The Rise and Fall of Neptune Comic Distributors: Part Eight

Part One. Part Two. Part Three. Part Four. Part Five. Part Six. Part Seven.

Neptune was bankrupt and had been taken over by Diamond. Trident Comics and Toxic! had went bust with creators left unpaid and art never returned. Geoff was bankrupt, but he still carried on. Geoff had managed via Todd to somehow grab the UK reprint rights for Dark Horse Comics series of comics based upon Aliens, Predator, Robocop and Terminator.  In fact Neptune wasn’t finally wound up til the year 2000, but it was Geoff’s return to publishing with Phoenix Press in 1992 which seemed to ensure he still had a toehold in comics but not for long as dissolved owing hundreds of thousands.

At this point the rumour flying round that Geoff had shacked up with Carolyn, Neptune’s former secretary and that he was on the run from various people who he’d not paid, not to mention his name after the Phoenix Press fiasco ensured his name in America was mud. Some of this came from conversations with Pete Stevenson (who by the late 90’s had retired from Moore Harness) who I used to see when I’d go scouring for stock with Chris and Maurice, or in one case, myself and a ex-girlfriend bumped into him in the Shires shopping centre in Leicester where Pete told me the gory story of the final days of Neptune, not to mention the debts and ill will Geoff had built up. All of Geoff’s stock had been seized by bailiffs and was sold in early 1993. It was in fact bought by Chris and Maurice and ended up being part of the stock for Comics and C.D’s, the comic shop I worked in on and off from around 1992 to 1994.In fact that Neptune stock haunts me even today when I help Chris and Maurice out at marts when I sort out comics that I’ve probably been sorting out the same comic for nearly 25 years…

As to Toxic! and Trident Comics back issues, well, they lived in my garage for a while when I lived in Clifton in Bristol. Whats left now live in Chris’s stock or here in his lock up in a farm just outside Bristol.

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As for Geoff, around 2000 when I got regular access to the internet I’d decided one drunken night to track Geoff down. I’d managed to locate him still in the East Midlands in Northampton or Leicester.  I’d thought nothing more of it until when in the writing of this I was wondering where he is now, so again went and did some research to find all his directorships suddenly stop in March 2005 yet a company he’d set up still has Sarah and his daughter as directors in 2014. This caused a little bell to ring in my head so I checked further and that little bell was indeed right as Geoff died in March of 2005. A few years back I’d worked briefly in probate and it reminded me of what happens when a sudden death occurs and directorships have to be closed all at the same time. Upon finding this out all my bitter anger diffused as there’s no point staying angry with someone who died so young.

He’d have been in his early 40’s which is really no age for anyone to go. He does have a legacy in comics but because of his actions he’s a forgotten figure who has passed into the mists of time, but without him 2000AD wouldn’t be full colour every week, there wouldn’t be a history of American comics coming out in the UK as soon as possible after they get released in the US. Mark Millar wouldn’t have got a break and a major foothold in comics, nor would a number of creators who got their first work published in Trident Comics or in Toxic!. In fact the actions of Geoff through Neptune and the other companies he had very much shaped how comics are today so every time you get you’re copy of Batman remember that there were serious battles to ensure this happened, but in effect you’re supporting a monopoly with Diamond.

Sadly the British comics scene was virtually moribund for years and it’s only in the last few years that serious diversity in British comics (I’m tired of seeing endless superhero, crap horror or twee fantasy titles with bloody elves) returned. There’s also nothing as interesting as Fantasy Advertiser being published which isn’t to say there’s some great comic related blogs out there; there are. Most though are just acting as free advertising for the bigger publishers and actual comics journalism (Bleeding Cool tries sometimes but mainly is a gossip column) is thin on the ground and no, saying something is awesome isn’t actually criticism.

So there it is. The rise and fall of Neptune Comic Distributors. Brought down by a man’s hubris but at the same time it had an enormous part to play in the history of British comics & as made clear in this series of blogs, the lives of a large number of people. Now it’s all out in the open I hope I’ve informed people who were around at the time of things that happened at the time, and of younger readers who knew nothing of this. If I have one last thing to say it’s that I’d have that time over again like a shot, but without the insanity. See even though there were times when the stress coming from Geoff was insane and verged upon bullying/intimidation, there were good times most of the time…….

The Rise and Fall of Neptune Comic Distributors: Part Seven

Part One. Part Two. Part Three. Part Four. Part Five. Part Six.

1991 was a fucking crap year for me. Really crap. There were however some highlights which included the schadenfreude of watching Neptune implode from outside after I’d left. I was still involved in comics after my time in London at Comic Showcase with Chris and Maurice from Bristol who I was now helping out not just at comic marts in London, but I was now regularly going down to Bristol (where they were based) to help them prepare for the marts they’d do across the country from Leeds to Cardiff to London.

Neptune however marched on without me. In the autumn of 1990 Apocalypse Ltd (the company Geoff set up to publish Toxic!) brought out their first comic, a Marshal Law one-shot called Kingdom of the Blind.


This was a huge deal as we’d managed to get Pat Mills and Kev O’Neill to bring Marshal Law to us from Epic Comics, a subsidiary of Marvel Comics. It was a massive coup for what was still a small independent publisher based out of a drafty warehouse in Leicester next to a dodgy pub. Incidentally this is what it looks like now according to Google.


I wonder if the current occupants have any idea of the buildings small part in the history of comics?

Anyhow, Toxic! was due to come out in March 1991. This was against the advice of Pat Mills, Kev O’Neill, the editorial staff brought in and anyone who was remotely sane, but Geoff was insistent before I left it’d be out in the spring even though I was there where Kev O’Neill told him that there was no way he could cope with a weekly schedule and maintain quality. Kev had also done most of the design and art direction for Toxic! so his workload was enormous, and frankly, he wasn’t getting the rewards financially for it. John Wagner was so fed up with it before it came out that once he had strips rejected ( Button Man is the most famous example, but I understand others were rejected) and The Bogie Man strip stalled after a few episodes. John however had been lured back to Fleetway so turned his attention back to Judge Dredd.

Toxic! did feature new creators but the heavy lifting was really done by Alan Grant and Pat Mills who ensured there were strips in there every week. Two strips in particular took off; Sex Warrior and Accident Man especially built up a strong following.


It was however Marshal Law which was the lead character and the Judge Dredd of Toxic!, but as Kev O’Neill warned, he couldn’t keep up the schedule so weeks would pass without it’s main draw and that hurt sales.

