James Bacon reports on the comics side of the hugely popular Dublin Comic Con, which took place last month
While the weather indicated the end of summer was approaching, Dublin Comic Con drew fans in the thousands, the Convention Center Dublin offering a warm welcome and immersion into all things pop culture. By lunchtime, the dreary grey had broken and the sun was shining onto hundreds of fans enjoying themselves in cosplay.
Developments have occurred since I last saw the Bridge of the U.S.S. Enterprise courtesy of the U.S.S. Cuchulain and, as ever, this was one of the very popular static displays enticing fans. The incredible sets and displays is a very strong aspect of Dublin Comic Con that always proves very popular. A slew of Starship Troopers actors were on hand signing for fans, too, and the life-size bug set was another very popular attraction.
I had a mission in mind: I was keen to pick up locally produced comics, and also see what artwork and sketches were available by Irish talent. I wasn’t at all disappointed.
Ruairi Coleman was top of my list as he continues to build in popularity among fans. He is currently working on Captain Marvel and has just produced a variant cover for X-Men #2. He is having some considerable success at Marvel, which is really nice, and he was very happy to draw Wolverine and Deadpool on a blank cover. I was impressed that he figured a gag into the shot.
Blank covers are an amazing vehicle for artists to share their work, and I was very pleased that Reese Hannigan had some available. I asked him for Peter Parker and Miles Morales Spider-Men, and he delivered an incredible piece of art that exceeded my expectations. Reese has worked with the Portadown-based publisher Black Spot, and his work on Terminus is stunning. He, along with Frank J. Barbiere, Arris Quinones, and Ruairi Coleman, are currently working on Astonishing Times: Rise of the Kokin,which tells the story of a mysterious cybernetic samurai and is available as a Comixology Original.
It was great to see Declan Shalvey, who was busy signing Thundercats, Old Dog and Time Before Time. I was very pleased to hear about his forthcoming Terminator series, which, I have to admit, based on his enthusiasm, I will now be picking up. Declan is one of the writers who can get me reading comics I would not normally pick up, and I am never disappointed.
Danny Earls is an Irish artist who has started working for Marvel recently but has already made a strong impact, and is currently working on The Incredible Hulk. I was so pleased that I managed to pick up the Incredible Hulk: Blood Hunt that is only just out, which also contains his art.
Danny had some artwork available for fans, and I was excited to pick up a western themed drawing, entitled “Jonah Hex”, which is an excellent example of ink work, as well as a page of his stunning comic art.
Paul Bolger was on hand with Atomic Diner publisher Robert Curley. They had a new publication for all ages available, The Children Of L.I.R., drawn by Paul, who co-wrote it with Richmond Clements, and it is a really very beautiful book – a re-imagining of the ancient Irish myth, but really wonderfully told. It is an unexpectedly fresh story, with absolutely stunning artwork.
The product page describes it thusly: “What if your parents were gone and you were sent to live with your grandparents? Well, that is exactly what happens to young Jenny Hennessy during World War Two. Jenny is sent from war torn London to the safety of neutral Ireland where she meets a hermit who lives in a mountain cave, his gang of animal friends and the local bullies. There, she will discover many things. Fun. Danger. Magic. Friendship. Family…”
Gary Moloney and Gareth Luby were looking after the Limit Break Comics stand, Paul Carroll produced a beautiful selection of enamel badges and I picked up the ‘Is iad Coimici do gach duine’ badge. A fantastic conversation in Irish developed with Gary, as we discussed whether ‘Tá Coimici i gcóir gach dhuine’ might be true, too.
The publisher’s second Limit Breaks Presents… anthology – offering standalone stories, connected by a single theme – is available now from their online store as a print or digital edition.
Gary did one of my favourite fanzines, The Daredevil’s Advocate, which considers the legal story in Charles Soule’s five issue arc Daredevil: Supreme. Therefore, I was pleased to see that Gary had his new comic series When the Blood has Dried from Mad Cave Studios available, although one had to be prompt, as they were selling well.
This is an astounding fantasy story, and I was able to pick up the first four comics, which are stunning. Daniel Romero’s art is incredible and Becca Carey’s lettering brings together a really lovely story.
