Exchange Free Range

Myself, Britt and Alex are doing semi regular DJ nights at The Exchange in North Shields. The remit is to be a bit free ranging, and the poster says: indie/funk/ska/electronic/hiphop/ britpop/J-pop/big beat/ rhythm & blues/rock’n’soul/disco.

Exchange Free Range

The next event is on the 22nd of June 2018. If you’re in the North East and like music, you should pay us a visit. Hopefully we’ll get a few more in before the summer is done.

Here’s the poster I made for it:

I was going for a various 90’s vibe with the posters – touch points being The Fall and Pop Will Eat Itself covers for that period. Here’s where I found the PWEI fonts.

The set list for the previous Free Range is as follows:

01. 0:00:00 Leonard Cohen – Everybody Knows
02. 0:05:22 Pixies – Wave of Mutilation
03. 0:07:17 Frank Black – Men in Black
04. 0:10:14 Fun Lovin’ Criminals – The Fun Lovin’ Criminal
05. 0:13:23 The Presidents of the United States of America – Peaches
06. 0:16:04 The Aliens – Robot Man
07. 0:19:39 Flight Of The Conchords – Robots
08. 0:23:23 Garbage – Only Happy When It Rains
09. 0:26:58 Pixies – Here Comes Your Man
10. 0:30:17 Camper Van Beethoven – Take the Skinheads Bowling
11. 0:32:38 Tripping Daisy – i Got a Girl
12. 0:36:40 Bomb the Bass feat. Justin Warfield – Bug Powder Dust
13. 0:40:53 Donna Summer – I Feel Love
14. 0:43:38 Leftfield – Open Up
15. 0:48:12 Jefferson Airplane – Somebody to Love
16. 0:50:57 The La’s – There She Goes Again
17. 0:53:34 Alfred Brown – One Scotch, One Bourbon, One Beer
18. 0:56:45 Freddy Robinson – Good Feeling
19. 1:00:06 John Hammond – Cross Cut Saw
20. 1:02:49 Sugarman Three – Pull My Cart
21. 1:06:21 Elaine Armstrong – That’s The Way It Goes
22. 1:07:57 DJ Format feat Chali 2Na & Akil – The Place
23. 1:11:13 Dream Warriors – Wash Your Face In My Sink
24. 1:14:44 Little Richard – Heeby Jeebies
25. 1:16:59 The Marvelettes – I’ll Keep Holding On
26. 1:19:22 Roy Hamilton – Crackin’ Up Over You
27. 1:21:32 Jerry & The Medicine Men – The Medicine Man pt 2
28. 1:23:43 Paul Revere & The Raiders – Just Like Me
29. 1:26:04 Nawfel – Jokes On You
30. 1:29:11 Edwyn Collins – Magic Piper
31. 1:32:55 The Go Team – Ladyflash
32. 1:36:58 Altered Images – I Could Be Happy
33. 1:40:21 The Spinto Band – Oh Mandy
34. 1:43:43 LOVE PSYCHEDELICO – unchained
35. 1:48:14 Bridie Jackson & The Arbour – Mucky
36. 1:50:41 Robyn – Cobrastyle
37. 1:54:49 CSS – Jager Yoga
38. 1:58:34 Blood Red Shoes – It’s Getting Boring by the Sea
39. 2:01:27 Shonen Knife – Twist Barbie
40. 2:04:50 Sonic Youth – Kool Thing
41. 2:08:56 Fatboy Slim – Praise You
42. 2:14:10 Fun Lovin’ Criminals – Couldn’t Get It Right
43. 2:17:39 Cornershop – Funky Days Are Back Again
44. 2:21:00 Snap – The Power
45. 2:24:32 Kula Shaker – Hush
46. 2:27:23 David Bowie – Golden Years
47. 2:31:14 Pulp – Disco 2000
48. 2:35:38 EMF – Unbelievable
49. 2:39:09 Professor Green – I Need You Tonight (feat. Ed Drewett)
50. 2:42:41 The Fall – Free Range
51. 2:46:32 Kula Shaker – Hey Dude
52. 2:50:31 Pixies – Head On
53. 2:52:44 The Rolling Stones – Sympathy For The Devil
54. 2:58:44 The Cure – Inbetween Days
55. 3:02:26 The Charlatans – The Only One I Know
56. 3:06:15 Fissunix – Rapper’s Cantaloop (Old School Hip-Hop Mashup Tribute)
57. 3:10:35 RUN DMC – It’s Tricky
58. 3:13:36 Basement Jaxx feat Siouxsie Sioux – Cish Cash
59. 3:17:54 Spice Girls – Wannabe
60. 3:20:39 Bim Skala Bim – Sunshine Of Your Love

And the poster for that evening looked like this:

 

 

 

 

 

 

Comics Robot Go!