Of course I was getting all of this filtered second hand via people still within Neptune of from creators or people involved with Toxic!/Trident Comics. John McShane had decided to knock things on the head, and Geoff was losing whatever favours he’d built up, plus the word from the US was that he was unreliable. Then again he’d had an awful reputation with small publishers because of his combative nature. To go back a bit, an example of this is when Alan Moore’s Big Numbers was due to come out he spent a day arguing with Debbie Delano (one of the team involved with publish Big Numbers through Moore’s company Mad Love) about pricing of the comic which ended up with Geoff ranting about Moore himself as it ended up with Moore having to step in to sort it all out. That act I understand ended up with Geoff getting an awful name among some creators who may have considered working for him.

At the same time Trident Comics plugged on with Martin Skidmore doing what he could to get people to work for next to nothing, which thankfully, Mark Millar did as he was the clear star Trident discovered. The problem was that the core of the business, the distribution, was falling to pieces. At the end of 1990 I was in London working for Comic Showcase and heard vague rumbles of bad things at Neptune as Geoff’s affair with Viv had become common knowledge which caused her to leave and things to be exceptionally stressed as all the people who’d helped build up Neptune for four years had now left, or been forced to leave mainly due to Geoff’s hubris. Later in 1991 while living in Nottingham I was still in touch with Neptune/Trident staff, not to mention still involved with comics so I heard how things broke down quickly.

Toxic! lasted 31 issues. By around half way through these issues the quality dipped as they started to use material meant for the anthology Trident or worse, rejected material, in order to make up for the fact John Wagner had left, Pat Mills had left (though legend has it that Pat did turn up at the Leicester warehouse with a couple of large gentlemen to claim what Geoff owed him), Kev O’Neill had gone and only Alan Grant still bothered to write material for them. Trident Comics folded not long after Toxic! died.

As for Neptune it too died in 1992 when Diamond (who by this point were looking for an avenue to get a toehold in the UK market) bought out Neptune thanks to the fact Geoff had ranked up so much debt with them that Diamond just moved into the UK taking a large portion of the UK market that Neptune had spent nearly six years building up. This put them up against Titan who were then bought by Diamond making Mike Lake and Nick Landau merrily wealthy men, but enabled a monopoly of comic distribution in the UK that is now so ironclad that it’s impossible (until the recent rise of digital comics and sites like Comixology) to break. If you want a hard copy of a comic in the UK, it’s 99% certain it’s been shipped by Diamond so we’re now back in the same situation we were in 1985 with one monolithic distributor essentially shaping people’s reading habits because of their links to the big players (Marvel and DC) in the direct market.

Yes, people now get their comics the day after they’re printed in the US, but private monopolies like Diamond aren’t healthy which is why it’s helped shape comic shops into selling mainstream material as Diamond’s cut off point for inclusion in their catalogue would make something like Trident Comics impossible on the whole now. It’s a major fight to get anything new into Diamond so we’re actually in a stale, regressive phase, yet the rise of digital comics and the variety of genres shows there’s a better future awaiting comics than just men in spandex twatting each other.

So by the end of 1992 Neptune was dead. Toxic! and Trident Comics were over. All brought down by one man’s impatience, his hubris and his inability to control his temper or where he put his penis. Yet the story isn’t actually over as I’ll explain in the next part of this ever-increasing series of blogs….

The Rise and Fall of Neptune Comic Distributors: Part Six

Part One. Part Two. Part Three. Part Four. Part Five.

By the summer of 1990 Neptune was still wildly successful but the cracks were showing. One of the original three founders of Neptune was leaving, Toxic! was being rushed into a spring 1991 releases instead of an autumn 91, or even a spring 92 release, and Geoff was acting weirdly in that he was trying hard to be everyone’s mate, but there were rumours he was having an affair with a girl in marketing, Viv. Even the secretary Carolyn who normally didn’t say anything too negative was joining us downstairs in the warehouse for large gossiping sessions, and Martin Skidmore was dashing around like a dervish telling anyone who’d listen about Geoff and Viv at GLASCAC.

I still carried on my by now normal life that summer so lots of going out in Leicester and London, plus trips to Glasgow to sell comics and see friends there. I’d got through that summer which meant enduring another shockingly early early exit from a Scotland side at a World Cup, but as we were going into the autumn Geoff was acting sketchy. The height of this was a shouting match between him and Viv in his office that had Martin Skidmore come down to tell us what was going on and we all sussed out what the argument was about. I later found out she wanted to stop the affair but Geoff wanted to carry it on, even though by now his wife Sarah was back at work and well, things upstairs in the office was tense to say the least. I focused on just getting on with it and making things in the warehouse tick over. By now things were running so smoothly that Geoff wasn’t needed and on the occasions he did come downstairs to help us pull comics he would end up getting in the way, so would quickly vanish as quickly as he’d appeared.

What brought things to a head was that initially I wanted a weekend off for Reading Festival that year but things were tight as Martin had left, so we were running short of people, but I got the weekend off anyhow even though I ended up not going. I think I ended up dossing around with my flatmates and ending up down the pub. This pissed Geoff off even though by this point I’d not taken any time off apart from GLASCAC that spring and frankly, what I do with time off isn’t the matter for any employer of mine. This ended up in a huge shouting match between myself and Geoff that ended up with people stepping in between us to stop blows, and resulted in me quitting the next day. Thankfully I had some savings plus my last month’s wages but truth was I played my cards too early and should have really quit just after I’d done a mart with at least a few grand in the bank to cushion the blow.

After I quit I ended up going round Neil’s house who then spent the afternoon getting drunk with me and watching the Mad Max trilogy as you do in these situations. Drinking solves all….

In September of that year the annual UKCAC was happening in London and Neil and myself had decided to go down and help out Chris and Maurice from Bristol at their enormous pitch they always had at these conventions. We’d get the coach down early on the Saturday morning, meet up with Chris and Maurice and then worry about where we were going to stay later on in the bar. That UKCAC was also the official launch of Toxic! which was a big, big deal.


Of course Neil and myself bumped into Geoff in an awkward meeting that was made even worse by the fact that Geoff had already walked past me as I was talking of Paul Hudson of Comic Showcase (one of Neptune’s largest customers) as he was offering me a job, which at the time, moving to London seemed attractive.

That Saturday night saw us drinking in the bar, which is exactly what British conventions are like most of the time (I will have a wee winge that some cons  now seem to have lost the social aspects as they’re just marketing conferences for film & TV companies to sell you shite) so we dived in and drunk heavily. During the night we bumped into Martin Skidmore who had his two or three beers and was merry. Somehow Martin agreed to let Neil and myself crash in his hotel room which was being fully paid for by Geoff, expenses included! This was a red rag to Neil and myself so we dined deep on Geoff’s abundant wallet.

