Saturday, May 31, 2014

Mark One Turns 25

For a brief moment in the nineties I had access to two comic shops within cycling distance of my home. After establishing their first store in Auckland the Mark One franchise set up stores across New Zealand including my hometown Napier and the nearby Hastings. Sadly at one point the franchises all switched to operating independently with Chris Lander's Mark One Comics in Hamilton left as the sole store under the Mark One brand.  My local stores disappeared after the boom years in the nineties and my interest in comics dropped off.  In the mid 2000's I moved to Hamilton on a whim and after a few curious visits to Mark One I rekindled my interest in comics.

A highlight of every week was picking up a pile of comics on Friday and then lounging on our mansion porch (yeah, we had a mansion) on the banks of the mighty Waikato River and thumbing through all the four colour goodness that I thought I had grown out of. I remember picking up Jim Rugg and Brian Maruca's brilliant Street Angel and the Palmiotti and Gray relaunch of my childhood favourite Jonah Hex amongst a regular stream of goodies. It was probably finding John Wagner and Carlos Ezquerra chronicling Judge Dredd's origins in 2000AD that convinced me I needed to recommit to my childhood obsession. Chris was great for indulging my requests to order oddities from the Previews catalogue and things like, "Can you please not put sticky price tags on my Phantom comics?". Chris was great too for selling the tawdry comics I started making in Hamilton, "Here's a pile of hand stapled dick jokes I photocopied in an educational facility that I snuck into at 1am last night." It's really all Chris Lander's fault.

The following article appeared on the Mark One FB page and appears here courtesy of Tony Stevens.

Mark One Turns 25 by Tony Stevens

Superman puffs out his expansive chest triumphantly. To his left Batman glares menacingly, his shadowy costume a complete contrast to Supe’s provocative red and blue.

I take a few steps further and encounter Hellboy sporting his distinctive red stumps where two demonic horns should be. His giant stone hand protrudes from a scruffy leather coat filled with magical charms, amulets and protective trinkets.  A quick scan of the room reveals that I’m surrounded by aliens, predators, detectives, space cops, mutants, underwater monarchs, zombies and even the odd crew member the U.S.S. Enterprise.  Larger than life figures boast flowing velvet capes and proudly wear their underwear externally while more than a couple of billionaire playboys wear their egos and genius in the form of high-tech armoured battlesuits.  These are my heroes and there’s a special place in Hamilton where I can go to find them all in one place, not in the flesh but on the covers of a mighty array of comics, graphic novels, fantastical tomes and all manner of pop culture goodness.

That place is Mark One and I think it’s the coolest shop in the city.

Every Friday I pay a visit, intent on spending a good chunk of my wage on a rapidly growing collection of graphic novels.  I usually spend a few minutes inspecting the new releases on my routine trip but today I’m here to interview Mark One owner, Chris Lander, about his shop’s twenty-fifth birthday.

Chris has been enraptured with the graphic medium since he was eight when an issue of 2000AD, the post-apocalyptic story of future cop Judge Dredd, arrived via post in a little rolled tube.  His tastes have extended since then and he’s confident he can find a comic to please even the most persistent cynic.

“It’s just reading,” he says almost in defiance of the myriad stereotypes.

“It’s not a statement about you unless the statement is hey I can read.”

“Mark One isn’t a fan club; you don’t have to be a paid-up member of the costume brigade to come in here. I really do see us as just a specialised book store.

“The whole comic collecting side of it (as an investment) exists – but it’s just an aspect of it. They really are just good stories.” Celebrations for the twenty-fifth milestone kick off on Saturday, May 3, and will tie in with the international event Free Comic Book Day, where Chris will give away thousands of free comics to readers’ young and old alike.  The event has been swiftly gathering steam since American retailers birthed the concept in 2002. New Zealand audiences have been slower to catch on, however in the past two years hordes of Hamiltonians have assembled on Victoria Street to get their free comics.

“Last year we had 60-70 people queuing out the door. I opened the shop and it surged. I had to jump out of the way and I got trapped in the corner while this never ending torrent of people came through,” Chris said. Luckily Iron Man was on hand to keep the crowd pacified.

