A small group of people are sitting in a bar in a hotel in Manchester during the last UKCAC in 1998.For 30 years in the UK there’s been at least one annual large comic convention somewhere in the country, but at this movement there’s nothing planned for 1999 and the only people who seem to care are the half dozen or so people sitting nursing their drinks on a Sunday afternoon. A comment splits the onrushing gloom…
”How about we tag onto a Babylon 5 convention?”
It is at this point the British comic convention hits its lowest point. But lets go back to part two and the end of the 1980’s. Comics are everywhere. Alan Moore and Robert Crumb get name-checked on pop songs. Channel 4, BBC Two and the broadsheet papers start taking an interest in the growing and developing medium. Books like Watchmen and Maus are compared with the best of modern traditional literature. Conventions and marts are bursting with attendees. Shops are opening up at a dramatic rate as the direct market grows to accommodate this new, excitingly engaged audience who have a thirst for every genre from superheroes to SF, to horror, indeed, anything seems the limit as 1990 comes.
The British comic convention grows too. There’s now a Glasgow Comic Art Convention to complement the London based one, and smaller conventions and marts are all over the UK.
Comic publishers start springing up with the most successful being Image Comics who arrive on the scene in 1992 publishing a dynamic, if somewhat intellectually thin, set of superhero/adventure comics that cater to the growing speculator market.
Image were a speculators wet dream.Comics that came out one week would increase in value the week later by nonsensical amounts, so potentially you could make 1000% more than you paid for a comic. So companies started making comics ‘more collectable’ with special and variant covers at the expense of any sort of quality. The ‘Imagefication’ of mainstream comics brought the speculator into comics in droves and as more and more product was pumped out to be valued instantly higher than it should be. A bubble was forming that couldn’t last.
In the meantime the British comics convention was at its peak. More and more one day events were springing up from Gloucester to Cardiff to Newcastle to Belfast and of course, UKCAC and GLASCAC were running along nicely.
Then the bubble burst.
The industry couldn’t cope with the amount of product being pumped out and in fact, the industry was in a slow decline from around 93, but by 1996 the comics industry was in an awful place. Companies were going out of business, and Marvel (who were pushing out million selling comics at the start of the decade) hit a hard decline that saw them nearly going out of existence. Comic conventions and marts also suffered as the speculators moved onto whatever else they did which meant retailers had boxes of unsold copies of comics with special/variant covers and nobody to buy them.
In 1998, UKCAC moved from London to Manchester, while the Glasgow conventions were now long gone. For those of us who were there it was a fun event, but the feeling it was a wake hung around which leads us back to a bunch of us sitting in the bar contemplating latching onto a Babylon 5 convention in order to keep the idea of a large British comic convention alive.
Other ideas did come to the fore, including one which involved organising a show in Nottingham as London was too prohibitive in terms of cost. Things looked bleak as shops closed weekly while the marts in London and elsewhere were a struggle to turn a profit if you were a retailer but some light was at the end of the tunnel for the British comic convention.
1999 wasn’t just the last year of the old millennium, it was also in many ways the beginning of where we are today with the modern comic convention and it all started in Bristol.