We’d heard from Martin about how things were tense at the warehouse in Leicester, and that the open knowledge of Geoff’s affair was the sneaky gossip when Geoff wasn’t around. The evening wasn’t complete though without abusing the hotel’s room service so we ordered sandwiches and beers, lots of beers, while Neil called Tod in the US which back in 1990 must have cost a fortune. Essentially, we took the piss and wallowed in it til the wee small hours. It was our one last ‘fuck you’ at Geoff which ended up with poor Martin getting some earache but he found it enormously funny. I ended up nearly losing the job offer from Paul at Comic Showcase, but ultimately Paul thought ‘fuck it’ and realised that he’d quite liked to have done the same too. Sadly the whole London experience was so horrendous (though not being at Showcase, that was wonderful and the guys there were fantastic) I didn’t last in London too long. That however, is a tale for another time.

The next morning we left Martin snoring away and wandered the streets for a bit to sober up before diving into the final day of UKCAC to help Chris and Maurice, who I’d end up helping out on a regular basis a few short months later and indeed, we still drag our old bones out for marts and cons to this very day. 

Just because I had left Neptune it didn’t mean I was out of touch or didn’t know what was going on. though it did take me the better part of a decade or so to get the gory story of it’s final downfall and what happened to Geoff after it all fell apart. In the next part of this blog I’ll go into those details, including that Pat Mills story, and (assuming I can find them) some odds and sods that as far as I know aren’t online, what Geoff did after comics, and what all this meant for the British comics industry today.

The Rise and Fall of Neptune Comic Distributors: Part Five

Part One. Part Two. Part Three. Part Four.

1990 was a new decade. The Cold War was over and there was a general feeling of enormous optimism even though the UK still had Thatcher in power but the feeling was that things were about to change. This certainly was the case at Neptune where we ended 1989 on an enormous high with the distribution side going well, Trident Comics going well and plans for what would become Toxic! going ahead full steam. Neptune had established a permanent office near Gatwick Airport where Martin and Paul, a chap who used to work for customs there had been lured across. Todd still manned the US office in New York, while the Manchester office fell though, we’d taken on Nigel who lived in Nottingham which meant we could do drops not just there, but Leeds and Sheffield. At Leicester we’d taken on another Paul to help myself and John (and frankly I needed someone normal to talk to) as well as Adam and Viv, who were primarily sales and marketing as Geoff took an increasingly back seat in the distribution side, but often ended up pulling comics with me. Both were young graduates and Viv helped increase the balance of sexes in the company as it was a very, very male orientated company.

The idea was to structure Neptune into a proper company with a MD, directors, sales/marketing staff. experienced warehouse staff to help me and Trident/Apocalypse would be the preserve of Geoff, Martin Skidmore and John McShane. For a while it worked. Yes, sometimes Geoff had to step in to help out Adam or Viv, and even occasionally he’d come down to the warehouse to help pull some comics to get away from Sarah who was heavily pregnant. Basically things were hard work but they were fun.

I was spending my spare time flitting between drinking myself into a haze in Leicester, or doing the same in London and Glasgow, though by this point I’d been introduced to my first E and thus became a bit of a lovely association with the drug. I’d also started selling off large chunks of my own rather large and increasing collection, not to mention I was buying new comics from Neptune plus I was getting comics cheap from Chris Bacon and Maurice Pitman, a couple of comic dealers from Bristol who’d been introduced to me by Neil, and that I still help out to this day. Though we are older and heavier than we were back in those young, sexy days!

I’d do comic marts in Glasgow which meant shipping my stuff up to AKA, getting them dropped off at my table at whatever venue these marts would take place. Sell loads and come back with massive wads of cash in my pocket even after a night out drinking heavily. I remember one such occasion where I’d went to Glasgow for a mart, and been introduced properly to Bridget (one of the new AKA lads’ Andy Sweeney’s girlfriend, and who is one of the crew who come to Glastonbury now with me) ), she helped me sell hundreds or pounds of comics and from then on in things are a blur. I remember having a meal, going to a pub going with Dominic Regan to a house party and then the next thing I remember is waking up in a bed with around four people passed out on top of each other. Thankfully I’d stashed my takings at AKA but I was in a house somewhere in Glasgow and I needed to get back to AKA, grab my bags, grab a taxi and get my plane back to London so I could get to Kilburn to see a gig at the Town and Country club, before eventually heading back to Leicester on Monday and sleeping. I remember waking someone up, finding out where I was. Calling a taxi and telling the taxi driver to take me to Virginia Galleries so I could pick up my stuff from AKA and then to take me to Glasgow Airport. Frankly, the look of disgust the driver was throwing at me was immense. Then again my hair looked like four people slept on it, I smelled of people who weren’t me, and I looked liked I’d been ingesting pure alcohol laced with MDMA for a week. The driver did indeed wait for me outside AKA as I grabbed my rucksack and my briefcase which contained over a grand in cash (after paying for shipping to and from Glasgow, tables and bunging Bridget some cash) which in 1990 was an impressive haul for a mart. I took the cash out the briefcase and stuffed it into a pocket of my leather jacket.

By now I didn’t give a fuck about pissing this taxi driver off. He clearly thought I was taking the piss but as we pulled up outside Glasgow Airport I pulled out a wad of cash and for some reason the driver was suddenly amazingly nice to me. He even offered me his business card as he probably thought I was either a drug dealer or involved in something to do with media/music. Little did he know it was worse than that, it was comics!

This was my life. I utterly loved it. I really didn’t want to give it all up and I could stomach dealing with Geoff’s rants though these were becoming less in relation to the distribution side which by now was a well oiled machine. The rants were being thrown at poor Martin Skidmore who was trying to straddle the line between being an editor and a mate to some of Trident’s creators. Fortunately Mark Millar was astonishingly professional for one so young and inexperienced and if he’d not turned out scripts on time Trident Comics would have floundered. We’d even started plans for another ongoing comic to be written by Mark and drawn by Andrew Hope; The Shadowmen. The idea was to make Mark our superstar writer and the next Grant Morrison, a quote that Geoff said often and little did we know how prophetic that phrase would actually be.

During the week my routine developed into drinking at the Pump and Tap in Leicester, going for late drinks at Que Pasa, the tapas restaurant just across the road from the Pump, then going home to pass out and get up in the morning to pull comics/sell comics to shops across the UK/do anything to avoid engaging John in a conversation about Star Trek. Considering how much I put into my body back then I’m amazed I got past my 25th birthday but I was in my early 20’s, doing a fun job working with some good people and things I enjoyed, plus I had a lot of disposable income. Neptune wasn’t just stable, it was growing and I by now was getting a lot of benefits from the company, so coming up to the first Glasgow Comic Art Convention (GLASCAC) in the spring of 1990 things were brilliant.