The ‘specialty’ bookstore had already been around for five years before Chris, 25, walked in to interview for a full-time position in 1994. The original owners Mark and Tania Paul had at that time established a network of Mark One franchises across New Zealand and two in Australia. The Pauls and their business partners were on the cusp of settling a deal to launch a store in the US, but a board-room scuffle and successive legal challenges derailed any plans for world domination, leaving the Hamilton store the lone survivor once the dust had settled.  Chris stayed on as manager and he and wife Rachel bought the business in 2000. Though when they took the keys he had to sell some of his personal collection to pay a month’s rent up front, including a rare convention special of Sandman #50 by renowned writer Neil Gaiman.  Despite the rent being well in hand now Chris maintains there is no treasure trove at home  – his collection is at the shop and it’s all for sale.

“I get a buzz out of introducing someone to a good read.  If somebody comes in and asks for a book it’s no good at home, it’s got to be here. “Besides when my kids got old enough to pull out my comics the safest place for them was at the shop.” Chris and Rachel’s youngest Ben, 6, thinks every family owns their own comic shop and is a big fan of everybody’s favourite neighbourhood Spiderman. Jamie’s a big fan of Mass Effect’s Commander Shepard, while his mother is more partial to Iron Man thanks to the suave performance of Robert Downey Jr – and Chris? “Who is your favourite superhero?” I ask. It’s obvious he has mused on this issue more than once. Chris looks torn, grappling with multiple possible responses. He begins mouthing “Bat-“ but stops himself and says, “Hellboy.” “I really love Batman but…Hellboy is really everything I love about working here. The comic has bubblegum elements, you know fighting against the evil Nazis, but there is substance to that bubblegum. There’s a tonne of mythology to it, Russian, Celtic and even Christian – there’s just so much in there and it’s just a fun read.”

Fun is the ultimate goal for Chris and he hopes for his customers too – the joy of reading a good story. He maintains that comics aren’t just “captioned pictures” and can point to a number of works considered literary masterpieces. He literally does point to a few tomes I can see from where we’re standing by the counter. I can see Saga by Brian K. Vaughan,Locke & Key by Joe Hill, and obscured from my vision Frank Miller’s seminal The Dark Knight Returns. He rattles off a few more titles, almost all of them produced by ‘indie’ publishers. I’m surprised at how little the ‘big two’ come up our discussion – when people think comics they usually point to powerhouse publishers Marvel and DC, who are responsible for the likes of X-Men, Avengers, Batman, and The Justice League.

He assures me Marvel and DC are still producing great comics, but says recently it’s the independent titles that have grabbed the industry by the scruff and given it a good shake.

“I actually do think today is a golden era in comics.

 “I was managing the store in the early 90s when (customers purchased) X-Men and nothing else (but now) there is such variety. “Comics are now being produced for so many different markets whereas in the past they were being written for kids knowing that they also had an older audience.” Robert Kirkman’s The Walking Dead is one such indie title that has stormed pop culture in recent years. Ever since it was released in 2003 Dead has been dominating the graphic novel market, not to mention spinning off a spectacularly successful TV show. It’s a black and white comic boasting themes of extinction, isolation, and societal deterioration, with a generous helping of blood and guts – definitely not one for kids.

Audiences have mutated as significantly as their comics since Mark One came on to the scene. When Chris started his career the industry was embroiled in a “speculator” boom where collectors rabidly snapped up multiple copies of titles, hoping their value would skyrocket over time.

“We’ve ridden fads like chatter-rings and Yu-Gi-Oh, but I’ve never seen a boom like the one I walked into. “You’d order a stupid load of something in and you still sell out. There were even firms in the US where you could pay a certain amount of money and they would purchase and even choose your comics for you and then store them in a vault, and you were apprised of its value every so often. It wasn’t happening to quite the same scale (in NZ) but it was still pretty crazy.” That historical priority of monetary value over a good yarn is the reason Chris is so adamant that Mark One is pitched at readers. The true value of a comic, he says, is the story, “otherwise what’s the point?” The speculator boom marked the glory days for comic book stores, but when the bubble burst a year later shops around the world began to sink, including many in the Mark One chain. Cue the legal arm-wrestle between franchise big-wigs. But Chris, mystified that his pay check kept rolling in, continued working. The closest he got to the skirmish was a phone call from Mark Paul warning him of attempts by stakeholders to change locks on the various Mark One stores. He was instructed to stand sentinel over the Hamilton shop until the corporate espionage had run its course.

