorgolla, The Living Gargoyle" - Strange Tales Issue #74
  39. "Kang, the Conqueror" - Avengers Issue #8
  40. “Fin Fang Foom” - Strange Tales # 89
  41. "The Mad Thinker and his Androids of Death" – Fantastic Four Issue #96
  42. "The Monster from the Lost Lagoon" - Fantastic Four Issue #97
  43. "The Coming of Galactus" - Fantastic Four Issue #48
  44. "Among Us Stalk the Sentinels" - X-Men Issue #14
  45. “The Skywalker” Justice Inc. Issue #2
  46. “Buddy Blank and Brother Eye” - Omac Issue #1
  47. "What was X, The Thing that Lived" - Tales to Astonish Issue# 20
  48. "Spirit World" Issue #1
  49. "In the Days of the Mob" Issue #1
  50. "2001 A Space Odyssey" Treasury Edition

Hey guys it really is hard picking only fifty…

Until next time have fun!

Tim Perkins…
July 16th 2008

Tuesday, July 15, 2008

Orphan Works Act

An update on the proposed amendments to the Copyright Bill...

Hi Guys, I have just received this from the Illustrators Partnership and thought I would post a copy of the content of the email here to keep everyone up to date with events thus far:

As promised here is the letter template:



As we wrote yesterday the House Judiciary Committee may mark-up the Orphan Works Bill this week.

Here's a short letter we're proposing for Committee members. Please feel free to modify it and use it as your own.

Dear Honorable ________________,

As an artist and a small business owner, I'm writing to oppose H.R. 5889, the Orphan Works Act of 2008 as currently drafted. Please support the
amendments submitted jointly by the Illustrators' Partnership of America, the Artists Rights Society and the Advertising Photographers of America. Otherwise, please do not vote this bill out of committee until Congress can hold proper hearings into the harm it will do to small businesses, individual creators and ordinary citizens.

While I support a bill that would give libraries and museums a legitimate expansion of fair use, H.R. 5889 is far too broad. It would cause trillions of dollars of private property to be transferred into the control of a few corporate databases with no guarantee as to how these assets will be protected, used or abused. It will undermine the passive copyright protection that all citizens now enjoy - and that threatens individual creativity, freedom of expression and the right to privacy embodied in copyright law.

There is no reason for the reckless scope of this bill. It is based on a Copyright Office study of orphaned work. Yet it will permit the infringement of contemporary work by creators working in today's commercial markets - a subject the Copyright Office never studied. Its stated purpose is to let libraries and museums digitize their collections and let ordinary folks duplicate family photos. But these modest goals can be met with a modest expansion of Fair Use. I do not believe citizens should have to hand over their personal intellectual property to a few corporate special interests. The unintended consequences of this bill could be a rights grab of monumental proportions.

Please look behind the talking points of the special interests promoting the Orphan Works Act. Do not support a major revision of copyright law without an open, informed and transparent public debate.



We recommend using this template letter 2 ways:

Email it to House Judiciary Committee members using this deep link.

Download the text of this letter, copy it onto your own letterhead and fax it to members of the House Judiciary Committee. We provided their contact information and fax numbers for you here.

--Brad Holland and Cynthia Turner, for the Board of the Illustrators' Partnership

60 organizations, numbering over 250,000 creators, are united in opposing this bill in its current form. Illustrators, photographers, fine artists, songwriters, musicians, and countless licensing firms all believe this bill will harm their small businesses.

Don't Let Congress Orphan Your Work

If you received our mail as a forwarded message, and wish to be added to our mailing list, email us at: Place "Add Name" in the subject line, and provide your name and the email address you want used in the message area.

Please post or forward this message in its entirety to any interested party.

Until next time have fun!

Tim Perkins…
July 15th 2008

Monday, July 14, 2008

Orphan Works Act

An update on the proposed amendments to the Copyright Bill...

Hi Guys, I have just received this from the Illustrators Partnership and thought I would post the email here to keep everyone up to date with events thus far:


We've had word that the House Judiciary Committee may mark-up the Orphan Works Bill this week. This is the session where Committee Members will propose, accept and reject amendments to H.R. 5889. After markup, the bill could be reported out of the House Committee and go to the floor for a vote.