The planning for this first GLASCAC was immense. I know in these days of comic conventions saying this every five minutes this seems like hyperbole but in 1990, this wasn’t. That first GLASCAC was massively important not only in helping Neptune maintain a public image, but for Trident Comics and Toxic! (which now had been named to much disagreement) to be launched with a provisional autumn 1991 launch. We’d spent weeks working out what we’d do and how we’d not only promote ourselves at GLASCAC, but somehow get that week’s comics out. So a plan was hatched.

Geoff, Viv and Martin Skidmore would fly up from Leicester on Friday afternoon, link up with John McShane at AKA and meet and greet John Wagner, Alan Grant and Kev O’Neill. Myself and Nigel would fly up from London after doing that week’s comics So on the Friday morning myself, Nigel and John made our way in the van to Staines (where we had a warehouse) to await the delivery. Except we got a call from Martin in Gatwick that the delivery was delayed which put our flights at risk. Again, a plan was hatched. We’d pick up the shipment from Heathrow and instead of taking it to the warehouse in Staines we’d create a shipping area outside the ANC warehouse next to Heathrow. This meant that the workers at ANC saw the astonishing sight of five grown men pulling out comics out of one box to put them in another box, but we somehow managed to get it all done, though Nigel and myself still had to get to the terminal, check in and get on our plane. Thankfully we could count upon Martin driving like a lunatic as he dumped us outside our terminal, sprinted inside, checked in and got to the departure lounge with minutes to spare.

Once on the plane we started laughing like nutters as we’d been up for hours, hadn’t eaten all day and were now enjoying some large G & T’s. We’d managed to change in the toilets of Heathrow but we still looked worn out but never forget the healing power of gin, plus I’d managed to sneak some speed on the plane hidden in my boots which helped.

Upon arriving in Glasgow we made our way to our hotel. This is where Geoff, Martin Skidmore and Viv were staying.


This was the Copthorne Hotel (now a Millennium Hotel) by George Square and then (and now) is a fine hotel .

Nigel and myself were staying here.

This is the Central Hotel which today is another fine hotel, but in 1990 it was rundown and falling apart. It was still a good hotel but it wasn’t the same sort of luxury, but Geoff had given a vague reason as to why Nigel and myself couldn’t stay at the Copthorne and anyhow, it wasn’t that far a walk (5-10 minutes depending on sobriety) from George Square. Anyhow, we were glad of a bed and once off our plane we headed right to the hotel to check in, get to out rooms, tart ourselves up, grab something to eat at the Central and head to the Copthorne for the evening’s merriment.

At the Copthorne we met up with Geoff, Martin and Viv who were all deeply embedded in the evening, though as Geoff was a teetotaler we could get a straight answer form him while Martin and Viv seemed to have enjoyed a small shandy or seven. Before I could hit the bar I was given the job of keeping John Wagner happy which I was only glad to do as I liked John and had known him for some years thanks to my association with AKA. Eventually in the wee small hours Nigel and myself left to go back to the Central to get some much needed sleep for what was to be a huge day the following day.

The convention itself was to be held in the City Chambers. An amazingly impressive building to hold a comic convention in.

Even more impressive was the interior.

Neptune/Trident/Apocalypse had a pitch on the top floor while the bulk of the dealers were on the lower floors and the talks, etc were scattered around the City Chambers and the Copthorne. Before getting to setting up I introduced Nigel to a full Scottish breakfast which gave us the energy to set things up, so we headed to AKA to help the lads there load up their stock and a load of Trident Comics we’d shipped to AKA that we’d sell at the con. When we got to the City Chambers we linked up with Geoff, Martin and Viv to set our pitch up. We’d got a corner so we set up a load of comics on one table and on another we were going to have signings from our creators over the weekend.

Once we set up it was a matter of sitting back and waiting for the crowds to come in and come in they did. The convention was utterly rammed with the City Chambers full of sweaty fanboys buying comics in the most opulent location I’ve ever been in for a comic convention in over 30 years. That Saturday also saw a Poll Tax demo outside in George Square which gave us an opportunity to sell loads of copies of the collected St. Swithin’s Day comic to protesters outside which was enormous fun.


That first day was wildly successful.  We sold loads of Trident Comics, including selling out of St. Swithin’s Day while the interest in Toxic! was high. I’d also spent a large part of the Saturday afternoon taking the piss out of various people with John Wagner, wandering round the City Chambers chatting with people, chilling out for a while  at the bar in the Copthorne, and ending it with chatting with Poll Tax protesters to be told that there were rumours of a massive riot in Trafalgar Square at the Poll Tax demo there.

That evening was a blur, but I’d arranged a Sunday morning kickabout at Glasgow Green between Neptune and AKA (we used to regularly have Sunday morning football with the guys at AKA before I left Glasgow. You’ve not lived til you’ve seen John McShane fail to control a ball) so that didn’t stop serious drinking before heading back to the Central for a bit of sleep before meeting everyone back at the City Chambers the next morning.

The next day Nigel and myself turned up to meet Martin Skidmore who was all by himself in his football kit. i asked where Geoff and Viv were and he said he’d knocked on Geoff’s door but got a flustered reaction from Geoff as he gave Martin a story that he’d ‘slept in’ and didn’t fancy playing. Martin thought this was odd as Geoff loved football and had got us playing in a five-a-side league in Leicester, but he left in and knocked on Viv’s door but got no reply which is when Martin’s brain put 2+2 together thought ‘hang on, is Geoff fucking Viv?’ Telling me about it I initially said to Martin that Geoff was a tosser but he’d not sleep with a member of staff at essentially a business weekend hundreds of miles away from his wife and infant child? Would he?  I put it in the back of my head for the rest of the weekend

The last day was one of mopping things up. Meetings were had, things were decided and people started leaving for home, but I’d arranged to stay in Glasgow for a few more days before flying back to London and eventually Leicester. By the time I got back to work (after seeing a devastated central London) later the next week I didn’t think anything of Martin’s comments but a few weeks later it was announced that the other Martin who was one of the original three people setting Neptune up was going to leave in the summer. That came as a huge surprise that Martin was going to leave, and it was actually a bit worrying as it gave more control to Geoff.

I’d also heard that Pat Mills and Kev O’Neill were telling Geoff to put off publishing Toxic! in the spring of 1991 rather than the autumn as originally planned. Geoff was trying to push things on the publishing side far too fast, and although the distribution side was steady it wasn’t really growing. There was also gossip flying around the office and warehouse about Geoff’s extracurricular antics involving Viv who by now was attending ‘business meetings’ alone with Geoff.

By June/July things were cracking and in the next part I’ll go into the full gory details…..

What I thought of Fantomex #4

Thoughts about #1#2 and #3.