According to Paul, Chris’ loyalty during this time is a big part of why the Hamilton shop survived when others collapsed. “Chris always struck me as an honest, hardworking guy with real integrity,” said Paul. “Chris’ loyalty (during the dispute) made it a priority for us to retain ownership of the Hamilton store, once the dust had settled. “This enabled us to eventually sell the business to Chris and Rachel, and we couldn’t be happier about that.”
Without Chris, Hamiltonians would be stuck ordering our comics from Amazon instead purchasing them from a local store we can call our own. No other retailers dabbling in the pop culture market have been able to match Mark One’s local popularity. 

Chris tells me about one of their early competitors Card Crazy, a shop opened in Centre Place by a Mark One alumnus at the height of the trading card craze. “Card Crazy?” a customer asks. He appears in his late thirties and certainly doesn’t strike me as the stereotypical comic book “geek”. “That’s going back a while,” he continues. Chris nods in agreement, and remarks on his own long innings. “Yeah you’ve been here since I was a kid,” the customer replies . “And you’ve got the customer base to prove it.”

This little exchange is a perfect example of the mutual loyalty that has kept the Hamilton store running for twenty-five years, almost unheard of in the turbulent industry. And he’s not the only customer to share nostalgic sentiments about their favourite shop during our interview. Another Mark One veteran, a seasoned gentleman Chris refers to as ‘Robin’, arrives at the counter a few minutes later and reminisces on shopping there pre-Chris, when he could get an issue of 2000AD for $0.30 (it’s now roughly $7.50). As Robin leaves I’m struck by how much foot traffic the shop has had since I walked in. I’ve been talking to Chris for close to two hours now and in that time close to 20 customers have come and gone. I’m anxious to get my own fix of comic books so I tell Chris I just have one question left for him.

What makes Hamilton such a good place to sell comic books? It’s a good uni town, he tells me. “We use to have to put extra staff on student loan draw down day when that was happening.” Cautious business decisions, avoiding fads and keeping within their capacity are all cited as other reasons for the shop’s longevity, but the biggest thing he tells me is, of course, the customers. “We’ve just got a great bunch of supporters that want to see us do well. “If you look after them they look after you – and I think MK1 is well looked after.”
I take my journalist hat off and check the new releases to see if any of my anticipated DC New 52 or Marvel Now! volumes are in stock. Nothing grabs me immediately so I turn my gaze to the back catalogue. I normally bounce back and forth between Mark One’s nicely laid out sections multiple times before making a decision – similar to a kid in a candy shop.
During these laps my eye catches a glimpse of Joss Whedon’s Astonishing X-Men. Whedon is also the director of Marvel’s cash factory The Avengers and I’ve heard his X-Men run is exemplary. I tuck volume 1 under my arm and continue browsing.

I recently finished reading Warren Ellis’ collected work on Planetary, a fantastic story of super-powered archaeologists charged with excavating the hidden history of the planet. I lament the closure of my journey with Planetary to Chris, who is a big Warren Ellis fan. He suggests I take a look at another of the author’s comics, Transmetropolitan.
I decide to give it a go and whip out my eftpos card to finalize the purchase. The card reader displays the price – $49.99 – the price of Astonishing X-Men on its own (volume 1 collects 12 issues). “Chris you forgot to add Transmetropolitan to the bill,” I say. “No it’s on the house.” That’s Chris – it’s almost as if he gets as much pleasure from exposing readers to the joy of comics as he does securing a purchase for his bank account. Though free comics are not the norm – except on Free Comic Book Day.

Friday, May 30, 2014

Maurice Bramley Scientific Thriller Covers

I've been posting New Zealand/Australian cartoonist/illustrator Maurice Bramley's painted Scientific Thriller covers on Te Pikitia tumblr. Here's a selection for folk that may have missed them.

Maurice Bramley covers for Scientific Thriller novels circa 1948-1949. As with other illustration work , Bramley often used his own photos as well as photos of actors and celebrities as reference for characters in his illustrations.

Thursday, May 29, 2014

Ant Sang Interview


Ant Sang's Dharma Punks along with Adam Jamieson's Blink was one of the few New Zealand comics I was aware of in my teens that was available nationwide through bookshops and newsagents via Australasian distributors Gordon and Gotch. I had picked up the first issues of Ant's first series Filth on a rare trip to Auckland and finding Dharma Punks in a local book shop was impressive to see, for the progression in Ant's work and the fact it was now available in provincial New Zealand where access to comics and especially local ones was limited.

New publishing venture Earth's End have run a Dharma Punks kickstarter this month and successfully funded a collection of the eight part series within days. Three stretch goals have also been achieved with expanded back matter scheduled for inclusion upon reaching a $15,000 target.