We've submitted several critical amendments for consideration: These would limit the scope of the bill to affect only true orphaned work. Unless such amendments are adopted, we believe the bill should not be reported out until its impact on small businesses can be determined. Here's our summary of the issues at stake in the House version of this bill:

Q What is the Orphan Works Act?

A: A proposed amendment to copyright law that would impose a radically new business model on the licensing of copyrighted work.

Q: How would it do that?
A: It would force all creators to digitize their life's work and hand it over to privately-owned commercial databases or see it exposed to widespread infringement by anyone, for any purpose, however commercial or distasteful.

Q: How would it hurt me if I didn't register my work?
A: The bill would let infringers rely on for-profit registries to search for your work. If your work is not in the databases, it's a potential "orphan."

Q: What about my unpublished work?
A: The bill would apply to any work, from professional paintings to family snapshots, home videos, etc., including published and unpublished work and any work ever placed on the internet.

Q: How would these databases work?
A: No one has yet unveiled a business plan, but we suspect they'd operate like stock houses, promoting themselves as one-stop shopping centers for licensing art. If you've registered your work with them, they'll probably charge you maintenance fees and commissions for clearing your work. If you're a publisher or art director, they'll probably charge you search fees. If you're an infringer, they'll probably charge you a search fee and issue orphan certificates for any unregistered work you'd like to infringe. We assume different registries may have different terms, and any start-up terms will of course be subject to change.

Q: How will the bill affect the market for commissioned work?
A: It will be a gold mine for opportunists, favoring giant image banks over working artists. Some companies will probably sell access to orphans as royalty-free work -- or they'll harvest orphans and bundle them for sale as clip art. Other companies can harvest orphans, alter them slightly to make "derivative works" and register the derivatives as their own copyrighted product. Freelancers would then be forced to compete against their own lost art - and that of their colleagues - for the new commissions they need to make a living.

Q: But the bill's sponsors say the bill is just a small adjustment to copyright law.
A: No, it's actually a reversal of copyright law. It presumes that the public is entitled to use your work as a primary right and that it's your legal obligation to make your work available.
Q: But isn't the House bill an improvement over the Senate version?

A: Only for those who intend to operate commercial databases. These registries will exist to make money. To make money, they'll have to do a lively business in clearing work for infringements. That means making their databases infringer-friendly.

Q: But isn't the House bill better because it requires an infringer to file a Notice of Use, documenting their intent to infringe?

A: The House bill creates a very low threshold for infringers to meet. They'd only have to file a text description (not the image itself) of the work they want to infringe, plus information about their search and any ownership information they've found.

Q: But won't that let artists consult the archive to see if their work has been infringed?
A: No, as currently written, the Notice of Use is a dark archive, which means you won't have access to it. If someone infringes your work and has filed a Notice of Use, you wouldn't know about it.

Q: Then how would I know if my work is in the Dark Archive?
A: You wouldn't, unless a.) you discover you've been infringed; b.) you sue the infringer in federal court; c.) the infringer asserts an Orphan Works defense. Then you can file a request to see if the infringer has filed a Notice of Use to infringe your work.

Q: Then what good does it do me for the infringer to file a Notice of Use?
A: It's of no probative value to you at all unless you go to court. And if you do, you'd better be sure of winning because otherwise, without the possibility of statutory damages and attorneys' fees, it will be too expensive for you to sue. If the Notice of Use helps anyone, it actually helps the infringer: it lets him prove in court that he followed the prescribed protocol to "legally" infringe your work.

Q: Then shouldn't we ask Congress to change the Dark Archive to an open one? A: This would still place an impossible burden on you. Can you imagine routinely slogging through a "lost and found" containing millions of text descriptions of works to see if something sounds like one of the hundreds or thousands of illustrations you may have done?

Q: So should the infringement archive be changed to display images rather than text descriptions?
A: If so, you'd have a come-and-get-it archive for new infringers to exploit works that have already been identified as orphans by previous infringers.

Q: The bill's sponsors say the House version includes specific instructions on the requirements for diligent searches.
A: No, read the bill. It's full of ambiguous terms like "reasonable" and "diligent" that can only be decided by courts on a case-by-case basis. That could take a decade of expensive lawsuits and appeals. How many millions of copyrights will be orphaned before we learn how the courts ultimately define these vague terms?