We reach the final issue of this four issue series.


We start this episode on a cliffhanger as our Baddie decides to reveal his plan to kill as many people as possible using the meteor defence weapon they’ve all broken into. Unfortunately the authorities aren’t going to nuke the place from orbit because…


So the only person who can save millions is Fantomex, except he’s incapacitated by Stirling’s powers but thanks to something introduced in the first issue, Fantomex is able to get free for the final showdown with Stirling which takes on Bottinesque proportions as the pair fight.


Without giving anything away too much, the final confrontation is suitably satisfying, as is the resolution of the Fantomex/Flemyng relationship which sets up potential future meetings.


There’s also a nice end with Eva which wraps things up and it’s The End.

So overall what did I think?

The series suffered badly from a patchy at best opening issue but as said at the time, there’s enough potential to carry on reading and anyone who did would have been rewarded with a solid action story that was well written and beautifully drawn by Shawn Crystal. Part of the problem sadly was the comic press and initial reviews which were on the whole quite scathing, but considering the utter rubbish Marvel and DC pump out, Fantomex stood out as at least trying something different. Alright, this isn’t a series brimming with originality but it’s something different from the reams of grim superheroes talking about how they were raped, or their parents killed but there’s actual puns, bad jokes and a lightness of touch missing from too many superhero comics.

Where the series had weaknesses was the meandering first issue left it trying to play catch up so Hope has to pull it back which is the equivalent of going in at half time 5-0 down in the hope that the 17-year old striker and the 40 something veteran sitting on the bench can pull it back in the second half and they did. Not without some problems though.

One of the problems is the treatment of Agent Flemyng. She’s beaten, possibly raped and generally slapped around waaaay too much. Now she does rise above all this and remains a strong character but if there’s any way for those early accusation of misogyny to stick, then it’s with this. I’d rather not see another female character in comics become a punchbag for men as that sends out an iffy message to women, though Hope generally does write good female characters in this (the flashback cameos of Fantomex’s mother is great, if somewhat too brief) story, this is a weak spot. The riff on The Champions was fun but I never felt the villains developed much at all, which is a pity but they were suitably bad bastards to make the reader root for Fantomex, Eva and Flemyng.

Of course one does have to take comics ‘journalism’ with a pinch of salt as this frankly shite page shows, the general standard of journalism, let alone criticism, in comics is around the level of a pissy teenager who’s just found out they’re always going to be a virgin.

There’s also problems with pacing. The second issue An Awful Lot happens, but at least Hope remembers stories are about characters so there’s an attempt throughout the series to make Fantomex and Flemyng actual 2-dimensional characters in a superhero comic as opposed to flat images of people doing kewl stuff for da kidz! Thankfully the art glosses over some of the problems as Crystal really is a potentially big talent in the making. Yes, he does need to work on his storytelling but his designs are lovely and his layouts are fantastically designed at times. He makes a good team with Hope and it’d be nice to see them work together on something again sooner rather than later.

Overall this is a worthwhile bit of fun, problems aside of course. I still think that with very few changes this could easily have been an all-ages book, and in fact Hope sets up an all-ages Fantomex perfectly here but with both Marvel and DC not especially giving a toss about kids buying comics I suppose they’ll carry on chasing the ‘core audience’. We really do need superheroes again to be aimed at the people who they were meant for, which is another thing I agree with Alan Moore about.

So, buy the trade when it comes out. Download the comics from the splendid Comixology site, but give it a chance. It deserves it.

What I thought of Fantomex #3

Thoughts about #1 and #2.


First off let me start by saying this is the best issue of the series so far. The development of writer and artist is nice to see, and a lot of the problems with the first issue are gone, but a lot of the problems lie with the fact that Fantomex is a bit of a crap character.

Anyhow, this issue opens with a conversation between artificial intelligences.


At the same time Fantomex is fighting the same bloody great sea monster he was fighting at the end of last issue, and this is wrapped up in a rather cracking double page spread you need to buy as I’m not sticking it up here to spoil it.

Meanwhile Agent Flemyng seems not to have been obviously raped as was the vague suggestion last issue, but rather beaten up, though the suggestion still lingers.



Now I’m glad there’s an ambiguity here as frankly the use of rape against female characters in mainstream superhero comics is an overused, and often sadly misguided plot device so I’m glad there’s a fudge here, and more crucially Flemying clearly isn’t a victim here.

Anyhow, this reveal prompts a shameless parody of the origin of The Champions, which includes one great line which is a bit of an in-joke between myself and Andy Hope….



There’s also another Jimmy Savile line, a few twists and a cliffhanger for the last issue that I won’t ruin. All I’ll say is that after an average at best start to the series, Hope and Crystal have pulled a fun pulpy big of action/adventure out of their hats. It’s not going to change the face of superhero comics, let alone the medium generally but when so many superhero comics are overblown examples of depressingly badly written grimness, it’s nice to see something self contained that’s at least a bit lighter.

So next issue if the last issue which means a big old overview of the entire series in gory detail….

What I thought of Fantomex #2

Last month I did a review of Fantomex #1, so as if often the case with monthly comics, here’s a review of #2…


Before I dive in I will say this issue is much better structurally than #1 as we dive headfirst into the plot, but there’s things here and there which niggle, but I’ll get to that.

As we start this issue off, Fantomex  is in a submarine at the bottom of the Marianas Trench.


We get a crisp and brief bit of exposition as to what Fantomex is doing and why he’s in this place. Nice simple superhero comics dialogue that isn’t clogged down with continuity, or fourth generation sub Alan Moore dialogue as you see in a massive amount of superhero comics today.

As I did last time I have to praise Crystal’s art. There’s a lot of potential with this lad’s art though I don’t find his depiction of Fantomex as a stupidly muscled superhero convincing. I find it amazingly forced, so that when he does draw him as this wonderfully flexible character it feels natural and fluid.

What doesn’t feel natural or fluid is this bit of dialogue that Andy Hope sticks in.


We don’t need the exposition about Nauls being called after a character from John Carpenter’s The Thing. It’d have been a nice in-joke to keep the character genuinely called Nauls rather than this couple of bubbles of Claremontesque exposition. Again though, Crystal’s art here is excellent.

I also have a problem with the dialogue here.


It’s the use of the word ‘cunt’ that seems forced. I’ve nothing against fucking swearing in fucking comics, but like Crystal’s muscly Fantomex it seems forced and trying too hard. The threat as it is without the word ‘cunt’ is fine.

There, that couple of sentences should clear out the Guardian readers.