This is a Comics Panel Drawing Robot i’ve built for the Maker Faire 2018 and Paper Jam Comics Collective.

Music in the video is by Mister Fusty

The Paper Jam Comics Collective presence at the Maker Faire was really well received. We were awarded a Maker of Merit ribbon – these are awarded to Makers that have demonstrated great creativity, ingenuity and innovation for their Maker Faire UK project. The winners embrace the DIY spirit and inspire Makers of all ages.

Excellent. Chuffed.

Invisible Beasts: A Hidden Cartography

An exhibition documenting Monstrous Territory

Those hidden places and the signs within them indicating the passing, residence, presence or summoning of otherwise Hidden Beasts, Monsters, Demons and other creatures.

A Hidden Cartography features 7 Artists working in North Shields. Curated by Paul Thompson hosted at The Exchange, North Shields for the duration of February and then made permanent in the form of a Book to be launched on the 15th of February.

The cover of Invisible Beasts, A Hidden Cartography was based on an image from Ellie Tarratt’s contribution.

Events

Facebook Event Page: https://www.facebook.com/events/544434719250406/

Thursday 1st. February : Exhibition Opening

Music from 8pm by North Shields Soul Exchange DJ Alex (@alexiconman) will be playing an off-kilter selection of weird folk, out-there psych rock and other spooky oddities.

Thursday 15th February : Book Launch

Comics and Drawing from Newcastle based Paper Jam Comics Collective: Come along and create a collaborative Zines/Comic on the subject of monsters which will be printed and available at the Exchange and Paperjam events in future. Join us also for horrific board games: Mysterium and Mansions of Madness.

The Artists

Gary Bainbridge : Of The Boggletwix and The Moskett

  • Web: garybainbridge.co.uk
  • Twitter:              @gbcomics

Monsters are surely creatures who bring chaos, fear and disaster into the world. We run from them in despair, invest in trinkets to ward off their influence, some brave souls set out to fight them and banish them. But some braver still may seek to summon theses creatures in a time of great need. Hopefully at not too great a cost.

Brittany Coxon : A Hole in the Sky?

Have you ever noticed a hole in the night sky? An area void of all stars. Is it truly empty or perhaps only visible from the right angles? What kind of creature might inhabit or pass through? How would one chart this gap without any point of reference? Is it a gap or a doorway?

Michael Cunliffe : An American Guidebook

America is land of opportunity, where even monsters can make you money. Native beliefs, urban myths and mysterious disappearances soon find their way into haunted house tours, tourist traps and paranormal guidebooks as harmless entertainment for the masses. Dig deeper though, and you may uncover true horrors lurking beneath the denial and amusement.

Anthony Downie : Baphomet’s Lair

Anthony Downie is an illustrator based in North Shields. He can be found most days staring directly into the sun at the end of Howard Street. This gives him the insights he needs to envisage almighty Baphomet’s lair.

Michael Jeffries : Where the Housing Estates End

Monstrosity has been connected with mixture since mixture can be understood as transgression of boundaries; monsters threaten to destabilise what had been seen as a clear and normally uncrossable lines. What is monstrous is always defined in relation to what is human.

Oscillating Brow : Things In Little Squares

Maps powerfully communicate a demystified physical world within neat gridlines. These works are an attempt to repurpose that visual language to invoke the opposite: mystical narrative places, dream-logic reconstitutions of the familiar into the uncanny. Also: the artist really likes chopping and gluing stuff.

Ellie Tarratt : The Drovers’ Road

The oldest drovers’ roads have long been thought to follow the spirit or faery paths, now generally dismissed by modern historians as myth. Interest in these drover’s roads reached a height during the 14th century when some alchemists fell for the lure of faery gold, leading to the creation of Magister masks, now more commonly referred to as Drovers’ masks.

Paul Thompson : Emily’s Brain

Disappointingly for Emily, the only place monsters genuinely exist is in the human mind, so to build a monster we must first create a mind for it to inhabit. But what constitutes a mind and how to create it?

Amazing Adventure Comics Machine …and that

Myself and Brittany Coxon worked on this framing strip for the Paper Jam Comics Collective anthology ‘Amazing Adventure Comics Machine‘ – our first in full colour, specifically as an all ages comic due to Space Monkey being close to sold out.

