Creator Talk: Six Questions for Star Wars Artist Tanya Roberts

With her long dreadlocks now replaced with a Venus Bluegenes-style mohican, Edinburgh based artist Tanya Roberts continues to make a striking impression at comics conventions from California to Germany as well as in the UK. She has been drawing the comic strip in Titan's Star Wars: The Clone Wars comic for some four years now and yet, despite being a professionally published Star Wars artist for so long, her work is not that well known as the title is aimed at a junior audience. Jeremy Briggs spoke to Tanya about The Clone Wars and her other work.

 

downthetubes: What comics did you read as a child and did they inspire you to start drawing?

Tanya Roberts: The comics that I read were largely the ones I could get a hold of. I read a lot of Tintin, Asterix, 2000AD, Beano, Dandy, you know? A British kid's staple comic diet.  I grew up in Africa so whatever I could get my hands on that looked like a comic I consumed hungrily. However I always preferred watching animated movies and would draw 'storyboards' of little stories that I wrote, which came in handy later on when my career in traditional animation (RIP) never left the ground.

DTT: What titles have you worked on?

Tanya: The first professional thing I got asked to do I am still doing today, Star Wars: Clone Wars - that was four years ago! It's great to be affiliated with one of the most recognisable brands in the world. I've also worked for Boom! Studios with Toy Story where I had to make Disney and Mattel happy and have worked for Ape Entertainment drawing Strawberry Shortcake. It's fun to draw but it's so sweet I HAVE to watch crime shows while I'm drawing it to balance out the cute!
 

DTT:  How did you get started on Star Wars: The Clone Wars and were you a fan of the Star Wars universe beforehand?

Tanya: I contacted Titan about how on earth I could draw Transformers (please, please) and they came back and asked me what I thought about drawing Star Wars instead. I thought it might be a good trade. I had been to Comic Con (in San Diego) that year and had seen Lucasart's HUGE character display for The Clone Wars so when I watched it I was hooked. I'm lucky to have a nerdy dad who introduced me to the original Star Wars movies so, of course, I was already a fan.

DTT:  How much input or control do Lucasfilm have over the contents of The Clone Wars comic and did this pose any issues when you first began on the title?
Tanya: I have discussed this with a few Star Wars artists and Lucasarts are very open to whatever vision you might have for the characters. They're brilliant people to work for, I pretty much just make up aliens and spaceships and they just let me (sometimes) get away with stuff. I put a nipple tassel on a Hutt in one issue and they didn't reprimand me, which was nice.

It's very refreshing to have so much leeway with such a large company and I wish more companies where less strict and covetous of their characters and property. After all, we each bring our own style to the property so what fun is it if we're all leashed up and muzzled?

DTT: How would you describe your style of artwork on the various comics you have worked on?

Tanya: Cartoony, really, but quite angular. Disney with angles maybe? I have an artistic path I'm following and a working style I want to get better at. It's great that I get hired based on that style alone, I'm glad people seem to like it.

Having an animation background helps because some companies want you to stick rigidly to their model sheets. Surprisingly Disney let me get away with more than I thought I could; with Rex (the dinosaur in Toy Story) I made him a lot more bendy than he is in the movies but they did have to call me on some of the poses.

DTT: The majority of your professional work has been on licensed properties. Do you have any plans for working on your own characters?

Tanya: It has been fun as well to draw already well loved characters in my style and I want to continue doing that, but I have always worked on my own characters and stories - just for the laugh.

I'm actually self publishing my very first comic that will be launched this November at Leeds comic festival: Thought Bubble. The comic is called Forgotten Muse and it's about a muse who has to deal with the fact that his guy is being distracted by the internet and television, and how he gets around it. If anyone is interested, details are available on my website.

DTT: Tanya, thanks for taking the time to talk to us.

There are more details of Tanya Roberts' work on her Enolian Slave Deviant Art site and her new website The Art Of Tanya Roberts.

Tanya provided the publicity artwork for the 2012 Hi-Ex comics convention. She was interviewed in  the run up to the con by the BBC News website.

There are more details of Titan's Star Wars: The Clone Wars comic on the Titan Magazines website.