Mad Cave Studios give a concise description: “Years ago, a stranger came to Carraig an Bhun, a little town on the edge of the Southern Territories. The locals eventually came to see this ‘blow-in’, Meabh of Cklonia, as one of their own. Now, Meabh has taken over as proprietor of The Lough Inn, finding a semblance of peace after a lifetime of adventuring… however, the proposed opening of a branch of the Adventurers’ Guild risks dragging her past into the present. What would the townsfolk do if they discovered their beloved barkeep was once part of a ruthless band of rogue sell-swords masquerading as noble heroes? It’s a tragic tale of loss and redemption that asks what’s left behind long after the bodies are buried and When the Blood Has Dried.”
Issue #1 also had a Declan Shalvey variant, which was like the icing on the cake.
I was also able to get an incredible sketch by Gareth Luby of Infamous Iron Man. I have always been a fan of Dr Victor Von Doom, and the current Doom Boom is both entertaining and astonishing. This was a lovely piece of work; the cross-hatching was incredible, really clean and neat, capturing the character, but with Gareths distinctively strong style, it measured up well to the comic which inspired this piece of art.
The Tallaght Academy of Sequential Arts was strongly represented, with Eoin McAuley hosting a series of workshops. These were well-attended, as guests at the Dublin Comic Con took a break from their tables to share insights into their work and careers. Steve Ellis, Gary Erskine, Mark Russell and Paul Bolger were just some of the people who gave detailed sessions.
I was also pleased that there were discussions about animated careers and the recent project that has seen a newspaper Flash Gordon story in Irish, or Gaeilge. The Academy boasts Kevin Eastman as one of their Masterclass tutors and the multiple approaches that are being taken has been exciting to see, as they reach out and offer potential creatives a route into a comics career.
TASQ is now enrolling for the new semester with both online and in-person classes and if you would like to know more, do email info@tasqart.com
Geek Ireland had a dedicated panel room, and I note that the The Science of Pokémon had a queue of people excitedly waiting to get in to learn more about the interconnectivity between science and the hugely popular world of Pokemon, fusing entertainment and education nicely.
They also hosted the Octocon Presents: Queer Cartoons – For the Honour of Gayskull! From the queer coding of He-Man in the 1980s to the almost-representation of Legend of Korra, and the more overt representation in Steven Universe and the She-Ra reboot. The discussion considered how cartoons have gotten a lot more comfortable with the fact that LGBTQIA+ people actually exist.
I think seeing the involvement of TASQ, Geek Ireland, Octocon, and U.S.S. Cuchullainn, along with so many others, really adds something special. These local aspects are not only present, but participating fully in the overall proposition of what Dublin Comic Con offers, and I think this sets the con apart somewhat. Seeing the clubs, cons, and societies that make up the community strongly represented was really nice.
There is a balance here being worked, as the con organisers strive to cater to huge demand on many levels. This demand is both from fans and from small press and local artists. I was sorry that I did not get to see some of my favourite artists, such as Amy Louise O’Callaghan, Katie O’Kane and Leeann Hamilton, but I will endeavour to get to the Spring Edition of Dublin Comic Con next year and hopefully see them then.
As if I did not have enough comic activity, on my way home, I stopped off at Little Deer Comics, and was reminded that the Dublin Comics Art Festival is taking place at the end of September. With four DCAF events a year, and two Dublin Comic Cons, Octocon, Enniskillen Comic Fest, and around a dozen more across the country, we are in exceptional times for the availability of comics.
I think Dublin Comic Con encompasses considerably more than their international peers, and that is a real strength. There is no shortage of fans loving the experience, but all this local engagement and involvement feels pretty unique. There’s space for fans to enjoy themselves, hang out and have a coffee, to learn, engage and be part of conversations. I would love the whole venue to be purely dedicated to comics, but that is impossible, as pop culture is so diverse and broad now. I really appreciate how the convention showcases Irish creativeness though on so many levels. The 21st century has been a fabulous time for high calibre work emanating from Ireland and it is great to see that continue and experience it first hand.
Spring edition awaits. More information at dublincomiccon.com
Dublin Comic Con returns every March and August to the Convention Centre Dublin
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James Bacon (he/him) is an Irish fan, a train driver living in London. A Hugo Award-winning editor of the fanzine “Journey Planet”, he is a comic fan and enjoys comic art, war Comics, Star Wars, Irish aspects to comics and railways in comics or otherwise. He has been writing about comics for over thirty years.
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