Intro Pages

Some self indulgent things here about the history of the group, I guess, but I don’t think I go too far – part of the point is to make the point that this stuff is just real people making the comics.

Finale

A joke about the form lol!

Cover

I also worked on the colouring and design of the cover of the anthology based on a drawing by Cuttlefish who devised a machine to dispense comics yet to be created.

Dungeons, Dragons, Scenes and Complexity

In the last year, i’ve been playing D&D both as the Dungeon Master and as a Player, and here are some of the things i’ve observed which I think creates a successful session or dungeon. It’s based around the notion that the three pillars of D&D, are:

  • Roleplay
  • Combat
  • Exploration

Rather than have separate scenes for each of these, I tend to think it’s possible and desirable to have all three as options in all Dungeons. Not being familiar with terms, i’m going to use the word ‘Dungeon’ to refer to any distinct part of a campaign that happens at a single location and the word ‘Scene’ to refer to a thing that happens in a single room with a collection of characters and objects.

Give the Players Lots of Problems

…rather than just a single mission to accomplish, the players can be given multiple problems to solve at once, sometimes these should be competing with each other for the players attention, actively working against each other and stacking up, and all of which can be played using any of the pillars. The following are examples of the kinds of things that should be happening not one at a time, but have several of these layered on at the same time:

  • The Players must rescue a Dark Elf Prisoner from a Castle by negotiation, combat or stealth, their choice.
  • The Custodian of the Castle is obsessed with adding to his collection of Powerful Magical Objects he has ordered local innkeepers to confiscate any Magical Objects from the players.
  • One or all of the Player are being pursued by an assassin / wanted by the local police for some reason related to a previous encounter.
  • When the Players arrive, a prison breakout is already underway, the Prisoner has set himself up as a mad cult leader making complex demands.
  • A secret entrance is a puzzle involving levers and passwords and stuff, but the players should never be left alone to solve it: they’re being sniped at all the while by either literal snipers or just a stupid goblin in a cage who is constantly insulting them and demanding release in order to give them clues.
  • Minor characters in bad situations, at very inconvenient moments.

Give the Players a Toy Box

Once the players have a mission to accomplish, the environment should be rich with stuff the players can use. Multiple levels, things to hide behind, destroy or climb over. Bridges and Balconies are always good. It is not the DM’s job to figure out how this stuff gets used, or even to worry about it. The players will always find things to do when under pressure.

  • If the players see a very expensive chandelier in a room near a balcony, above the entrance, that is clearly stolen from Elven culture, at a point where Orcs are imminent, there are at least three or four ways to use that.
  • A magic grappling hook/glove thing with a high chance of entertaining failure. This is a good tool, as it allows the players the opportunity to work with the environment and alter the topology of combat.
  • Barrels full of Very Expensive Flammable Booze.
  • You can’t beat an angry and belligerent Goat: fight, befriend or enrage for tactical opportunities.
  • Objects which have vaguely suggested interactions with other objects seem helpful, but don’t be prescriptive: all of the above seem to me to be combinable in interesting and alarming ways, alongside whatever other nifty items the players have on them.

Interesting Antagonists

Partly, the above points about complexity and toy boxes is to enable you as a DM to give the players more interesting villains for low level players and the equipment to deal with them outside of regular combat and weapons:

A badly wounded Liche who is bargaining with the players for its life and the players own while it is also under seige by a Half-Orc Crime Syndicate turned vigilante force gives the players a chance to encounter big villains without being completely outclassed in combat, as they would be against any one of these characters under normal circumstances.

Mister Mouthy

There was an imprisoned Gargoyle in the basement demanding to be set free (the players passed on this) and a swamp outside one entrance with a being known as ‘Mister Mouthy’ living in it. He ended up being used to dispose the main villain by an unexpected combination or throwing axes and flight potions.

But since we’re using this to pit the players against higher level villainy than the Manual recommends, we must…

Give the Players An Exit

If things are getting overwhelming, the players should never be unable to leave in such a way that it feels like an entertaining tactical and temporary withdrawal rather than failure. An exit should always lead to further complications and opportunities. Keep exit scenarios in mind in case you need to use them, if they aren’t used, they’ll keep.