There are more details of Kidzoic's Strawberry Shortcake titles on the Ape Entertainment website.

Tanya will be appearing at Thought Bubble in Leeds over the weekend of 17/18 November 2012 where she will be selling copies of Forgotten Muse as well as pages of her original artwork. Her table is number 29 in the Royal Armouries Hall.

Egmont launches "Brave" magazine

Egmont has just launched a new Disney•Pixar title, Brave, to tie in with the new animated movie.

Described as "a grand adventure full of heart, memorable characters and signature Pixar humour", Brave uncovers a new tale in the mysterious Highlands of Scotland where the headstrong Merida (voiced by Kelly Macdonald) defies an age-old custom and inadvertently unleashes chaos, forcing her to discover the meaning of true bravery before it’s too late.

According to Egmont, Brave Magazine will take readers further into the Highlands of Scotland and introduce them to all the colourful characters in Merida’s life; from her larger than life father King Fergus, her mother Queen Elinor and mischievous triplet brothers, to the unruly and uproarious lords of neighbouring clans: Lord MacGuffin, Lord Macintosh and Lord Dingwall.

On sale in all major retailers, the new magazine, featuring stories, fact files, puzzles, activities, drawing and colouring, it's aimed at girls aged four to eight. The magazine will be on sale every four weeks and has a launch cover price of £3.99, dropping to £2.99 from issue three onwards.

The first three issues carry covermounts including a Merida dress-up set of slippers & pendant, nail varnish, lip shine, bracelet and hair-bands.

“We are delighted to be extending our collaboration with Disney and bringing this new magazine to market," says Debbie Cook, Director of Magazines at Egmont Publishing Group.

"The film is fantastic and we are confident our content will deliver fun stories, games, dress-up and play value, extending the brand experience for fans.

"We are really excited to be adding Brave to our leading primary girls portfolio."

Opinion: British Marvel is Not American Enough for Disney

Mighty World of Marvel Issue 1
published in 1972

by Tony Ingram

For about forty years now, Marvel have had a close relationship with Britain and its comics industry, dating back originally to Odhams Press and their groundbreaking weekly comic Smash!, in which was published the first ever UK originated strip to star a Marvel character, the ever incredible Hulk. Later, rather better known to most, came the sterling efforts of Marvel UK themselves, who in the 1970’s, 80’s and early 90’s produced a huge amount of material - including Alan Moore and Alan Davis’s Captain Britain, arguably one of the most incredible pieces of sequential storytelling anyone has ever published, not to mention Stoke’s and Parkhouse’s epic Black Knight series, Death’s Head, Doctor Who, the sadly near forgotten but utterly brilliant Timesmasher and several dozen more I could mention but won’t.

Captain Britain Weekly Issue 3
published in 1976

In short, British originated Marvel comics are a long standing tradition which has in the past given us some of the best comics ever produced and brought some hugely talented creators into the Marvel fold.

Well, not anymore. Since Marvel UK was sold off in 1996, Panini UK (who currently hold the license to publish Marvel material in Britain) have continued to publish some UK originated material featuring the Marvel characters, including old Marvel UK stalwarts such as Captain Britain and Death’s Head. Mostly, these stories have seen print in titles aimed at younger readers, including the currently ongoing series’ Marvel Heroes and Spectacular Spider-Man.

But now, Marvel’s owners Disney have issued an edict to the effect that from now on, all material featuring Marvel characters must originate in the US.

Why they’re saying this is unclear, but the effect as far as Panini are concerned is obvious; no more UK originated material might mean no more Marvel Heroes (and, indeed, we gather the title has been cancelled) or Spectacular Spider-Man - a sad loss as those magazines currently act as a gateway into Marvel for younger readers who then move on to Panini’s reprint titles and possibly to the US originals.

Worse yet, it also means there's no superhero no work for the talented British based freelancers who currently produce those strips - considerations which, of course, probably matter to Disney not at all, since Marvel Comics account for a minuscule percentage of their worldwide profits, and licensing revenue from Panini an even more minuscule percentage of that.

