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SERGIO MORA ARTIST: Medikidz; Rogues!: Odd Parenthood; Unleashed ALTHOUGH he often draws superheroes, Sergio Mora isn't illustrating the adventures of any of the big guns at Marvel or DC or, indeed, at any other US publisher. Instead the Spanish inker is employed by Medikidz, an organisation that features its own quintet of super-powered heroes in comics aimed at teaching youngsters about medical conditions, investigations, diagnoses, medicines and surgical procedures. Beyond Medikidz, Mora has drawn a handful of comics for the US market. In 2015 and in conjunction with Nacho Tenorio (with whom he'd previously teamed on the 2012 second volume of Zenescope's Mankind: The Story of All of Us) he workedAlice Cooper #6 for Dynamite and then on Amigo's Rogues!: Odd Parenthood five-parter. In between he collaborated with Tenorio (his partner in Third Guy Studios) on 1900and its sequel subtitled Orígenes (Origins) published in Spain by Grapa! as well as on two historical comics – The Sinking of the Lusitania and Alice Milligan and the Irish Cultural Revival – for Northern Ireland-based Creative Centenaries. Most recently, Mora inked Amigo's Tenorio-pencilled Unleashed, a 2016 four-parter.

NACHO TENORIO ARTIST: Dark Shadows; Army of Darkness: Ash gets Hitched; Unleashed IT ALL started with Dark Shadows for Nacho Tenorio. The Spanish artist, who came on board Dynamite's TV/movie spin-off with 2012's #8, illustrated all but two of the last 16 issues of the comic, which ended in 2013 with #23. Following what was his professional debut, Tenorio – who'd also contributed to the 2012 second volume of Zenescope's Mankind: The Story of All of Us – stayed with Dynamite into 2015, initially drawing the last three issues of Ash and the Army of Darkness he moved on to the Army of Darkness: Ash gets Hitched four-parter that followed it. Then, after a single 2015 issue of Alice Cooper, Tenorio joined forces with his Third Guy Studios associate, inker Sergio Mora (with whom he'd previously teamed on Zenescope's Mankind comic and on Alice Cooper) to illustrate Amigo Comics' four-part Rogues! Odd Parenthood. In between he and Mora worked on 1900 and its sequel subtitled Orígenes (Origins) published in Spain by Grapa! as well as on two historical comics – The Sinking of the Lusitania and Alice Milligan and the Irish Cultural Revival – for Northern Ireland-based Creative Centenaries. Most recently, Tenorio illustrated Amigo's Mora-inked Unleashed, a 2016 four-parter.

AGUSTIN PADILLA Artist: G.I. Joe; Transformers; Borderlands; Smallville ATTENDING: Saturday & Sunday PRIOR to 2010 when he worked on IDW's G.I. Joe: Operation Hiss four-parter, Agustin Padilla had illustrated G.I. Joe: Origins #6 and Star Trek: Alien Spotlight – Cardassians for the San Diego-based publisher, which gave the Spanish artist his first US credit with 2009's G.I. Joe: Rise of Cobra – Setting the Stage one-shot. After Hiss Padilla moved on to G.I. Joe: A Real American Hero for a five-issue run. After that he illustrated DC's Bruce Wayne: The Road Home – Oracle (a 2010 one-shot), contributed to the second of the two issues of Marvel's X-Men: Curse of the Mutants: X-Men vs Vampires and then drew the Captain America Theater of War: Prisoners of Duty one-shot for the House of Ideas. Moving back to IDW in 2011, Padilla drew G.I. Joe: Cobra Civil War #0. The one-shot, which set the scene for an epic multi-part saga that swept across the core titles in the line of comics featuring the Hasbro action figures, was followed by the first three issues of G.I. Joe: Snake Eyes. Along the way, the Spanish artist continued to work sporadically for DC and Marvel. He also drew SSX, a one-shot published by EA Games to promote the game of the same name. After that it was back to IDW where he embarked on the five issues ofDungeons & Dragons: The Legend of Drizzt – Neverwinter Tales while simultaneously illustrating a three-issue run on Green Arrow for DC for which he then drew the final two issues of the Flashpoint: Wonder Woman and the Furies three-parter. A flurry of work for Marvel (including Amazing Spider-Man: Webslinger, a Walmart promotional four-pager) followed in 2012 but then IDW came calling again, this time with two simultaneous four-issue projects: Borderlands and The Transformers Prime: Rage of the Dinobots. Subsequently the Spanish artist would work on eight-issue sequels to both: first Transformers Prime: Beast Hunters in 2013 and then the following year Borderlands: The Fall of Fyrestone (subsequently retitled Borderlands: Tannis and the Vault). In between, with Beast Hunters at an end, Padilla – who'd drawn another promotional one-shot, the 16-page Harley Davison/Iron Man) as he embarked on that eight-parter – took to working for DC's digital arm. His involvement in Adventures of Superman, Smallville: Chaos (for which he illustrated all 12 chapters) and Infinite Crisis: Fight for the Multiverse along with the Borderlands sequels took him into 2015, since when his comics output has been limited to the occasional cover.