  • Players leaping out of windows may find themselves in a moat containing an alternative entrance to the Dungeon. Probably the one with the goblin mentioned above if the players hadn’t found that by other means.
  • While the Villains are looking for the misplaced players, they can sneak back into the game, but the players have new pursuers to add to their troubles later.
  • They’re hiding in a Priests Hole when the encounter the Priest, a pythonesque character capable of giving the players important information, but is similarly insisting on shouting and singing and attracting the guards.

The players will find their way

Players will find their preferred solution to a problem: some will want to fight, some to sneak and some to roleplay their way into the castle, so it’s worth wile considering at least one ‘scene’ of each. Make them work for their preference and mix it in with the other things:

  • Players who want to Sneak can find the secret entrance, but also encounter That Priest or That Goblin meaning that they have to either Fight or Roleplay in order to maintain their sneakyness.
  • Players who want to Fight can find the fight, but will find themselves outclassed and find themselves having to explore to find tactical advantage, or Roleplay with other entities for support.
  • Players who want to Roleplay can find the tense negotiations, but should probably have to do it while hiding behind a barrel of explosives, or during which they witness a mugging through the window in the background.

The characters choose what success and failure means.

Part of the benefits of throwing a lot of stuff in is that it always gives the players (and their characters) choices: about how to prioritise threats and benefits, and about how to judge their own success.

  • OK we didn’t rescue the prisoner, but he tried to kill us, and anyway look at all this magical loot.
  • OK we are now wanted for the crimes of our enemies, but we freed the goblin slaves and our conscience is clear.
  • OK we had all our gear stolen, but we have all these barrels of expensive booze.
Pirate Town

A town harbouring Pirates, who prefer to remain secret, but with a vested interest against securing the town against the Mayors necromancer daughter, who had escaped from her ‘private residence’. It wasn’t a bad setup, fight was fun and the players had to decide what to do with the Daughter, who could be viewed as ‘innocent’ on some levels… But it was confused by having multiple factions of Pirates whose motives and power game in the town was vaguely explained and distracted from the meat of the situation.

Some mistakes I make:

  • Don’t overdo it and confuse the players, but should have maybe two immediate concerns from the three pillars during any scene, and maybe up to half a dozen such things going on in a bigger picture.
  • The players should largely be able to distinguish between the local story and the Campaign Story. The Campaign story should probably be pretty simple and easy to grasp: if you do have a grand conspiracy, interest in smoke and mirrors will wane pretty quick of you don’t start being decisive about giving players answers.
  • Aside from the Campaign Theme, don’t keep a concern live for more than two to three sessions otherwise either the players will bet bored with it, or conflate it with a bigger plot when you don’t want them to. So: tidy up none Campaign plot lines reasonably fast and have one closing as the next opens. After introducing an assassin, the players should start the next Dungeon being pursued but have the opportunity to confront and defeat them within the next two Dungeons.

Conclusion

As I got better I tended to make lots of modular bits and pieces: characters, objects, sets and combining these, ‘scenes’.

I should say that I always have a reasonably well sketched out situation: the players would feel as cheated if I was making it up as I went along as if I was rigid in the outcomes. This is hugely difficult to get right.

I usually have had some idea how these are to be strung together, but I’m usually quite happy to leave them out of a scenario for later use if they don’t occur. I’ll throw the band of drunken Dwarves in in when they’ll add complexity to the situation in response to a particular player action rather than necessarily that it has to happen at this particular point in the story.

By complexity, I sometimes mean threat, but more often than not I’m motivated by what seems funny and upsets the apple cart if the players are too relaxed about the setting: they should feel their characters are competent but always off balance.

The pacing of adding and resolving these multiple layers in a Scene or Dungeon is very difficult to get right. Finding a Rhythm is key. Some Inspiration:

Jackie Chan, Pirates of the Caribbean, the Left 4 Dead Director, Pixies

Making …and that

The Paper Jam Comics Collective anthology specifically made to celebrate the Maker Faire and launch at Maker Fire 2016, my comic outlines, in a vague sort of way, some ideas about making Websites Good… (and how they relate to making Comics Good, with specific emphasis on getting it done rather than right) …an area in which I have more expertise than I can ever be bothered to apply to my own projects. The result is a bit hap hazard, but I was trying to get away from things that try to hard with the rendering in favour of getting the ideas down.

Aside: I’ve been thinking about the cult of User-Centred (and Data-Driven) Design a lot recently, and while I get that if you’re actually building a web application to enable people to pay their taxes you want to remove all possible friction, but a lot of the conference cultists seem to completely miss the value of self expression, exploration and evoking curiosity.

Design can be influenced by many Sciences, but it can also be influenced by Art.