Still, on the face of it, Disney’s decision makes little sense. It will deprive creators of work and Panini of revenue, which admittedly isn’t their problem (and may even be seen as a plus by them, since Panini are in competition with them in other areas), but more to the point it will deprive a section of their fan base of that way in to Marvel I mentioned, which can’t be good for business in the long run. And the only justification for it seems to be creating a uniform brand under Disney’s total control.

I guess compared to that typically Disney desire for homogenisation, the UK market, and indeed those other foreign markets probably also affected, are small potatoes and largely irrelevant to them. But it’s a sad day all the same, particularly for those kids who are going to lose their favourite comics, and I can’t help thinking it will ultimately just serve to further diminish an already dwindling comics industry worldwide.

Not that Disney will care about that either. After all, in the end it will be much cheaper just to close down the presses and manufacture a few more Incredible Hulk lunchboxes. And the end may not be that much longer in coming, if Disney’s current approach is anything to go by…

Banksy's Jungle Book-inspired art sells for £78,000

Save or Delete by Banksy

An original art work by the legendary street artist Banksy, created for a Greenpeace Save or Delete campaign photographic poster, sold for £78,000 last night at Bonhams, New Bond Street, as part of its Urban Art sale. The unique piece, which was given to the vendor by the artist himself, was among a host of Banksy’s that fetched top prices in the sale.

It was originally commissioned by Greenpeace to highlight the problems of global deforestation as part of their Save or Delete campaign and features some of the main characters from Disney’s The Jungle Book transposed onto a picture of a devastated forest. Intended for use on posters, billboards and postcards, it was printed, but never put into circulation because of the protectionist policies at Disney.

It is believed that the vendor of this lot is donating a percentage of the proceeds to Greenpeace.

Other Banksy highlights in the sale included Portrait of an Artist, circa 1998, believed to be the first work that he created for sale, which sold for £60,000; Everytime I Make Love To You I Think Of Someone Else, 2003 (left), which made £42,000; Balloon Girl, 2004, which fetched £12,600; and Rude Copper, 2002, which sold for £9,600.

The sale saw an enormous turn-out and competitive bidding (both on the phone and in the room) following Bonhams’ two-year break from holding Urban Art auctions.

Other works to achieve excellent prices included a performance piece created by American graffiti artist, Futura 2000, for punk rock band The Clash’s Combat Rock tour, which sold for £38,400 (it was estimated it might sell for between £15,000 – 20,000); French artist JR’s Street Kid, Favela Morro da Providencia, Rio de Janeiro, Brasil, 2008, which made £31,200 (estimate £15,000 – 20,000); and the catalogue’s cover lot, Shepard Fairey’s Peace Goddess on Wood, 2008, right, which fetched £27,600 (estimate £8,000 – 12,000).

• Auction catalogue online at: www.bonhams.com/urbanart

Panini's Marvel Deal Under Threat?

Back when Disney bought out Marvel Comics, here at downthetubes we speculated Panini, which reprints Marvel titles across Europe, may find their titles under threat.

Now, news site Bleeding Cool reports that as Disney has now finally taken charge of Marvel’s international licensing, those concerns might have some substance.

Panini license Marvel extensively outside of the US, across South America and Europe, with a range of titles on sale on the UK news stand. But the problem with licensed titles is that the majority of fans of a license, assuming the quality of product is maintained, simply would never notice the company publishing their comic has changed.

If Disney now decides to withdraw Panini's license and develop its own publishing operations - as it does in countries such as India - this could leave a gaping hole in the European company's finances.

While there's no suggestion at this stage that Disney is considering such a move, Bleeding Cool notes that in Italy, for example, Panini and Disney are "sworn rivals in the comic book arena", which may not bode well for a publisher that has successfully developed the Marvel brand in Europe for many years.

In a separate development, Cynopsis Kids reports Marvel is shifting its book market distribution in an effort to aggressively grow its book business, and is also extending its direct marketing deal. It has just signed a worldwide book deal with the Hachette Book Group, who already distribute a wide range of manga titles, to sell and distribute its books, which will begin in September.