Backers can expect an A5, 400 page collection with embossed cover, UV spot and french flaps with all eight full colour covers of the original series included in the book.

Please consider supporting the Collected Dharma Punks on Kickstarter.

The Dharma Punks synopsis:

"It's Auckland, New Zealand, 1994. A group of anarchist punks have hatched a plan to sabotage the opening of a multinational-fast food restaurant by blowing it sky-high on opening day.

Chopstick has been given the unenviable task of setting the bomb in the restaurant the night before the launch, but when he is separated from his accomplice, the night takes the first of many unexpected turns.
As the story unfolds, it becomes clear there is more at stake than was first realised, and the outcome of the night's events will change all of their lives in ways they could never have imagined."

The following interview with Ant Sang is excerpted from a longer piece covering Ant's career in The New Zealand and Australian Comics Interview Zine #2: Ant Sang available from the Pikitia Store in June.

What were the first comics you read?
I've been through heaps of phases of comic reading. The earliest comics I remember reading were cheap funnies. Richie Rich, Casper, Uncle Scrooge, that kind of stuff. When I was around six years old one of my favourites was Burne Hogarth's Tarzan of the Apes. I've still got it sitting on my bookshelf to this day.

What got you interested in making your own comics?
I tinkered with combining words and pictures when I was a kid, but I wasn't consciously trying to make comics at that time. It wasn't until my early twenties that I had the thought of actually making comics. I was studying graphic design, and going through a big existential crisis after a classmate died. A friend who was also into comics lent me a bunch of 'alternative comics' - Dan Clowes, Chester Brown, Julie Doucet - and it was a real revelation. For the first time I realised that comics could be raw, crude, angry and could talk frankly about a lot of issues which really connected with me. I was taken by the DIY ethic of a lot of the 'alternative comics' and figured that 'yeah, anyone can do comics', if they had something to say. It was soon afterwards that I started making my first mini-comic, Filth, to explore the thoughts going on in my head.

I remember a boom in self published comics in Auckland around the time Filth came out, I recall the work of Andy Conlan, Karl Wills, Adam Jamieson, and Willi Saunders amongst others, were you part of a comics community then?
Yeah the mid-nineties was a really exciting time in the Auckland comic scene. So many great comics were being made then, and there was a real camadarie amongst the Auckland cartoonists. We met for regular comic meetings and saw each other socially. Cornelius Stone used to have big parties at his flat in Mt Eden and he lived with Barry and Willi at various times. It was also a good time because it felt, not with just comics, but with music and film too, that there was some kind of cultural revolution in the air. 
Did you plan to have newsstand/bookshop distribution for Dharma Punks before starting the series? Did you approach any publishers with the work?
When I started working on The Dharma Punks, it was my first attempt at a long form story, and I didn't want it to be just a continuation of Filth. I felt it terms of story and production that I had to do something different. I had to up the ante I guess.

I had been to a heap of conventions by this time, hawking mini-comics at the NZ comics tables to a largely disinterested crowd. Over that time I had the chance to think about the mini-comic scene and came to a few conclusions. One was that a lot of potential readers didn't give mini-comics a chance because they just looked too weird. Too scratchy, too DIY, too lo-fi. I figured people were scared off them. And secondly, people are more likely to pick up comics which they recognise on some level. So my plan with The Dharma Punks was to try to package it differently and to promote the hell out of it, so that people would know about it. This wasn't the done thing at the time. I remember when I talked to another cartoonist mate about the idea he looked at me and said ' what are you going to do, walk around with a sandwich board?' So anyway, I found the cheapest printer I could find, and got the covers printed in colour, on a thicker stock. And I managed to get pretty good coverage on student radio and tv and magazine interviews. It seemed like a real media blitz, for a New Zealand comic anyway.

I can't remember when I thought newstand/bookshop distribution would be a good idea. It certainly wasn't the plan from the start. Probably not til quite close to the first issue being released. In the end most copies were still sold from comic shops, but having the comics on display at the newsstands/bookshops really helped with promotion and being visible.

I'm pretty sure I approached a couple of overseas publishers, probably some of the better known alternative publishers, but I don't think I heard back from them...

How long was the gestation process of Dharma Punks before the first issue came out? How far into the series were you when it launched?
The gestation period of Dharma Punks will have been about four years. When I finished Filth in 1997 I wanted to work on a longform story, but I had to brush up on my writing as I hadn't ever done a comic of substantial length. So for those four years I read heaps of screenwriting books, drew a number of aborted attempts of Dharma Punks, and tried to figure out what the storyline should be.