Anyway.

Also, I put together the Cover, based on interior strips and an Ikea Catalogue.

Gish Wishes

I have no idea what any of this means. I was given some brief instructions by Linda Jameson about the various characters involved. I think it was for a charity treasure hunt?

Anyway, I had a spare evening and did this. I’m not sure it was the right thing to do. Presumably someone out there understands this, and that person understands it better than I.

Food Encounters of the Third Kind?

Here’s the comic I made for the Paper Jam Comics Collective Food …and that Anthology.

Deliberately trying to be less previous about the rendering here and focusing on just getting something done quick that has a few jokes. I’m pretty pleased with how it worked out and some of the panels are funny.

Game Over

The game may be over…

…but do we know who won?

As the members of the excellent Newcastle Playtest group will know, my preference is for games that do not require a counting of things and adding up of points after it has ended. Adding up the Victory Points is a very well used mechanic in modern boardgames, but it always leaves me cold.

All of the games listed below are brilliant and games I really enjoy and would always play when offered the chance. The purpose of the rest of this post is not to consider why they’re so widely used, question my objections to them, think on alternatives, and/or to find ways to make them easier or more relatable.

I understand why they must be so: one of the principles of Euro Game design is that ‘no player elimination’ is a good thing – and it is – all players should be fully invested in the game till it’s over. One way to achieve this is to hide who is doing exactly how well, and the most frequently encountered way of doing this is to hide it all in a pile of maths functions.

Since these functions are at least partially intended not to be intuitive, they must, by their nature, give you a headache.

No-one needs that.

Tzol'kin: The gods of maths will let us know who won.

Tzolk’in: The gods of maths and geometry will let us know who won.

Agricola, for example, ends like this. It feels… arbitrary and to me quite horrific:

lookout spiele.de wp content uploads agricola cards completelist v7.pdf

  • Ticket To Ride and Carcasonne should be more accessible family games but both feature a big pile of counting things up at the end, then subtracting penalties, then adding bonuses. Those latter two games are mostly tolerable because I play them on a console and the xbox is pretty good at counting things really fast and just sorts this out for us.
  • Small World and Libertalia are two of my favourite games – both better in that you only have to add up your pile of money which you’ve been hiding for the duration of the game.
  • Android: Netrunner is over when a player has seven points. No further adding up required. I suspect that this kind of thing is much, much easier to achieve in a two player game than a five player game, but note that the game allows for any player to get to seven in a single turn, so being on three while the other is on six is still not as obviously a lost cause as it might appear.

Can we eliminate any and all post game adding up without demoralising those who may have obviously lost early in the game but must keep on playing?

Android: Netrunner: ah, it's over.

Android: Netrunner: ah, my nets have been over ran.

Victory Points don’t exist

Victory Points are always unthematic: the game is over, and now the god of maths will tell you who won. Tzolk;in acknowledges that we’re appeasing the ineffable whims of the gods of cogwheels and maths so: fair enough. Not so Ticket To Ride, which alleges that it’s actually a race that takes place over 7 days… but… but…

If we’re designing a game  and find we’re adding up victory points, we could take a good look at our game and consider whether victory can be measured in something real and derived from the games theme so that the players understand who they are and what they’re competing for. If the victory points are more relatable, adding and removing them might be less of a chore.

Victory Points should to be replaced with some concrete thing that exists in the games theme

  • Can they be translated into some kind of market force or survival requirement? Can we hand out awards and trophies for having eight cows or five fields rather than move people a made up number along a score track? Ticket to Ride does this, but it could be a lot simpler.
  • Victory points are going to reflect the opinions of the game designer: It is Uwe Rosenberg who decided the relative values of carrots and sheep in Agricola, not any kind of in game or real market forces. If it must be this way, we could personify that and make the giver of victory points the opinion of a local lord, deity, AI (and if we do that, consider the possibility that we could all gang up on them and win a co-operative victory).
  • Consider the possibility that if no such thing exists in the games theme, the game shouldn’t be competitive?

Theory: Games with victory points are almost always games where there isn’t natural competition in the games theme anyway. Why are we even fighting?

Agricola: Um... ah... i'm enjoying my farm, but... winning?

Agricola: I’m enjoying my farm, but… I’m meant to be winning?

Less and Lower Numbers

The second thing we can consider is to minimise the things that need counting and adding up, lowering the numbers, lowering the amount of different numbers and making sure those that are left can be easily put into piles adding up to five or ten and easily divisible.