One piece of good news for existing Marvel partners - and comic fans - Marvel has also signed a deal with Diamond Comics Distributor to extend its exclusive Direct Market Service Agreement, which will see it continuing to distribute Marvel's product to the comic shop market in the UK and elsewhere.

Tube Surfing: Marvel, Disney, Stan Lee and possible iTablet launch

• Marvel Entertainment stockholders approved the company's merger with Disney at a special meeting held last Thursday (31st December). Under the agreement, valued at an estimated $4.3 billion, Marvel becomes a wholly-owned subsidiary of Disney. Whether this will ultimately have any impact on Panini's license to publish Marvel material in the UK, given that Disney's preferred European publishing partner would seem to be Egmont, remains unknown at this time.

• As well as acquiring Marvel, media site Cynopsis reports that Disney has developed its existing relationship with Stan Lee's POW! Entertainment (Purveyors of Wonder) by taking a 10% equity stake in POW! for $2.5 million. Disney entered into a first look deal with POW! in 2007, and under the new deal includes enhanced rights to the creative output of POW! and certain exclusive consulting services.

• Is Apple's long-rumours iTablet about to be announced? The Financial Times reported that the company has booked the Yerba Buena Center in San Francisco on 26th January to make a special announcement to the media and is widely expected to unveil a tablet-style touch screen computer that presents videos, magazines and newspapers with a iPhone-like interface. The New York Times published some detailed titbits about the device just before Christmas, reporting that Apple supremo Steve Jobs is apparently very happy with the device - which may launch as iSlate.

Apparently, if you have an iPhone, you’re carrying around a mini version of an early Apple tablet. Expect the first iTablets/iSlates to be shipped in March, according to this rumour round up.

Tube Surfing: Marvel Mash Ups, XIII and a Dalek Competition

• Those Marvel-Disney mash ups just keep on coming. Two locations for growing collections of these on the Super Punch blog here and here. This Buzz/Iron Man mash is by Dave Mott.

• Indie creator Adam Gregory has started releasing the animated versions of his popular comic, The Flowfield Unity.
"They're micro-animations, all under one minute in length," he tells us. "I'm planning on releasing one every week, based on the existing strips and I'm taking requests too." You can view the first one here on YouTube

• Hot on the heels of the news of Cinebook's upcoming publication of cult classic XIII, here's the cover to their first volume, which will be released next year.

Launched in 1984 by two Belgian authors, Jean Van Hamme and William Vance, XIII has been turned into a video game by Ubisoft as well as a TV miniseries starring Stephen Dorff and Val Kilmer, which premiered on France’s Canal+ in October 2008 and on NBC in the US in February 2009.

Such is the popularity of the graphic novel that a gallery of its characters drawn by Vance was used to illustrate special-edition XIII scratch card tickets in France since 2000. Read our new story here

• Paul Anthony Long will be appearing at Red Lion Books in Colchester on Friday 11th September to launch his debut novel Joe Fury and the Hard Death. While it's not strictly the normal fare for downthetubes, we're told the book is written very much in the style of a comic/graphic novel, but presented in the form of a text novel. Among those who have commented positively about it so far are 2000AD's Pat Mills - so hopefully it may be of interest to readers here. Paul will also be signing copies of his book at Red Lion Books, Colchester, Essex, 7.00pm to 10.00pm on Friday 11th September and at Waterstone's in Portsmouth on 3rd October from 12.00pm to 3.00pm.

• Talking of events, Stref's "Free comic book art exhibition of work from his graphic novel, Milk for Insomnia, at the Fine Art Library (Located in Central Library), George IV Bridge, Edinburgh has now opened and runs until 29th September.

• Another reminder: the latest issue of the mystic detective comic Harker 7 is now available - you can buy it direct from Ariel Press's online store or it'll be available in the shops listed here. It's the beginning of our new six part storyline.

• And finally - there's a new Doctor Who-related competition on ace creator site Scotch Corner. The winner gets a large original inked illustration, an A3 print of the finished illustration and a copy of Remembrance of the Daleks on DVD. What are you waiting for? Head on over there now. Don't dally!