Anyhow, Hope comes back with a blinding bit of dialogue a few panels later…


You won’t see any other comic in any genre this year with a Jimmy Saville reference…

I do actually think that when Hope is more comfortable in a slightly more jokey, more fun, even camp tone than the more traditional superheroics that’s come up in the two issues so far. I know this isn’t a style the hardcore superhero readers of 2013 enjoy as they want grim grimness with extra grimness on top and a side-order of mutilation and a big glass of gore, but there’s something nice about bad guys being bad, good guys caring about a bloke called Nauls and an anti-hero who isn’t a rapist thug but a charming gentleman thief. It’s simple but Hope never makes it simplistic.

This is an example of what I mean.


It’s fun. Frankly making this a Max title means that it’s cut out a potential larger audience. Ah well.

Anyhow, the rest of the issue is involved with setting up the plot, so there’s a lot more exposition, a conversation with a hologram that reminds me of a scene from Doctor Who, but I know Andy’s not seen the new series so it’s not a rip off or even inspired, and lots of people standing around talking. This is a problem of all superhero comics going back decades in that at some point you’re going to have people standing around explaining who is doing what to whom and why, but Hope makes these scenes pass as quickly as possible, plus Crystal’s art makes it easier to sail through.


After several pages of setting up the meat of the plot, the issue leaves both our heroes (Fantomex and Agent Fleming) in peril. I won’t talk about this yet as obviously it’s to be resolved next issue, so you’ll wait til then.

All in all, Fantomex #2 is a vast leap on from the first issue. It’s got a great tone at times as Hope’s voice begins to be found, and Crystal’s art improves though tone down the superheroic cliched muscles! I do still think that both creators are struggling to be comfortable with the main character but they’re doing as good a job as possible, and as said, I do think the Max format is just an excuse for tits, gore and swearing to make it seem ”mature” but in this case, it doesn’t seem at all suited to the story as it could very easily be made a book read by a wider audience.

Also, Jimmy Saville being referenced in an American superhero comic. That’s glorious…

Be back next month for #3!

What I Thought Of Fantomex #1

As promised here’s my review of issue one of Marvel’s Fantomex. It’s been getting some horrible reviews, but although there’s points which I may agree with, the reviews like this one at IGN are grossly unfair, especially when the reviewer complains about the violence in Fantomex, a title meant by Marvel to be read by adults but seems to revel in the violence in certain DC Comics meant for a different audience.

All the panels here come from the Comixology download I had to make this morning when I realised I wanted to show some panels and didn’t have a working scanner. It’s a superb service and I’ll be using that site an awful lot in future…

Also, I’m going to make it clear I’ve know the writer Andrew Hope for years, but I’m going to be doing this review as if I didn’t. Also, Andy would think I’m being a creepy wanker if I didn’t and he’d be right, so lets crack on….

First is the cover. The cover is excellent.


It’s got a nice touch of Milo Manara about it. It’s gaudy and eye-catching while not looking exactly like all the other superhero fayre out there at the moment. It’s a lovely work of art. The interiors are by Shawn Crystal, an artist I wasn’t familiar with but there’s nice touches that remind me of Paul Grist via Berni Wrightson  & Mike Ploog in places. His use of letratone is also incredibly welcome when many superhero artists only fire up the laptop, slap some computer effects on and then go back to bed, so to see some genuinely hand-crafted touches like this is welcome. Crystal has serious potential.

As for the story the first page launches us right into the action without telling us what’s going on. We also get a hint of the tone from this panel.


It’s a nicely composed panel with Fleming on one side, the ship on the other, and the eye is drawn to the body in the centre of the frame so we’re told that Fleming is the character we should be rooting for thanks to the jokey line about looking ‘great in skintight black kevlar’ and the fact she’s running into danger so she’s the hero we should be following.

What’s instantly jarring is that as soon as Fleming is introduced we’re thrown into a battle between the title character Fantomex, and a man in some hi-tech battle suit in the next few pages. In fact the man is the night watchmen of whatever secret base Fantomex has broken into, and we assume, Fleming is breaking into.


There’s a nice light tone in all this bantering but the reason this is all jarring is I’m not being told as a casual reader why I should care about Fantomex, what he is (there is a caption saying he’s an international super criminal in a previous panel) or anything that makes anyone who hasn’t read an X Men comic care about this character. It’s a good thing especially in a four issue series to throw your audience in at the deep end, but this assumes you’re familiar with Fantomex, not to mention it shifts your focus from Fleming to Fantomex too quickly. Who’s our entry character?

To show an example of what I mean, look at the first episode of Russell T Davies’s Doctor Who, revamp Rose. The first ten minutes or so is all about the Rose character, her life, and we start to empathise with her so that when Christopher Eccleston’s Doctor arrives the madness and insanity which follows is something that we’re seeing through Rose’s eyes. She’s our focus even though the programme isn’t really about her, but it is. I use this as an example because it’s a brilliant example of easing a casual audience into things and then hitting them with everything but the kitchen sink once they’ve been lured in.

With Fantomex who is our focus? Who’s the reader to empathise with from the off? The rush into an action scene means the tone isn’t set up properly which leaves things for the rest of the issue feeling a bit jarring as Hope tries to cram a lot into these opening pages. A slower pace might not cram in lots of action, but it helps introduce a casual reader without being bombarded with so much BOOM!

After a few pages our two main characters meet..


As said, I think the artist is a serious prospect, but his attempt to render Fantomex as a more traditional superhero doesn’t work here, especially when you’ve got a well rendered Fleming to compare it with. I do think it’s these first few pages which cause the problem with the tone of the issue. It’s a bit too scattergun.

After all this the issue settles down and we start to get into the plot as Fleming’s boss in the agency (we’re not told what agency) she works for brings in a group of people very clearly based upon the old ITC series, The Champions.Those mornings during school holidays plumped in front of the telly were not wasted…


From here on, the tone settles into a pulpy tone as we’re introduced to the idea that Fantomex is trying to help Fleming for some reason, though as we’ve barely been introduced to either character it’s debatable at this point whether a casual reader cares.

The next few pages show the Champions, or whatever they are in the Marvel Universe are not the good guys we assume, which brings me to where I think the proposed idea that this comic is homophobic comes from.


Fleming rebuts MacReady’s advances in the same way one assumes she’d rebut a bloke doing the same thing, plus she’s probably not a lesbian. This isn’t Hope going ‘I FUCKING HATE TEH GAYZZZZZ’, but showing that there’s something not honest about these characters. We’re finally let into the fact that it’s Fleming who’s our entry character and the one we’re rooting for, though there’s problems with this panel.