STEFANO MARTINO Artist: George R.R. Martin's Doorways ATTENDING: Saturday & Sunday FROM 1996 until 2008, Stefano Martino worked for such European publishers as Sergio Bonelli and Aleta Ediciones on a variety of titles, Zone X, Nathan Never,Legs Weaver and Jonathan Steele among them. The Italian artist made his US debut in 2008 with the third issue of IDW's Doctor Who going on to produce fill-ins such other IDW titles as Doctor Who: The Forgotten and Angel before taking on George R.R. Martin's Doorways, a 2010 four-parter. From then on his US comics work became even more sporadic, essentially consisting of a Warlord of Mars fill-in for Dynamite and single issues of The Ravagers andCatwoman for DC. The decrease was in part because Martino, who'd relocated from Italy to Spain, was increasingly focusing his attention on albums for the European market. Over the last six years or so Martino has illustrated among other titles two volumes of Soleil's Nosferatu and several Nathan Never and Agenzia Alfa albums for Bonelli Editore.

GARY WHITLOCK Writer/artist: The Beano; Aces Weekly ATTENDING: Saturday & Sunday TODAY Gary Whitlock is probably identified through his Drell’s Marauders strip for David Lloyd’s online anthology Aces Weekly but the former graphic artist for Cleveland Fire Brigade’s Fire Prevention Department has numerous humour comics in his credits. Among them are Gas, Gutter, Zit, Smut, Adroit and Acne while he also created an abundance of gag cartoons for The Weekly News. Additionally Whitlock, who also drew for The Beano, is the founder of Monkeyhound Publishing through which he has released a variety of his own titles, occasionally under his pen name of Clan Whitlock. His self-published comics so far include Dinotoons, Creatures of the Weirdieverse and Damned Dirty Apes. While he has several more Monkeyhound titles in the pipeline, for the past several months Whitlock has been involved with The Sunday Comics. This monthly 15 x 22" title – akin to the newspaper supplements of yore – was launched in the US by Golden Bell Entertainment in 2015.

JULIAN LOPEZ Artist: The Mighty Crusaders; Batman and the Outsiders Attending: Saturday & Sunday STARTING out in 2007 with the inaugural issue of the relaunched Batman and the Outsiders, Julian Lopez spent the first four years of his career at DC. By late 2008, the Spanish artist had drawn not only six of the first nine issues of the Bat-title but also fill-ins on Wonder Woman and Superman as well. After that he moved on to a three-issue run on Titans which he followed with 2009's Faces of Evil: Kobra one-shot and then the Oracle: The Cure three-parter. Next came a contribution to Action Comics #880 with the first issue of 2009's World's Finest four-parter coming along shortly after. In 2010 and after pencilling a 10-pager for Adventure Comics #8, Lopez took onThe Mighty Crusaders, working on four of the six issues of the title, an immigrant from Archie Comics and published by DC under its short-lived Red Circle imprint. Since completing Mighty Crusaders, Lopez has been working on covers while focussing on Hoy Me Ha Pasado Algo muy Bestia (literally Today happened to me something very Beast). Published in Spain only recently by Norma Editorial, it is a graphic novel adaptation of a 2012 prose novel by Spanish author Daniel Estorach Martin.