Disney Marvel Buy Out - What now for Marvel Reprints in the UK?

No, it's not a hoax, not an imaginary story -- media giant the Walt Disney Company, no slouch itself in the comics publication department, shook US comics publishing to the core late last week with the news that it had agreed to acquire Marvel Entertainment, in a stock and cash transaction.

The news sent shockwaves through the industry and became a key debating topic among fans over the weekend, with both the future of Marvel Comics and its many film projects both matters of discussion.

What impact the deal will have on Marvel's licensing deals in the UK - where Panini has long reprinted many of its titles after buying Marvel UK's assets in the 1990s -- is, as yet, unknown. However, Panini publishing rival Egmont is Disney's European licensee, so there may be some major changes ahead when licensing deals for Marvel material come up for renewal.

The Marvel-Disney merger is described as a "hands off" arrangement, in the style of Disney's arrangement with animation giant Pixar, meaning Disney would not necessarily take a role in day-to-day editorial decision making at Marvel Comics. However, over on Bleeding Cool, which also features a collection of creator reaction to the news, Rich Johnston pondered the impact the deal would have not just on Marvel's more adult brands such as the Punisher, but the wider commercial ramifications, such as Disney's own distribution deal for its printed products which might mean, ultimately, that Marvel Comics might no longer be distributed by Diamond.

Former Marvel head and creator of many of its most enduring characters Stan Lee has welcomed the news. "To me, becoming ‘Disneyfied’ is not a bad thing," he told Reuters. "I mean, look at movies like Pirates of the Caribbean... Disney knows how to do movies.

"They know how to do colourful characters and I think the fans, if they think about it, they’re going to love it."

“This transaction combines Marvel’s strong global brand and world-renowned library of characters including Iron Man, Spider-Man, X-Men, Captain America, Fantastic Four and Thor with Disney’s creative skills, unparalleled global portfolio of entertainment properties, and a business structure that maximizes the value of creative properties across multiple platforms and territories,” said Robert A. Iger, President and Chief Executive Officer of The Walt Disney Company.

“[Marvel CEO] Ike Perlmutter and his team have done an impressive job of nurturing these properties and have created significant value. We are pleased to bring this talent and these great assets to Disney.”

As Kim Masters points out on The Daily Beast, Disney’s $4 billion acquisition of Marvel made $1.5 billion for its eccentric CEO Ike Perlmutter, so he's unlikely to see problems with any aspect of the deal, and for the most part, many fans have reacted positively.

The merger means Marvel will also see its profile raised in emerging markets where Disney has already gained wide exposure, such as India and the Far East - more than compensating for the billion dollar price tag. Appointments to Marvel's board earlier in the year already indicated this was one of the company's aims.

“We believe that adding Marvel to Disney’s unique portfolio of brands provides significant opportunities for long-term growth and value creation,” Iger continued.

“Disney is the perfect home for Marvel’s fantastic library of characters given its proven ability to expand content creation and licensing businesses,” said Ike Perlmutter, Marvel’s Chief Executive Officer. “This is an unparalleled opportunity for Marvel to build upon its vibrant brand and character properties by accessing Disney’s tremendous global organization and infrastructure around the world.”

Under the deal, Disney will acquire ownership of Marvel including its more than 5,000 Marvel characters. Perlmutter will oversee the Marvel properties, and will work directly with Disney’s global lines of business to build and further integrate Marvel’s properties.

Reaction to the merger from finance pundits has been mixed. The Wall Street Journal, for example, notes that on the face of it, Marvel should be an ideal fit for Disney with its array of assets -- movie studio, theme parks, cable channels and consumer-product business -- and long experience exploiting characters.

But investors may want to ask what return on investment Disney hopes to achieve from the $4 billion it is paying for Marvel.

"The problem is Disney's ability to take control of some of the best-known characters quickly is limited," notes Martin Peers for the newspaper. "Many already are licensed to other companies for use in film, television, DVD animated features, theme parks, publishers and even promotions for other companies."

The Guardian argues the tie-up unites two companies with similar business models. They both take characters which capture the popular imagination and promote them vigorously around the world on every possible media platform and through third-party licensing deals.