Q: Then what can we do to improve this bill?
A: We don't believe the bill can be patched up to mitigate its harm to creators. The Orphan Works matter should be solved with carefully defined expansions of fair use to permit reproduction by libraries and archives, or for family photo restoration and duplication. Narrow exceptions like these would also meet the needs of other orphan works usage without violating artists' rights as defined by the 1976 Copyright Act, The Berne Convention and Article 13 of the TRIPs Agreement. These copyright-related international trade treaties are not just a matter of law. They codify longstanding business practices that have passed the test of time.

Q: What can we do now to oppose this legislation?
A: If you're opposed to the House bill in its current form, contact members of the full House Judiciary Committee. Ask them to adopt our amendments limiting the scope of the bill to affect only true orphaned work. Tomorrow, we'll email you a short basic letter which you may use as a template.

--Brad Holland and Cynthia Turner, for the Board of the Illustrators' Partnership

Over 60 organizations are united in opposing this bill in its current form. Illustrators, photographers, fine artists, songwriters, musicians, and countless licensing firms all believe this bill will harm their small businesses.

Don't Let Congress Orphan Your Work

To use the Orphan Works Opposition Website just go to this link:

Put in your zip code and follow the instructions. Your letters will be addressed and sent automatically. It takes less than 2 minutes to fight for your copyright.
If you received our mail as a forwarded message, and wish to be added to our mailing list, email us at:

Place "Add Name" in the subject line, and provide your name and the email address you want used in the message area. Please post or forward this message in its entirety to any interested party.

Okay Guys, so this is the latest information I have and I will post a link to or the actual letter template, as soon as I receive it.

Until next time have fun!

Tim Perkins…

July 14th 2008

Saturday, July 12, 2008

The World of Quest Volume 1…

By Jason T. Kruse…


Page 105

I have recently picked up and read this wonderful little book. Reminiscent to me in style to my recently Blogged graphic novel, Herobear and the Kid, or Saturday morning kid’s Cartoons, it had me hooked from the start. If you are into fun-filled cartooning then this is a book for you.

Taking place within a fantasy world setting in a place called Odyssia the sword wielding characters are lovable and instantly create a rapport with the reader.

It says on the cover that it is, “Coming soon as an animated series from kids’ WB!”, which lends some credence to my earlier words and sure enough there is a Warner Brothers animated series on CW4Kids every Saturday.

The two main heroes in this volume are the reluctant hero, young, Prince Nestor, an eleven year old smart aleck, pledged to protect The Dagger of the Way and Quest, formerly the greatest hero in the land, and his only hope of finding the legendary mystical weapon that will decide the fate of the world, the legendary, Five Swords.

There are some great character designs especially one of the bad guys, “Katastrophe”, who is three really…no you’ll have to go and get a copy to see what I mean…no spoilers here as usual.

There are lots of big panels literally bursting with the frenetic activity of the artwork as the characters leap about the pages.

There is a map included that shows us many places yet to visit. There is also a character guide sheet so we see some of the folks yet to take part in the story and a section of endorsements by folks within the comics business.

It certainly was a lot of fun to read and I look forward to reading about their further adventures, very soon. Volume 2 has been completed by Jason and is being coloured ready for print by the guys at Yen Press even as you read these words.

Until next time have fun!

Tim Perkins…
July 12th 2008

Wednesday, July 09, 2008


A review of the heroic fantasy comics…

I thought this time around I would take a general look at the short-lived fantasy series by Doug Moench. Mike Ploog, John Buscema, P. Craig Russell, Alex Nino, Rudy D. Nebres, Peter Ledger, and Pat Broderick and what it is I like about the characters and their stories.

It was way back when I was around seventeen years old and in the six form at school studying, amongst other things, Art, English Literature and Metalwork when I chanced upon the black and white Marvel Super Action #1 (Jan. 1976), starring the Punisher.

The birth of Weirdworld arrived in this strange place and had originally, I believe, been scheduled to go inside the Monsters Unleashed magazine, before it was abruptly cancelled, which would have been a much more apt title to reside in.

Written by Doug Moench and drawn in pen and grey washes by Mike Ploog this one story was a pivotal one for me in my quest to become a comic artist. It had the same kind of impact upon me as Jack Kirby’s Fourth World series had. The imagery was the kind that had been wrestling inside my head for years and here were those images made real.

There was a warmth and yet a real sense of foreboding and the threat of what can happen when trust is placed in the wrong folks, for the wrong reasons, within the tale, entitled An Ugly Mirror on Weirdworld.