Latest Comic Guest Announcement - John Watkiss Artist: Deadman; Ring of Roses; John Jakes' Mullkon Empire; Trigger Attending: Friday, Saturday & Sunday SINCE 2007 when – having illustrated all but one of the 13 issues of the Vertigo title – he completed his run on Deadman, John Watkiss has been almost totally absent from comics. He has worked on an issue of Swallow for IDW, which also dedicated a 2009 issue of its Sparrow series to the British artist, but most of his time since has been focused on cinema and fine art. Prior to embarking on Deadman Watkiss had spent two decades working in comics. His first work was the two issues of Kiss of Death, a 1987 title published by Acme, a UK-based indie. That was followed in 1988 by Last Kiss, an Acme one-shot. Four years later he made his US debut at DC with a pre-Vertigo (1992) issue of The Sandman before moving on to Dark Horse for the four issues of Ring of Rosesalongside which he produced his first work for Marvel – two issues of Conan the Barbarian. In 1993, after contributing a four episode James Bond serial to Dark Horse Comics, Watkiss illustrated four straight issues of Vertigo's Sandman Mystery Theatre, which he followed with a three-issue run on Conan the Adventurer for Marvel. After that came a Batman: Legends of the Dark Knightthree-parter for DC itself. The British artist ended 1995 at Tekno Comix for which he drew the six issues ofJohn Jakes' Mullkon Empire. After that and for the next 10 years Watkiss's comics output was limited to just a handful of fill-ins for DC. Then, in 2005, he returned to Vertigo for the eight issues of what was to prove to be his penultimate project. OnlyDeadman followed Trigger. Much of his time away from comics is down to his work in the film industry. His screen credits are primarily for Disney where he has worked on such animated features asTarzan (1999), The Emperor's New Groove (2000), Atlantis: The Lost Empire (2001) and Treasure Planet (2002). After more than a decade away, Watkiss is returning to comics later this year with Image Comics' Surgeon X.