  • We remove trophies worth 4,18,27 and 11 and instead have trophies worth 1, 2 and 3. Blueprints has a really complex scoring system while you’re building, but a nice mechanic where your position on the score track is regularly exchanged for Prize cards, and it is these that are added up at the end. Most players will end up with only two to four of these.
Blueprints : A complex scoring system that gets paired down to a simpler one as you play.

Blueprints: A complex scoring system that gets paired down to a simpler one as you play.

  • We ensure that we provide tokens that can be put into piles and not added up in abstract. Small World and Libertalia do this well, they have coins in useful denominations that can be put into nice piles by each player.
  • Small Worlds’ combat mechanic is very interesting because it usually comes down to: whose pile of cardboard is the highest? This kind of idea could be nicely reused for scoring as it is immediate and visual.
Small World: That troll is on a bigger pile of cardboard than the skeletons. They should go home.

Small World: That troll is on a bigger pile of cardboard than the skeletons. They should go home.

The game is over when someone wins

I think that the ideal solution here is to figure out the goals from the theme, and the first player to achieve the goals indicated by the theme is the winner. It must be designed such that the goals are pretty obvious when achieved.

The downsides of this is are…

  • It’s likely to create games of unpredictable length (many modern boardgames are based on a fixed amount of turns, and most seem to aim for a game length that can reliably come in at 40 – 90 minutes).
  • If designed badly, we’ll end up with a kill the leader problem as seen regularly in Munchkin, Risk and race to the end games: the player in the lead gets his head kicked in, the players in second and third place then end up bargaining with the player in fourth place who acts as kingmaker while being unable to ever win themselves.

The upside is that it solves a lot of the other problems.

  • If we design the game so that the winner must take responsibility for hiding their potential to win or when this is likely to happen, all players would likely remain invested in the game throughout.
  • Other benefits are that since there is no longer a fixed turn limit, we’ll likely not get the ‘inevitable betrayal’ two turns before the end, or people stockpiling resources for the last half of the game for a final turn blowout: all players need to be always pushing for victory, and any pause to take stock is a risk.
Hellish complex, but it's over when you control 7 castles.

Game of Thrones: It’s over when that jerk controls 7 castles. I’m dead so I don’t need to do any more counting, which is a kind of moral victory.

Counting to none

One way to do that is to look at goals where the players are counting downwards rather than upwards: The first player to clear all of the pests from their garden, the first player to get all of their children to leave home, the first player to achieve a state of grace.

The games listed above: Agricola, Small World, Carcasonne are all about refining a position, and yet when it comes to the victory tracking, your purpose is to get more points until the game stops.

A game where the goal was to move towards none nicely lends itself to games whose themes are not so much about acquisition of lots of stuff, but refinement of a position, clearing out your karma, simplifying. The players resources move from a complex state to a simpler one as the player trades sets of cows for award cards, currency for favour cards, sets of favour cards for a few expensive ones, matches and discards all the sets of cards from their hands, finds ways to give them to other players, and ultimately, drops their last three Zen cards face up in a ‘tadaa’ moment.

Damnit I knew someone else had those Zen cards…

I think that’s probably quite a satisfying way to end a game.

Hypothesis: most games that currently have a quantitative, abstract victory point system could quite easily replace it with a qualitative one in a way that would simplify the end of the game, improve the experience of the players and will better support the games theme.

Newcastle Stories … and that :  ‘Urban Fictions’

31 May 2014 at The Late Shows 

The PJCC exhibition and anthology launch

The launch of the Paper Jam Comics Collective‘s tenth anthology, Newcastle Stories, took place at the Holy Biscuit as part of The Late Shows 2014. As any novocastrian knows, The Late Shows are annually one of the most exciting art events in the North East of England and we were very proud to have had this opportunity to take part.

Newcastle Stories ...and that - Cover by Gary Bainbridge

Newcastle Stories …and that – Cover by Gary Bainbridge

As well as artwork exhibited by the collective, and the launch of our anthology, the exhibition included prints, collages and photography on the subject of Urban Fictions, and a Board Game simulating the not inconsiderable terror of Newcastle’s Bigg Market. The game was created by the excellent Mike Jeffries of Northumbria University (Mike was also a great source of wisdom during the early development of the Newcastle Science Comic project).

I had two pieces in the exhibition and comic: Schwitters and Calvert, I also designed the back cover and the PJCC logo.

Paul Thompson showing off his comic: Calvert

Paul Thompson showing off his comic: Calvert