This was followed by a colour version with the team of Doug Moench, Mike Ploog with Alex Nino on Inks entitled, “The Lord of Tyndall’s Quest”, inside of Marvel Premiere #3(Oct. 1977).

This was followed two years later with a three-part story inside of Marvel Super Special #11-13 (Jun.-Oct. 1979). The title Weirdworld was dropped and replaced with the new one, "Warriors of the Shadow Realm". It was felt that being a magazine with that title had strange connotations and so a decision was made by Marvel to drop the original and use the new one, which also had a ring to it similar to Lord of the Rings.

This time the team changed as Mike Ploog moved onto movies, having already pencilled a large part of the original version, leaving the comic business behind for a while. He was replaced by the late, great, John Buscema on pencils, Rudy D. Nebres on inks and the late Peter Ledger on painted colours. Doug Moench continued to write his epic.

These magazines got a lot of internal hype, as they were using fully painted techniques in what they termed “Marvel Colour”. To us in the UK it was nothing new, however, as we had been seeing UK produced Photogravure printed magazines with fully painted artwork inside since the nineteen fifties.

It was beautiful stuff and some of the finest artwork to come out of Marvel at that time. Mike Ploog was gone, but they managed to keep the magic that was Weirdworld intact.

This was followed three years later when Marvel launched its EPIC Illustrated magazine, with a story entitled, "The Dragonmaster of Klarn", in Epic Illustrated #9, 11-13 (Dec. 1981-Aug. 1982). Again with the story by Doug Moench and artwork by John Buscema, but this time with inks by veteran Marvel mainstay artist, Marie Severin.

Between the time of drawing the original pages to the three-part story, which never saw print and was replaced by John Buscema’s first stint on the title, Mike Ploog drew an episode for another three part story, which was inked by P. Craig Russell, which eventually saw print in Marvel Fanfare vol. 1 #24 entitled “The Were-Men of Lord Raven”, with Pat Broderick taking over the art chores and finishing off the story in issues 25-26 (Jan.-May 1986).

Since then there has been no more, although I like to think there can be at least one more story to tell.

Having always had a fascination with Wizards and the fantastical worlds of magic, it is easy for me now to look back at the work of Jack Kirby and Mike Ploog and see what enchanted me about their work.

Sometime in the nineties, I had fancied a bash at working on Weirdworld, but this was before the days of easy networking, and produced a couple of pages of Weirdworld sequential comic work, with the idea that I would somehow show Doug Moench and try to entice him to write that “one more story” and hopefully get the gig as the artist on that story.

To date I haven’t spoken to Doug, I haven’t shown this old artwork to many people, until now. There is a large part of me that believes in fate and I am hoping that the story can continue for Tyndall and his friends in Weirdworld.

So if you are out there reading this Doug, please write another story and if you are in need of an artist to help fabricate the world around the story, please drop me a line at the Wizards Keep website here:

If you have never read any of the above stories, and you love fantasy, go out and track them down, they are amongst the best fantasy stories I have ever read. I promise you won’t be disappointed.

And Marvel comics, if any of you guys are reading this, go on reprint the entire epic in one complete volume in hard cover…please…

Until next time have fun!

Tim Perkins…
July 9th 2008

Friday, July 04, 2008

Hot Wheels Issue 49...

A look at the latest cars...

Hi Guys,

Here is another monthly sneak peak at the cars you’ll see in issue #49 of the Hot Wheels comic, to whet your appetite.

The two cars are respectively:

Cockney Cab II – From the story: “Cab Wars!”

Hyper Mite – From the story: “Danger Mite!”

Both stories are produced by the same gang as always:

Written by – "Immovable" Ian Rimmer
Pencilled, Inked and Computer Coloured by – "Titanic" Tim P
Edited by – "Judicial" James Hill
With Production Design by – "Rhyming" Rob Sharp

I am looking forward, as always, to hearing what you think of this latest artwork. The comics will be on sale soon, so don’t forget to order a copy!!!

As a teaser for the next issue following, Issue #50, which I will be pencilling soon, the two cars for fans of Hot Wheels will be Night Burner and Motoblade.

Margaret and I celebrated our wedding anniversary yesterday...yes one day before Independence Day, I know...

And to all those of you reading this in the good old US of A:

Have a Great July 4th!!!

Until next time have fun!

Tim Perkins…
July 4th 2008