Latest Comic Guest Announcement - Carlos Ezquerra Attending: Friday, Saturday & Sunday Artist: 2000 AD – Judge Dredd, Strontium Dog; Bloody Mary; Adventures of the Rifle Brigade; Battle Picture Weekly TO MANY people he is the Spanish artist who created Judge Dredd’s iconic look but Carlos Ezquerra’s career encompasses so much more than that. He started his career drawing war and Western comics for Spanish publishers. After two years he was approached by two British comics publishing giants, and began working for Fleetway and DC Thomson in 1972. For the former he contributed to such romance titles as Valentine and Mirabelle while most of his output for DCT was on a variety of strips for The Wizard. He also worked on Top Sellers’ Pocket Western Library. In 1975 he moved on to IPC, specifically to Battle Picture Weekly, where he worked on a variety of strips, most notably Rat Pack and Major Eazy. Two years later he designed not only Judge Dredd but also the look of Mega-City One, the setting for the iconic Lawman of the Future’s stories, for 2000 AD. However the Spanish artist only illustrated Dredd’s historic first appearance (in Prog 2) and one other story before returning to Battle for the short-lived El Mestizo. From there he moved on to a new IPC weekly. For Starlord, which launched in 1978, he conceived Strontium Dog in collaboration with T.B. Grover (a pseudonym for writers John Wagner – with whom he co-created Judge Dredd – and Alan Grant). Before the year was out Starlord was merged with 2000 AD with the Grover/Ezquerra team migrating their mutant bounty hunter to the self-styled Galaxy’s Greatest Comic. In 1982, Ezquerra, who drew virtually every one of Strontium Dog’s appearances until 1988, reunited with Wagner and Dredd for the classic Apocalypse War, a seven-month long epic which he illustrated in its entirety. He has continued to draw the Lawman of the Future’s exploits periodically ever since either in 2000 AD or its monthly companion title, Judge Dredd Megazine. He also worked with 2000 AD founder Pat Mills, with whom he conceived The Third World War, which ran in Crisis, 2000 AD’s politically themed companion title, from its launch in 1988. Ezquerra’s US debut came in 1995. The Spanish artist, who also co-created Fiends of the Easter Front [1980] and Durham Red [1991] for 2000 AD as well as drawing the weekly’s adaptations of Harry Harrison’s Stainless Steel Rat novels [beginning in 1979], drew DC’s Grant/Wagner-written Bob, the Galactic Bum four-parter. That was followed later in the year by a DC one-shot, Lobo: I Quit, and then in 1996 by the Garth Ennis-written Bloody Mary four-parter for Helix, DC’s short-lived science fiction imprint. The Spanish artist, who also co-created The Bad Man [1992] for the Megazine and Al’s Baby [1997] for 2000 AD, has never really slackened when it comes to contributing to the two British titles. His work for American publishers has, however, been more sporadic. Collaborating more often than not with Ennis, the Spanish artist’s US credits have included a 1997 Bloody Mary sequel and – for Vertigo (DC’s mature readers imprint) – 1997’s Preacher Special: The Good Old Boys and 2000’s four-issue Adventures of the Rifle Brigade and its 2001 sequel. Across the same period he also drew two Star Wars comics: 1997’s Bobba Fett #½ (for Wizard) and Dark Horse’s six-issue Mara Jade the following year. Those – unlike Black Bull Comics five-issue Just a Pilgrim [2001], its 2002 sequel and Vertigo’s 2003 one-shot, War Story: Condors –weren’t written by Ennis. With his 2000 AD/Megazine work continuing apace (primarily in partnership with Wagner), in 2005 Ezquerra illustrated The Authority: The Magnificent Kevin, a five-parter published by DC’s WildStorm imprint. That was written by Ennis as was the remainder of his US work: 2006’s A Man called Kev (another DC/WildStorm five-parter) and Battlefields: The Tankies, a three-parter published by Dynamite in 2009. After brief runs on DC/WildStorm’s Ennis-written The Boys [2009] and Dynamite’s 2010 and 2012 Battlefields series, Ezquerra eased back on his workload, restricting himself to 2000 AD and the Megazine, remaining a regular contributor to both to this day.