While Disney has traditionally been known for its wholesome family creations ranging from the Little Mermaid to Lion King, Hannah Montana and Pocahontas, the purchase of Marvel adds an edgier, more violent element since Marvel's characters tend to chime particularly well with teenage boys and young men, while Disney has been stronger in appealing to a female audience.

While the move has been seen as positive by many, some comics professionals also have words of caution. "A Pixar-like hands-off deal?" challenged former Comics International editor Dez Skinn. "Sure, and Disney will really love The Punisher, et al!

"[This is a little] like when Egmont (the European Disney licencee) was seriously embarrassed by having Judge Dredd in its portfolio," he notes, worrying how some characters may be affected by the new arrangement that will have a major impact on western comics for years to come."

"I see a wonderful symmetry between old animation studio rivals Warner Bros and Disney each controlling the old comic company rivals DC and Marvel," counters comics journalist Alan Woollcombe. "Plus, it settles once and for all any question who will be producing American Disney comics once whatever current deal there is runs out or who will be distributing future Marvel studio films once the Paramount deal (currently five films to go) ends.

"And, in cultural terms, there is an argument to be made that Stan is the nearest contemporary equivalent to Uncle Walt. The house that Stan (and Jack) built joins the House of Mouse (and Walt)? Seems a good match to me."

Links


• Official Press Release


News Stories

• The Guardian: Disney buy Marvel Entertainment

• Los Angeles Times: Disney to Buy Marvel


"The acquisition hands Disney a treasure trove of pop culture figures, including Spider-Man, the X-Men, Iron Man, the Hulk, Captain America, Thor and the Fantastic Four, among a roster of 5,000 that it hopes will inspire countless movies, television shows and video games."

• New York Times: Disney Swoops Into Action, Buying Marvel for $4 Billion


More Reaction


• The Beat: Disney Buys Marvel: Analysis


"Disney has always wanted strong boys properties. They rule the pink world with their princesses, but have had a historic weakness with older boys that they’ve tried to bridge. This is obviously a slam dunk for that..."

• Newsarama: Marvel-Disney - Industry Reaction


• Newsarama: Marvel-Disney - More Industry Reaction


"It feels like Christmas morning," Marvel Comics editor-in-chief Joe Quesada 'tweeted' Monday morning, "I haven't seen this much excitement in the Marvel halls since... well, ever! ... If you're familiar with the Disney/Pixar relationship, then you'll understand why this is a new dawn for Marvel and the comics industry."

• The Misney Universe: Favourite Disney-Marvel MashUps


"Long term, it's a brilliant move for Disney that will be worth every penny," feels Industry insider Jeff Katz. "It makes a ton of sense for them at a corporate level, especially once some of the current Marvel deals expire and can then be exploited through the larger Disney pipeline. I think this is indicative of the general shrinking of the entertainment marketplace. There will be more consolidation along these lines."

• The Beat: More on Marvel/Disney as Reaction Unfolds

• Marv Wolfman (former Editor-in-Chief of Marvel and one of the two founding editors of Disney Adventures Magazine )


"... Disney can certainly help Marvel in terms of distribution, awareness and sales. They can get Marvel Comics into the parks and over the net better than Marvel can. Disney's Internet presence is much greater than Marvel's. They have resources Marvel does not, and I expect in a year or two we'll start seeing the results of the sale. I think Disney will be a major plus on that side..."

• Tim Beyers for The Motley Fool: Mickey Mouse Robs Spidey


"Disney gets Marvel for just north of 20 times earnings. That sounds expensive, I know. Here's why it isn't: Long before Iron Man was a box-office blockbuster, Marvel was boosting operating income by 28% a year. Yes, you read that right: 28% a year, without a contribution from Marvel Studios."

• Disney, Marvel and the Future of Online Comics


"Both companies would do well to invest themselves more fully in the digital space, as print media continues to decline. While most diehard Marvel fans are no doubt frightened at the concept interference that might result at the hands of a company like Disney (the term "Disneyfication" was not coined in a vacuum), Marvel could work such an acquisition in its favor..."

• The Los Angeles Times: The Big Deal - Marvel is Disney's new Family Brand

"Disney isn't just buying into the Marvel business. It's reinventing its future, which has become increasingly cloudy as family entertainment, especially in the movie end of the business, has been inexorably evolving from old-fashioned squeaky-clean Disney fare to the edgier, more unsettling PG-13 universe populated by Marvel's potent arsenal of comic superheroes..."

• Forbidden Planet International: That Disney Marvel Thing...


This is a really good round up by Joe Gordon analyzing what the e buy out means, cutting through the kerfuffle out there. Highly recommended.

Tube Surfing: 24 November 2008

• Kieron Gillen talks about writing the new Warhammer Crown of Destruction comic series from Boom Studios over on comiccon.com, the series inspired by on Nottingham-based Games Workshop's hugely popular gaming system and figures. "It's a world that lives on the cusp of destruction," he notes. "The good guys... well, they aren't good guys. The Empire are religiously fanatic, and it's only that devotion which stands between them and transmutation into a literal hell on Earth. It's grim. In, fact, it's GRIM. It's a universe which needs a lot of capitals...."

• Talking of Warhammer, you might also like to check out the Online Black Library of Warhammer stories, which includes work by Nathan Long, author of the Gotrek & Felix series, who has recently penned some stories for Warhammer Online.

• Ben Templesmith will be drawing a Doctor Who one-shot (written by Leah Moore & John Reppion) in February for IDW. The company's head honcho Chris Ryall shares a bit of the creative process in putting together a book like this on his blog with some of Ben's initial sketches of the good Doctor and Martha.

• Talking of Doctor Who, former Time Lord Chriustopher Eccleston has been spoofing the character on The Sarah Silverman Show for US channel Comedy Central. One episode featured the obsession of one of the characters with a television show called Doctor Lazar Rage, and here's a behind the scenes video (left).

• Meanwhile, Lance Parkin posts about writing Doctor Who novels and talks about his own processes a little...

• Edinburgh's Evening News recently warned a new animated version of Dennis the Menace will not be "as generations of Beano readers might know him.
"The familiar red and black stripes are there, so is the mischievous look and the general air of having been up to no good. But this is one of our best known comic characters gently revamped and modernised for a new generation of fans. Read more about the new cartoon from Red Kite Animation here on the Evening News web site.

• Talking of The Beano, The Guardian notes how aristocracy still survives in the comic, "in the person of Lord Snooty III, inheritor of the Snooty fortune and embodiment of modern wealth," notes Jonathan Jones in the paper's Arts Pages. "That's right, The Beano is the home of acute social satire. Lord Snooty's world of toffs and hounds has of course long gone. So instead we have Lord Snooty the Third who terrorises his staff by riding his quad bike and driving a train through the house. He is modern, he is style-conscious, and he's still a bastard. In fact he treats underlings much worse than his feudal forebear ever did. Cartoonists looking for ammunition against David Cameron's Tory party might want to consult Lord Snooty the Third."

• Snooty of course is merely upholding a long tradition of British comics, that of anarchy and rebelllion, the kind of things that mean Mickey Mouse, for example, has never been really popular in Britain in the same way as Dennis the Menace -- that, and the fact that he isn't "home grown". Bill McLoughlin, an archivist at DC Thomson and who was a script writer for 40 years at titles such as the Beezer, Topper and Rover recently argued Mickey never really took off in Britain because he wasn't very British. "If you look at the history of our comics, they are all very British and what appeals to us is kids getting one over authority," he told the Sunday Herald for an article about Disney's mouse hero, "whereas Disney's characters had this middle American morality that said: if you do something that isn't nice, you get your comeuppance.
"You can see that reflected in the Beano, which was anti-establishment, but Dennis always got punished for what he did wrong. In the Dandy though, which was anarchic, the violence was total."

• Finally, check out this great Strontium Dog fan strip, A Girl Called Johnny, by Dan Whiston, Kames Kircough and Richard Clemonts, originally created for Dogbreath. A gem...

(Special thanks to Matthew Badham for some of the links in this round up)