I’ve an issue with rape being flung around casually in superhero comics, even ones meant for adults and as I’ve written before about the subject of misogyny and sexism in superhero comics, it’d be remiss of me to not pick up on this. The tone is distinctly rapey. It straddles the line where it’d be cheap but  part of the story or just cheap. It does however stay, just, on the side of being part of the story. Of course the fact there’s a massive amount of violence before this panel where innocent agents are murdered by The Champions also shows how much of a bunch of bastards these three are. Still, it’s part of the story. It’s an easy way to introduce a threat from the three directly towards Fleming from these three without going into the Hulk threatening to rape Betty Ross territory.

The rest of the issue slips easily into a fun little read, with a lovely reference to John Carpenter’s The Thing, a fantastically executed dream sequence written entirely in French and the set-up for issue 2.

So what exactly did I think?

It’s hard to give a fair judgement of the first part of a four issue series eventually meant to be released in a trade paperback. The first issues of things like this tend to be reams and reams of crammed exposition setting up the next issues so they don’t muck around trying to explain what’s going on and who everyone is, but the sketchy start of the issue doesn’t help it fight it’s corner. However I do think that you’ve got a writer trying to find a voice for Fantomex but we don’t know what it is yet.

Also, it seems that X Men fans were expecting another Deadpool which this isn’t. It’s clearly heading towards a Diabolik (I wouldn’t expect a lot of current Marvel readers to spot this) style of European anti-hero as opposed to the slightly too self-referential character that Deadpool has become. It is what it is which is a big camp romp, but I think this may pass reviewers over, hence the hate as they want something else and this isn’t it.

Fantomex #1  is a fun read once you get past the first few pages of the book which is I think the flaw with the comic. It’s not a work of high art, or the best comic you’ll read but it’s a refreshingly pulpy read which is a change from the pompous superhero titles that clog up the market. I wouldn’t this trite as our friend from IGN did, nor do I think Crystal’s style is ‘silly’, especially when most superhero artists are variations of each other and originality is a hard thing to come by these days in the mainstream. I do however agree the swearing and violence feels forced at times, rather than part of the story or who these characters are. That’s always been the problem with the Max line though rather than the creators as I know editors in the past have asked for a bit more gore here, a fuck there and bingo! They have an ‘adult’ comic.

What I’m saying is come to this expecting a pulpy read. It’s a flawed comic from a writer who’s been out the industry for 20 years and an artist finding his feet in the industry. I’m not convinced yet that Fantomex is perhaps the character for these two to find their voices and style but they deserve as much of a chance as anyone else. It’s not a comic that ‘couldn’t have gone worse’ but it’s a comic which could be better, which is true of everything, even things like Maus which are as near to perfect as you get. Don’t believe those saying it’s a disaster, it’s not. I’ll be picking up the next three issues to see if things do shape up, and we get the fun read I’m expecting then I’ll give my informed opinion of the full series.

Buy Fantomex #1 Or Suffer the Consequences..

This is a shameless plug, so pay attention to my shameless whoring. This week sees the release of Fantomex #1 from Marvel Comics.


It’s written by Andrew Hope, one of the former AKA Books and Comics crowd who became American after moving from the UK to escape a terrible crime that we must never speak of again.

He’s not a newcomer to comics. He drew Shadowmen, a Trident Comics title which was the company I worked for in the 80’s that we managed to get two whole issues out!



The last few boxes of Shadowmen are in Bournemouth and Bristol. So please, for my sake, buy Fantomex #1, make it a success so I can bang these comics up on Ebay and finally make a profit from them. You’d also be helping make Andy a success as he transforms fully into Marvel’s Andrew Hope.

So buy it from your independent comic shop. Buy six copies. Speculate. You know you want to!

The rise and fall of the Glasgow Comics Art Convention-part one

I’ve previously blogged about UKCAC and it’s history through my eyes, but I kept talking about it’s spinoff, the Glasgow Comic Art Convention (GLASCAC) being destined for a separate  blog, so here we go…..

GLASCAC was born initially as part of Glasgow’s European City of Culture celebrations in 1990 and Glasgow  was chosen for this spin off as the city was throwing around money like confetti on anything which would bring people to the city, plus comics were huge at this point and Glasgow was a creative centre for the booming comics scene thanks to the sheer amount of creative talent often championed by AKA Books and Comics in the city.

Frank Plowright, one of the UKCAC organisers, saw a chance to do something in 1990 so he grabbed the opportunity. Unlike most conventions then, and even today, it wasn’t advertised and publicised just to the comics fan but to the wider public not just in the UK, but across Europe and the world as part of the city’s celebrations. In fact I remember seeing it advertised in Tube stations across London from the middle of 1989, and also at Heathrow and Gatwick airports. It got extraordinary coverage nearly a year before it happened in spring 1990, and to this day I’ve never seen any mart or convention in the UK get the sort of coverage that first GLASCAC did.

At the time I was still working for Neptune Distribution so the plan was to do a huge launch of the colour version of St. Swithin’s Day by Grant Morrison and Paul Grist, as well as generally pushing Trident Comics and try to sweeten up our existing customers and take the piss from those who thought we were stirring things, which as I’ve outlined before, we were.

The convention was to be held in Glasgow’s City Chambers which is to this date the most impressive, if somewhat impracticable, venue for a comic convention I’ve ever been to but it was an amazing venue with it’s gilded halls and marble staircases. Thankfully all we had were a dozen of so boxes of Trident Comics titles which we shipped to AKA who kindly stored them for us before we all made our way up from Leicester, though myself, and another lad Nigel, had to first do the regular Friday shipment of comics even though Geoff (the MD) had left for Glasgow from East Midlands airport early on the Friday morning.

This meant being driven to London, doing the shipment and then hopefully having it done in time for the teatime flight to Glasgow from Heathrow. A long day was ahead, but on what was a lovely spring day we went from Leicester to Heathrow, where we picked up the shipment of that weeks’ comics, drove back to where our warehouse (by warehouse I really mean a large room) was in Staines where we sorted out the shipment and to get it out on time so Nigel and myself could get our flight, we had to drive to the ANC depot by Heathrow Airport to drop it off by hand before being driven to the correct terminal at Heathrow and unceremoniously dumped at the entrance where we discovered we had plenty of time to get ready for our flight.

This is where I point out that flying around inside the UK at this time wasn’t as common as it is today, so as we piled into the BA departure lounge we ended up mingling with various politicians, musicians and businessmen who eyed us both with  suspicion as we looked very out of place as we were still in our work clothes which were covered in dirt and muck. Both Nigel and myself dived into the very plush toilets in the lounge to change before emerging like new men ready for the weekend ahead, though I’d decided to stay on a few days longer than everyone else to prolong thing as I hate farewells and the final day of events like this.

During the flight Nigel and myself decided to pose as pop stars going to Glasgow to play a gig, so we came up with the name The Stray Toasters after the comic of the same name just to take the piss out of some of the businessmen sitting around us who were sneering at us under their breaths. Thankfully for everyone the flight was less than an hour and we landed at Glasgow Airport in the early evening, which left us only the task of getting to our hotel  Now we weren’t staying at the Copthorne Hotel which was the convention hotel where Geoff and two of the marketing team, Viv and Adam, plus Martin Skidmore (editor of Trident Comics) were staying. No, we were slumming it at the nearby & cheaper Central Hotel which at that time had become just a bit shabby, but I liked the place and so did Nigel so we got into Glasgow city centre, made our way to the Central, checked in and found our rooms where we both changed to get ready to meet up with Geoff and the others at the Copthorne. This also meant Nigel got his first experience of Glasgow city centre which shouldn’t have come as a huge shock seeing as he was a Geordie used to going out in Newcastle, but it was fun in that short walk between hotels.

I need to also point out that in these pre-mobile days things had to be arranged just by saying you’d be in a place at a time while hoping everyone else stuck to their part of the arrangement. That’s easier said than done but it turned out that when we met up with Geoff and the others, they’d had a perfectly nice day in Glasgow while we’d be grafting like wankers in London and dashing around.

Anyhow, the first night in the hotel was about pressing the flesh and saying hello, not to mention drinking heavily. In fact most people were drinking heavily. Very heavily. Amazingly heavily. I remember drinking a lot with John Wagner who we’d gotten on-board for Toxic!, our competition to 2000AD which was due to come out in 1991. I remember seeing Nigel staggering around and at some point early in the morning deciding to beat a discrete retreat and pulling Nigel back to the Central as we needed to crash as we were due up early the next day. We did leave behind us a night of carnage as Alan Davis noted in a cartoon he did for the next UKCAC programme.


I won’t name the person Davis references, but at the time they thought they were a huge name in the industry, and yes, this actually happened.

Moving on…

Getting up early on the Saturday was painful, but I did it, staggered to get breakfast where I found a very peaky looking Nigel turning into a huge breakfast which was a great idea. After this we’d arranged for Nigel and myself to go to AKA, pick up our boxes (yes, we did all the bloody graft) then head to the City Chambers to set up. We’d been positioned next to where John Wagner and Alan Grant were selling and signing copies of The Bogie Man and their associated memorabilia, and near AKA, but far away from Forbidden Planet or anything Titan related.

It was also the weekend where a huge Poll Tax demo was scheduled outside in George Square to coincide with one being held in London. We didn’t know this til it actually started but it gave Geoff an excuse to nip outside with me to sell copies of St. Swithin’s Day as an ‘anti-Thatcher’ comic to protesters who helped make the issue effectively sell out in it’s first weekend.

In fact the entire convention was a roaring success. Numbers through the door were huge, and not just comics people and the same old faces, but new people and kids who were there for the fun of it. That first day was simply amazing and I remember sitting with John Wagner laughing at how well the thing was going.

That night, Geoff had arranged to go out for a meal with John McShane, Pete Root and the rest of the senior AKA crowd in order to wine and dine them, but I couldn’t be bothered so I tagged along with Andy Sweeney who was part of the new AKA group who’d replaced me when I moved from Glasgow a few years earlier. I think Nigel tagged along too as we went for a meal, got a bit pissed and headed back to the Copthorne for the Saturday evening’s drinking where I challenged Pete Root to a Neptune Vs. AKA football match on the Sunday morning.

That evening was fun. Lots of good banter and in fact much more relaxed and fun than the London based UKCAC due to the lack of media whores (who shall remain nameless) trying to annoy people to get a break into comics. It was just a laugh!

Next morning I got up early, changed into trainers, etc for the footy match, and went to the City Chambers to meet Martin Skidmore and the rest of the AKA lot to walk down to Glasgow Green for our kickabout. Thing was the AKA crowd were hanging apart from a few and Martin had tried to wake up Geoff and VIv but she wasn’t answering and Geoff had been a wee bit sheepish when Martin had tried to get him out his hotel room. I remember sitting on those marble steps of the City Chambers with Martin going ‘he’s not shagging her is he?’ before we both laughed it off and headed back to our respective hotels to get change and come back to mock John McShane’s immense hangover.

The last day also went amazingly well. Frank walked around looking happy as it’d went amazing well, however we also awoke to the Sunday papers which told the story of the riots in London the previous day which concerned a lot of people as they were heading back to London that night, or early on Monday morning. I wasn’t due back until Wednesday though as I’d arranged to meet my then girlfriend of sort in London on Wednesday afternoon before heading back to Leicester at the weekend after.

The convention drew to a close with the overwhelming response being positive. Neptune had picked up some extra business. Trident had sold itself well, and we’d sold pretty much everything we brought with us. I even drunkenly abused some FP staff which was fun. It was a success but the main thing people wanted to know was would Frank do another, which he said he would but that would mean organising two big events in a year pretty much by himself.

As the Sunday progressed the convention thinned out as people left and dealers packed up to leave. Geoff and the others from work were heading back to Leicester that night so they left, while Nigel was going back to London that night as well, so I was all on my tod and now I was officially not representing the company I decided to have a serious drinking session with whomever was left. I’d went out with Andy and the bits and bobs of AKA people who were still standing, and as we walked through George Square on a stunning spring evening all you could smell were the flowers blooming. It was beautiful and then we all dived into a pint glass for the next few hours.

I woke up back in my room at the Central feeling awful, but I didn’t need to work, so I stumbled down to get breakfast, filled my plate and had a thoroughly nice day chilling out in Glasgow, though when I did catch the news about London I was starting to become concerned as it was looking like a warzone.

Tuesday was supposed to be sorting a few family things out, but I wisely thought against it and instead spent the day in Kelvingrove Park sitting around reading comics before heading back into the centre to have a final drink with the AKA crowd before heading back to London the next day.

I painfully checked out of the Central the next day, headed to Glasgow Airport with a stinking hangover, and got on my flight to Heathrow where the majority of conversation in the departure lounge was about the riots in London over the weekend. As we landed I thought I’d go into central London first before heading up to Camden to meet my girlfriend. this was mainly to see whether central London had been levelled but it hadn’t but the damage was still visible and the effects of that day ended up spelling the end of a Prime Minister, but there was something eerie about walking though a half empty London (people were avoiding the centre) on a weekday. Eventually I headed up to Camden but that’s another story….

GLASCAC would indeed return the following year, but I wouldn’t be there for a variety of reasons and wouldn’t actually return to the convention til 1992, and in fact I’d only go back to Glasgow once in that time which was for Andy Hope’s wedding later in 1990. The story of the 1992 GLASCAC and beyond is coming up in the next part so do please come back for that….