Did you receive much feedback from Dharma Punks original publication?
The immediate reaction to Dharma Punks was great. The comic shops here in New Zealand were super supportive, and there seemed to be quite a buzz about the comic. Even folk who don't normally read comics were apparently heading into the specialty comic shops and asking for Dharma Punks.

Did you anticipate the response to the Dharma Punks Kickstarter? What were your expectations?
Well, y'know we were hopeful of meeting our goal, but as the launch date approached we all got increasingly nervous about the response to our campaign. We'd been planning the campaign for close to a year, so a lot of planning and discussion had gone into it. We felt there were a lot of people who wanted this to happen, but you never know how it will go until you actually go ahead and do it for real. The first few days were crazy. I couldn't help constantly checking in to see the latest running total. Fortunately the Dharma Punks fans came through and we reached our initial goal within five days.

Thursday, May 15, 2014

Hamilton Zinefest 2014

Pikitia Press will be tabling at the Hamilton Zinefest this Saturday. I'll be giving a talk at 1:30pm on the History of New Zealand Comics and micro publishing with Pikitia Press. Ant Sang will be talking at 11:30 about his forthcoming collection from Earth's End of his series The Dharma Punks.

I havn't written about Ant's Kickstarter for Dharma Punks as I have been busy as all heck but it's running for the course of May and well worth supporting.

Dharma Punks on Kickstarter.

The day's line up of workshops and talks:
Workshops and Talks are going to happen during the day at zinefest… here’s the line up :

10:30am – Kylie Buck / Tessa Stubbing (NZ Zine Review)
Zine binding with Kylie & Tessa [Max: 10 participants]
From the simple staple, to hand-sewing and more - this is a hands on workshop that covers the basics, and introduces some alternative techniques to zine binding. Materials supplied.

11:30am – Ant Sang /
Talks about the revival of Dharma Punks
Ant Sang has been described as “part of a new generation of sequential artists who challenge the tired misconception that comics are juvenile or lacking in literary merit.” He produced the surprisingly popular Filth mincomix in the mid-90′s, and kicked off the new millenium with his most ambitious project yet – a 384 page, serialised comic called The Dharma Punks. Ant will talk about the journey his comic series The Dharma Punks has taken from comic book to publication as a graphic novel via Kickstarter.

12:30pm – Ash Spittal /
Personal narratives within a Queer context
Ash started making zines a year ago after drawing lots of pictures of transgender men and not knowing what to do with them. He compiled the images and distributed them to friends. The work ended up becoming a sort of study of the transmasculine community in Aotearoa. Ash will be talking about zines and comics that have inspired him to write about being a queer trans* person. He makes zines about being different and being ok with that. He also likes superhero comics a lot.

1:30pm – Matt Emery (Pikitia Press) / 
Talks about New Zealand comics and the development of Pikitia Press
Matt will be talking about the history of New Zealand comics over the last 100 years and the evolution of Pikitia Press as a publication company publishing the best in independent comics from NZ and Australia.

2:30pm – Lucy Meyle / 
Exploring new frontiers: experimental publications & zine-making [Max 10 participants]​

This talk will look at contemporary artists who disseminate their work by exploiting the social, flexible, and contingent nature of small publications. It will also discuss how we can think of zines/comics/books not as finished objects, but as testing grounds for provisional ideas, social experiments, or explorations of form. Using these concepts as starting points, the talk will then explore some practical possibilities for making experimental publications.

Saturday, May 10, 2014

Jimmy Bancks (10 May 1889 – 1 July 1952)


James Charles "Jimmy" Bancks was born today in 1889. A prolific cartoonist in the early twentieth century is most well known for creating Australia's most long surviving newspaper cartoon Ginger Meggs.

Tuesday, May 6, 2014

Te Pikitia Tumblr

Painted Maurice Bramley cover from the Scientific Thriller series.

I haven't been too active on the blog of late, been busy with research/pre-press/cartooning/word crunching etc. I'm aiming to post a series of interviews on Te Pikitia Blog over the rest of May, maybe squeeze in some Paper Trails if I can find the time.

One thing I have made time for in recent weeks is Te Pikitia tumblr. I'm mainly using it to share art by New Zealand and Australian cartoonists. I'll keep lengthy word pieces for Te Pikitia blog.

Consider letting Pikitia clutter your electronic social life in other forms: