Donna Barr Online Comics

Yes, the Doyenne of comics is still publishing web comics -and they are fun and free!!!!

AFTERDEAD; Lone males without village permission:

http://www.webcomicsnation.com/dbarr/afterdead/series.php

“AFTERDEAD — The Desert Peach Crosses Over” By Donna Barr

www.webcomicsnation.com

AFTERDEAD is where the Dear Reader will be able to find The Desert Peach, Stinz, and all the rest of Donna Barr’s world and characters. Yes, Virginia, there is cross-over.

The dead-tree books are at: www.stinz.com and all the links!

The Cult Of Personality or Use Famous People With No Contract And Suffer The Consequences!

I mentioned previously that Amalgamated Press/Fleetway/IPC (now IPC Media) had over the years infringed personal copyright of TV, Radio and film stars not just from the UK but also the United States.


Terry Wakefield, for instance, was drawing Laurel and Hardy for Film Fun when they did a tour of the UK.  Being a big fan, Terry asked the bosses if he could get a ticket and be introduced to them?  “NO!” was the answer and it was pointed out that if they knew their likenesses were being used they might ask for payment!

This sort of thing happened time and again. Just a minute sample of those whose likenesses and names were used without permission (some lawyer could make a fortune here) are:


Arthur Askey
Tommy Trinder
Cardew Robinson
Stinker Murdoch
Jack Warner
Frankie Howard
Benny Hill
Red Skelton
Danny Kaye
Laurel & Hardy
Buster Keaton
Buster Crabbe
Ken Dodd
Norman Wisdom
Ben Turpin
Harold Lloyd
Tyrone Power
Orson Welles
George Formby
Sid Field
Abbott & Costello
Joe E. Brown
Tommy Cooper
Dean Martin
Jerry Lewis
And so on.






It is a VERY long list andthe policy was always that if a star of TV, cinema or radio was a huge hit then he/she were ripe for exploiting in a comic strip –it pulled in the pennies.


In this age of lawsuits for copyright infringements past and present IPC Media really does need to realise that if it claims rights to EVERYTHING (remember, there were no contracts to sign away rights and when the company was sold over and over no new contracts were written between companies/new owners and the creators) then it must accept that it is open to legal action from the families of creators and the families of former stars who were used in this way.


I think recent examples involving DC Comics shows that even as one of the “big boys” you can’t escape these things.  IPC Media tend to think not responding to questions keeps them out of trouble while they get “heavy” with so called “infringers” of ‘their’ copyright.  One day, one of these people is going to seriously bite IPCs ass…and my huge dossier is ready for use.

ARCHIE & FRIENDS DOUBLE DIGEST #6

ARCHIE & FRIENDS DOUBLE DIGEST #6 

“Water Park Lark” and “Hiss-tory Lesson” In “Water Park Lark,” an incredible discovery at the site of Mr. Lodge’s amusement part not only impacts progress of the construction, but thanks to Dilton, it changes the very theme of the park! Next, Reggie learns a valuable and very expensive “Hiss-tory Lesson” thanks to Jughead and an over-aggressive toy snake!
SCRIPT: Bill Golliher, Mike Pellowski
ARTIST: Stan Goldberg, Tim Kennedy, Jon D’Aguostino
COVER: Fernado Ruiz
Shipping Date: 6/1/2011
On Sale at Comic Shops: 6/15/2011
Newsstands: Week of 6/21/2011
Digest, 160 pgs, 30 lb newsprint, Full-Color $3.99 US

For The Record

The following was written on the 21st May, 20011 at 12.40 pm. I alerted IPC  to the fact that I intended publishing this on 1st June.  To date there has been no response from IPC Media and this is taken to mean that they have no arguement with the facts in this article.
IPC Media has the right to reply to this article stating its position.
**************************************************************************




On 1st August, 2010, having become fed-up with IPC Media and it laying claim to everything in British comics and particularly things I own and have published, I sent a letter to IPC.  I also sent a copy via email and got the confirmation that it had been received.  An out of office Auto Reply is timed and dated so cannot be denied.

I did not publish the letter online on the date specified but I sent another email/letter stating that I now understood that IPC Media had no problem or arguement with my projects.

Ten months later IPC Media still refuse to respond which can only be taken to mean it has no objections.  So, and I know who the snitches were that caused problems last time (my solicitor has their details), you can forget snitching.

Here, for the record, is the letter/email I sent IPC Media:



IPC Media
Manager Legal Department
1^st August, 2010
I am contacting you regarding the actions you have been taking regarding my publishing of British Silver Age characters.  According to lulu.com [correspondence filed with the US Better Business Bureau]:


“Lulu was previously contacted by IPC/Time Warner Media in reference to copyrighted characters this author used in their works. Proof of copyright was successfully provided and Lulu removed the work from sale from our website. Some time later, IPC/Time Warner Media contacted us again to report that the same works were being sold over our platform and that the copyrights of Time Warner Media and their subsidiaries were being infringed upon.”


This is very interesting for several reasons.  The first is that IPC Media never purchased the characters involved from Odhams, as confirmed in writing by previous IPC/Fleetway/Maxwell Pergamon Publishing management.  Secondly, Philip Hebden,the creator of the characters, retained ownership of the characters that were published as a one-off book by one of the then editors at Odhams for the 1971 Pow! Annual.  Hebden even offered the characters to other companies to develop.  In 1985 I, along with two colleagues, paid Hebden a sum for the characters after checking with Fleetway/IPC and being told that the characters did not belong to either company. Mr. Patrick Voigt, the senior man at Odhams told me in 1986, confirmed by his wife who was also employed at Odhams, that Hebden had retained his rights and that “this is unique in the British comics industry.”  Mr. Voigt further pointed out that IPC had no interest in the adventure characters owned by Odhams –this was also confirmed by former senior Fleetway/IPC managers.
It would be interesting to see IPCs “proof of copyright” since no contracts were signed and the characters were not purchased from Odhams –when characters were sold off only the humour characters were of interest, though some of the adventure strips were used as there was no one to complain.


IPC Media has also claimed that it is unaware of the “35 Year Rule” which previous incarnations of IPC/Maxwell Pergamon Publishing and Fleetway has employed.  This rule existing has been affirmed to by former editors and management in correspondence.


The writer and artist own the copyright in the strip jointly, under The Copyright Act 1956 (or the Copyright Designs and Patents Act 1988 in the case of more recent comics), unless there has been a written transfer of their copyright ownership to a third person (such as the Publisher).


This is called Authors Copyright. It lasts for the lifetime of the writer and artist, and thereafter for a period of 70 years from the end of the year in which the last survivor of them dies.


Each strip within an issue of a comic is thus the copyright property of different people: i.e. the writer and artist who created that particular strip; and so a lot of individuals will have copyright interests in each weekly edition.


The Publisher has a separate copyright (called Publishers Copyright), which protects the entire published issue of a comic, including its overall typographical layout, not just individual strips within it. This lasts for 25 years from the end of the year in which that issue of the comic was originally published.


This second type of copyright has now expired for any comic with a cover date on or before 31^st December, 1984.


No contracts were ever signed between creators and any previous incarnation of IPC.  I know this because I wrote scripts and created characters used by IPC –all of which I retain the copyright to.  A script was submitted in each case and this placed in the accounts book as proof that a script had been written (due to past “mispractice”.  A cheque was then paid within 30 days.


According to Publishers Copyright, had IPC purchased the characters then their one and only appearance in 1971 –almost 49 years ago- made them public domain in 1995 and had I waited I need not have paid anything for them.


If IPC Media can supply documented and signed contracts to the effect that they purchased these particular characters at the time then fine.  But they still have not seen a second appearance in 49 years and I have been in contact with three of the artists involved in the book and have their permission to use the strips.  Their work.


I ought to remind you that:

1.  when IPC were taken over by AOL Time Warner I was ordered to stop using characters the previous owners had given me written permission to use (four years earlier)–these included characters that no longer belonged to IPC but had been sold off in the 1980s (characters from The Eagle etc.)

2.  I was ordered a second time to stop using specific characters that I was told were © IPC Media yet had been created by myself and published in Small Press books since 1982 and whose histories were fully documented.

3.   At the same time as I was ordered to stop using these characters –I have this in writing from IPC Media- I was asked whether I “..could supply us with a full list of characters owned by this company”.  This was repeated again a few weeks later and via IPCs legal department –clearly indicating that the new IPC Media did not know which characters it owned.

4.    Prior to publishing the Silver Age Collection, I submitted the project as an idea to IPC Media and even sent a printed up copy with notes.  IPC Media stated it had no interest in “..new characters or comic projects”.

IPC Media is stating that it is above UK/European copyright laws in declaring they own characters out of hand.  The ‘legal argument’ from IPC Legal in which they stated the case of “Marvel Comics versus Captain Marvel” is ludicrous.  Firstly, it was National Periodicals (DC) who took action against Fawcett Publications regarding C.C. Beck’s “Captain Marvel.”  At the time Marvel did not exist and was known as Timely Comics. This ‘fact’ I also have in writing from IPC Legal.

I have tried, from the very outset, to make sure there has been no mis-understanding and have tried to be straightforward.  IPC Media has been overly belligerent regarding some projects/characters it has no say over/rights to.

Over 35 years I have tried to maintain good relations with many UK companies and have talked/corresponded with senior management, editors and so on.  I find it curious that IPC Media did not issue a “cease and desist” order and back this up with documentation.  Instead, it decided to go and threaten lulu.com, an intermediary between myself and the printers.

I would suggest that IPC Media take me to court regarding this matter and I can then provide documentation pertaining to the company and its past practices, letters and faxes as well as emails from former very senior IPC/Fleetway/Odhams and Maxwell Pergamon Publishing staff as well as other documentation.
I have sent a copy of this letter via the internet to IPC Legal (an out of office reply tells me it has been received this evening at 19.15 hrs) and if I do not hear from you by 30^th August, 2010 I shall take it IPC Media is withdrawing its claims and will openly publish this letter via the internet.


I would like to stress one last time that I would prefer cordial relations with IPC Media but IPC Media has taken this option away from me.

I look forward to your written response.


Signed.
Terry Hooper
Publishing Editor Black Tower Comics & Books [f.1985]
Putting that into perspective, if IPC Media states it is above the laws mentioned then it is in one very perilous position.

HOMICRON!

STRANGERS: HOMICRON
by Lina Buffolente, Jean-Marc Lofficier & Jean-Jacques Dzialowski,
cover by Steve Rude.
Paperback 5 x 8″,
364 pages
US$ 24.95 + $3.00 p&h
ISBN # 1-934543-10-1 / 978-1-934543-10-8
Contents:
- Foreword by Marv Wolfman
- Introduction by Jean-Marc Lofficier
- Classic Homicron #1-#2 by Lina Buffolente
- Classic Homicron #3-#8 by Paolo Morisi
- New Homicron #1-#5 by Jean-Marc Lofficier & Jean-Jacques Dzialowski


Story: A super-powered alien becomes stranded on Earth.


This is a whopping thick book. You get the original stories of how Homicron came to Earth and the newer stories.  It’s an epic so how to summarise? I’ll cheat and quote the Hexagon Comics character fact sheet:
Homicron is a native of Alpha, a planet inhabited by a peaceful race of scientists whose Envoys turn into energy beings to explore the cosmos. Homicron’s adventures before his arrival on Earth remain mostly unchronicled . Homicron rescued the Apollo 19 capsule carrying Major Ted White, Lt. Robert Ross and Dr. Jonathan McDouglas, and enabled the craft to return safely to Earth, but by so doing, became trapped by the planet’s magnetic field. When Major White succumbed to a heart attack, Homicron merged into his body, inheriting his memories and his fiancée, Dr. Rita Tower, a NASA physicist. Dr. Tower designed an energy converter which enabled Homicron to regain human form.


Homicrons subsequent attempts to recontact his homeworld attracted the attention of the Kyrosians, a race of imperialistic aliens. They captured Homicron and attempted to convert his energy into pure plasma, but only succeeded in driving him insane. Eventually, Ted White’s host body could no longer contain Homicron’s energies and disintegrated. The energy was then absorbed into Dr. Tower’s body, who now exists in a symbiotic state with the Alphan Envoy. The new Homicron then became allied with the mysterious team known as The Strangers.


Strangers had an English language six issue run through Image Comics a few years back.
The stories are good, there is almost a Captain Mar-Vell (original)/Green Lantern thing going on here but with European style and flair.  Now this one ought to appeal to comic fans who are into super heroes but have not tried a Euro comic. A cosmic super hero, evil aliens –it’s got the lot.


The art on the original strip I liked so I was dreading getting to the up-dated stuff –some times there’s a bit of visual jarring when you get used to the original art and suddenly there is a new artist with a new style.  In fact, the new style works and there was no visual jarring to confuse my old mind.  Italian artist Lina Buffolente created Homicron in 1972 and is one of those Italians working in comics that we in the UK never hear of (there were Italian artists working in UK comics).


Lofficier and Dzialowski revamping the character works well and explains why I’ve seen images of a male Homicron and a female Homicron!  We also see Homicron as she/it becomes more integrated in the Strangers universe of C.L.A.S.H., etc..


Well worth getting hold of and if not in shops, where it should be, you can order online here:

http://www.hexagoncomics.com/booksbcp.htm

BLAZING NEW TRAILS TO THE PAST

Palmiotti and Gray Bring Their Unique Western One-Shot to Image Comics

Berkeley, CA – 10 June, 2011 – Jimmy Palmiotti (THE PRO, Painkiller Jane) and Justin Gray (Hawkman, Countdown to Final Crisis) will bring a new kind of western to comic stands next month. Known for years as one the most respected and prolific writer duos in the business, responsible for such acclaimed titles as Jonah Hex, RANDOM ACTS OF VIOLENCE, and the recent TATTERED MAN, the two have joined forces with the art of Jim Daly to publish an all new creator-owned one shot through Image Comics: TRAILBLAZER.

"There is nothing more fun than getting to do a bit of genre mashing," explained Palmiotti. "With TRAILBLAZER, we got to mix action with sci-fi and throw a bit of western into the mix, and the results are one hell of a fun ride. We also got to work with a fantastic crew putting this project together. The covers alone by Dave Johnson and Amanda Conner are just icing on the cake."

"Image is a vital and essential part of the comics landscape providing an alternative publishing opportunity for people looking to create new and original works," added Gray. "This is exactly why Jimmy and I wanted to work with Image to release TRAILBLAZER."

Palmiotti continued: "Working with Image Comics on this book was a dream come true for all of us and we are really proud of the end result. We hope to do more in the future."

TRAILBLAZER illustrates a modern western science fiction story about a hired killer who turns in evidence against an employer for the murder of the woman who raised him. The government must then shield their star informant by enacting Operation Trailblazer, a witness protection program that uses not only location but time travel as well in order to keep their charges safe. As the assassin adjusts to his new life in the old west, he soon finds that no matter when or where he is the future is dead set in coming back to haunt him.

TRAILBLAZER (APR110414), a 48-page full color western science fiction comic book, will be on sale for $5.99 in stores July 6.

ABOUT IMAGE COMICS
Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of best-selling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has five partners: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri and Jim Valentino. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline, Skybound and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com.

Comic Book Literacy Trailer

http://www.youtube.com/watch?v=xUvxYzhvMDA

Hitler Reacts to the DC Comics Reboot

http://www.youtube.com/watch?v=UpUh_Yl49l4

And If The Last Post Was Not Bad Enough....

I can actually see what DC THINKS it is doing.  Anyone who knows the world-wide comic scene knows what DC thinks it’s doing. I just throw my hands up and cancel all the DC titles I get.
http://dcu.blog.dccomics.com/2011/06/
By Jim Lee

Months ago, when the decision was made to launch 52 new number ones, Co-Publisher Dan Didio, Editor-in-Chief Bob Harras along with DCU Executive Editor Eddie Berganza and VP-Art Direction and Design Mark Chiarello and I went over the entire proposed DCU lineup and bookmarked the characters we felt would benefit the most from a visual redesign. That initial list started at around 30 characters but quickly ballooned up as books got under way. Realizing the amount of time and effort it would take to complete the long list of designs, Mark Chiarello and I enlisted artist Cully Hamner onto the team, giving us not just another set of hands but another style altogether so we would have a variety of styles to literally draw from.
Cully, as many of you know, is a veteran artist with diverse professional experiences, one of the co-founders of Atlanta’s Gaijin studios and also the co-creator of the WildStorm comic RED. He had also done a spectacular redesign of Blue Beetle some years back which Mark and DC loved so he was a natural choice for this project. Having known Cully both professionally and personally over the years, I knew his collaborative mindset and sheer creative skills would be perfect for this massive undertaking. Cully in particular took point in creating many of the designs you guys have seen debut in our staggered announcements, and his feedback and input and revisions on countless others were just as instrumental. On top of all this, there was the input provided by Mark Chiarello, a terrific artist in his own right, who gave countless notes and corralled all the images and feedback to make sure all the creators working on the titles had the information they needed and that every voice in this highly collaborative project was taken into account.

The entire redesign process was very organic in that every character’s final design came about in an entirely unique fashion. More often than not, Cully and I worked independently or in parallel but sometimes, we jammed together on the same set of designs. And of course, all the designs were shaped and refined by the input of a series editor, writer and artist. In the end, we wanted to make sure all the key creators on a title were satisfied with the final look of the characters as the creative teams were the ones who had to live with and draw the new looks on a near daily basis. For instance, on Birds of Prey, the design process started with initial sketches by the series artist Jesus Saiz which Cully and I then used to riff off of. After rounds of input and alterations, the near final looks were then tweaked by Jesus himself at the end. Or on a series like Teen Titans, Brett Booth contributed most of the designs and Cully and I served as sounding boards, tossing out suggestions and visual counterpoints as we hammered out the final looks almost in real time over massive email chains. And lastly, for other titles altogether, the series’ artists did all the designs and Mark and I just chimed in and signed off on the final approvals.
All in all, a huge project, one which only now is finally coming to light. On a reader level, we realize changing even the smallest detail of any character’s costume brings out the passion in every fan, but I thought it important to describe the process so you all knew the time and care and thought that was put into each and every redesign. In the end, while you may not always agree with the changes, at least you know they were not made lightly or without great effort.
Finally, I wanted to thank all the DC editors for their incredible patience and invaluable input and so many of the the creative teams for allowing Cully and me to jam along with you. It was definitely an honor.
Best,
Jim Lee
Co-Publisher
DC Comics


And I used to like DC at one time.  Reboot again in…ooh, six months?

DC Comics...Dying On Its Legs....

Oh dear.

I thought that what I’d read before about DCs ..uhhh…’reboot’ (again) was bad enough:

Welcome To The Edge

Stormwatch is a dangerous super human strike force whose existence is kept secret from the world. Jack Hawksmoor and the rest of the crew look to recruit two of the deadliest super humans on the planet: Midnighter and Apollo. And if they say no? Perhaps the Martian Manhunter can change their minds. Featuring a surprising new roster, STORMWATCH #1 will be written by the critically-acclaimed Paul Cornell (Superman: The Black Ring, “Dr. Who”) and illustrated by Miguel Sepulveda.

Warfare: Past and Present

Blackhawk is an elite group of mercenaries made up of brave men from around the world equipped with the latest in cutting-edge hardware and vehicles. Their mission: Kill the bad guys before they kill us. A set of contemporary tales that battle the world’s gravest threats, BLACKHAWKS #1 will be written by Mike Costa and illustrated by Ken Lashley.



The grandson of the original Sgt. Rock assumes the command of Easy Company, a team of crack ex-military men financed by a covert military contractor, as they brave the battle-scarred landscape carved by the DC Universe’s super-villains. SGT. ROCK AND THE MEN OF WAR #1 is contemporary military story fighting under modern conditions, and will be written by Ivan Brandon and illustrated by Tom Derenick.

Even when Gotham City was just a one-horse town, crime was rampant – and things only get worse when bounty hunter Jonah Hex comes to town. Can Amadeus Arkham, a pioneer in criminal psychology, enlist Hex’s special brand of justice to help the Gotham Police Department track down a vicious serial killer? Featuring back-up stories starring DC’s other western heroes, ALL-STAR WESTERN #1 will be written by the fan-favorite Jonah Hex team of Justin Gray and Jimmy Palmiotti and illustrated by Moritat.

The DC Universe’s Loose Cannons

A metahuman mercenary who made a living taking out the toughest targets, Deathstroke will reclaim his fearsome legacy by any means necessary in DEATHSTROKE #1, a new series from rising star Kyle Higgins (Batman: Gates of Gotham) and artists Joe Bennett

HORROR COMES HOME IN ’68 The Hardships of War Include Zombies in Upcoming One Shot

Berkeley, CA – 8 June 2011 – The next zombie hit comes from none other than Image Comics, the publisher that introduced fans to the international best-selling hit THE WALKING DEAD. ’68: HARDSHIP is a stand alone story based in the grisly world that horror writer Mark Kidwell carved out in the first two issues of the ’68 miniseries. Along with gifted colorist Jay Fotos, guest artist Jeff Zornow (TYRANNOSAURUS REX, HACK/SLASH) illustrates the horrific details of this story about what happens to one soldier when he returns home.

“68: HARDSHIP is my return to the zombie/horror genre,” Zornow explained. ”This is the darkest zombie book I have ever illustrated. Brutal and to the point, this is a detailed description of the American nightmare, which opens the gates to an undead apocalypse!”

“They say you can’t go home again,” Kidwell commented. “And HARDSHIP proves that old adage in spades. We’re giving readers a look at the American heartland invaded by the hungry undead through the eyes of a battle-fatigued soldier who’s seen far too much horror. This book is dark, hardcore and doesn’t flinch.”

In ‘68: HARDSHIP, a young soldier comes back home from Vietnam. However, seen through the eyes of one traumatized by battle and suffering from previously latent schizophrenia, Nebraska does not appear to be the gentle place of his memories. In fact, it appears to be a battleground teaming with the threats of enemy occupation… from both ‘Charlie’ and the undead. ’68: HARDSHIP is a journey into a psychological realm of hallucination, violence and undead horror!

’68: HARDSHIP (ONE SHOT), a 32-page full color horror comic book, will be on sale August 24th for $3.99.

David Lloyd and Pat Mills Interview podcasts

More thanks to Sebchoq for these.  I find the Pat Mills one quite funny as he slates the British comic industry while saying all the British comics he worked on were designed to be like a French comic. 

Apparently British comics are too negative and crap (you can guess he’s getting stuff published in France!).


Sebchoq:


Here’s another French show about comics (online & tv).  There are 2 recent shows with interviews of David Lloyd and Pat Mils (they both answers in english with french subtitles).  Interviews begins around the 5th minute


http://www.ankama.com/fr/video-roadstrip/7464-roadstrip-david-lloyd


http://www.ankama.com/fr/video-roadstrip/11827-roadstrip-pat-mills

Some Euro Interview Podcasts

THANKS to Sebchoq for passing along some BD interviews. Sadly, most are in French but Paul Duffield (Freakangel) interview is in English.

 

Yann, Interview Video

André Juilliard, interview video

Kas, interview video

Mo/CDM, interview video

Freakangels, interview Duffield

Wanga Comics

CBOers, will have read the reviews of the various Hexagon Comic books that I’ve reviewed in the past week or so.  Some of these link into the Strangers Universe.

Jean-Marc Lofficier is publishing new titles/material and you can see what is available (all in French though you can Google translate!) here:

http://www.wangacomics.com/

Yes, Comic Bits Online Is Shut Down ...AGAIN!

I’m just hoping that some of the CBO regulars bothered to bookmark this “emergency CBO” site.  I’m not holding my breath though.

CBO has, once again, been shutdown by Word Press.  Apparently too much traffic.  Now, I would not mind if they gave advance notice of this along with a note stating what you could do to prevent this.  But, no, that would be too simply and be thinking of the blog owner.  Annoyingly, unlike some other servers, WP removes the blogs presence from the internet.

To try to prevent this type of thing we created an advertising page and revenue from that would have prevented such a shut down.  20,000 plus a day is a lot of traffic.

Although we had a couple of advertisers that didn’t cover much at all.  The ad rates are quite low but the hope that all the publishers who take advantage of our site might care to help keep it going (a lot of people pick up books after CBO reviews them) because they are doing great business via our efforts.
But no.
It’s all very frustrating because a LOT of time and work goes into CBO and it is the only comic site that deals with the Small Press and Independent Comics exclusively as well as offering a very large window into the European market.  This site was meant to do the same but also include any Marvel/DC books we get.

I wrote, earlier in the year, that this sort of problem had me seriously considering ending CBO. At the moment I have no idea when/if it will get re-instated.

To be honest, all the work put into a site isn’t much good if it can be shut down without notice. It doesn’t matter how many hits it gets because those hits do not pay to keep the site going. After a couple weeks of reviews and posts following the Bristol Comic Expo it is gutting to find it all gone.

This just could be the death-knell of CBO…then people will start complaining that there is no longer a CBO.
Then again, maybe only I care?