Latest Comic Guest Announcement - KYLE HOTZ Attending: Friday, Saturday & Sunday Artist: Billy the Kid's Old Timey Oddities; The Hood; The Agency; The Remaining ALTHOUGH he started out in 1992 as an inker working on the first two issues of Now Comics' Speed Racer three-parter, Kyle Hotz unveiled his storytelling talents with his very next assignment, drawing contributions to all but the first of the five issues of Slash, a horror anthology published by Northstar for which he also illustrated Cold Blooded (a 1993 three-parter) and its sequel, a one-shot subtitled The Burning Kiss. The following year he contributed to issues #4 and 5 of Anubis Press's The Chokebefore making his first foray into the world of superhero comics. With that seven-issue run on Night Man for Malibu Comics' Ultraverse line and his first DC work – a contribution to Showcase '94 #9 – under his belt Hotz migrated to Marvel where he drew six issues of Ghost Rider 2099 with Doctor Strange, Sorcerer Supreme Annual #4 squeezed in along the way. Then it was back to Ultraverse for the first two issues of Lord Pumpkin/Necromantra and all but the last issue of the Curse of Rune four-parter. After that came Hotz' most high profile project to date – The Night Man vs Wolverine one-shot – with a couple of issues of Rune and contributions to Marvel'sVenom Super Special #1 and to Shadowhawks of Legend for Image rounding out 1995. At this point Hotz' unsettling creepy style was driving up demand for him to create covers and pinups. That made his interior work even more sporadic although over the next year or so he illustrated Ultraverse's Rune: Heart of Darkness three-parter and two Carnage one-shots – Mind Bomb and It's a Wonderful Life – and the one-offSpider-Man: The Osborn Journal for Marvel along with the occasional fill-in for the Malibu imprint. In late 1997 he teamed up with Famous Monsters of Filmland's Forrest J Ackerman for Chaos! Monster Matinee. The one-shot celebration of monster movies of the 1930s and '40s was issued by Chaos! Comics for which Hotz would go on to pencil the nine issues of Evil Ernie: Destroyer. That took him into 1999 when he wrote and drew the Mosaic five-parter for Sirius Entertainment before moving back to Marvel for a Black Panther fill-in, 2000's Marvels Comics: Spider-Man one-shot and five issues of Incredible Hulk. Those he followed in 2001 with The Agency, an Image/Top Cow six-parter after which the House of Ideas lured him back for the six issues of The Hood, a 2000 Marvel MAX comic for which Hotz and writer Brian K Vaughan created its titular star (with the artist returning to the character in 2009 for the Dark Reign: The Hood five-parter). Next, after a mere handful of Marvel fill-ins, came 2004's Man-Thing three-parter for Marvel Knights and the Black Panther 2099 one-shot before he joined The Goon creator Eric Powell at Dark Horse for Billy the Kid's Old Timey Oddities, a 2005 four-parter that spawned to two sequels: Billy the Kid's Old Timey Oddities and the Ghastly Fiend of London [2010] and Billy the Kid's Old Timey Oddities and the Orm of Loch Ness [2012].Marvel came calling again in 2006. After the Punisher: Silent Night one-shot Hotz moved on to Zombie, illustrating that Marvel MAX four-parter at the same time as drawing a five-issue run on Criminal Macabre for Dark Horse. Next came two more Marvel four-parters – Annihilation: Conquest – Wraith and The Zombie: Simon Garth (for the MAX imprint) – which the artist followed with a two-chapter Criminal Macabre serial in Dark Horse's online MySpace Dark Horse Presents and then with 2008's four-issue Epilogue for IDW.Three years later he drew both issues of IDW's Ghostbusters: Infestation before going back to Marvel for an issue of Captain America: Hail Hydra, a fleeting run on Heroes for Hire and the Spider-Island: Heroes for Hire one-shot. Since then his comics work has been confined to covers although he did pencil The Remaining, a graphic novel from Kingstone Comics, in 2014.

Latest Comic Guest Announcement - Lee Ferguson Attending: Friday, Saturday & Sunday ARTIST: Supergirl; Freaks; Fury: S.H.I.E.L.D. 50th Anniversary; The Many Adventures of Miranda Mercury; PROBABLY best known for his short run on DC's Supergirl in 2008, Lee Ferguson's entrance into the world of comics came a decade earlier when he illustrated Stranger than Fiction, which he co-created for Impact Studios. After that 1998 four-parter he contributed to the two issues of the Comic Book Legal Defense Fund's fund-raising Occupational Hazards and to 2001's Heroes, Marvel's one-off tribute to the emergency service workers who risked their lives in the aftermath of the 9-11 terrorist attack on New York's Twin Towers. The following year, after providing illustrations for three of the House of Ideas' Millennial Visions one-shots – X-Men, Marvel Knights and Marvel Universe – Ferguson drew Mutant X: Origins. He followed that one-off with Chamber, an X-Men Icons four-parter after which came Freak (an Image one-shot that he also wrote). Then, after illustrating the three issues of Mr Keen, Tracer of Lost Persons for Moonstone and drawing an 11-pager in the fifth issue of Marvel's X-Men Unlimited, he left the industry for three years. Resurfacing in 2007 at DC, the artist worked on Black Canary Wedding Planner and Supergirl while also co-creating The Many Adventures of Miranda Mercury for Archaia. He subsequently migrated to IDW to pencil 2009's G.I. Joe: Snake Eyes four-parter but before doing so worked for Devil's Due (notably on its Sheena: Queen of the Jungle mini) and on the final three (out of four) issues of Image/Top Cow's Cyblade while also drawing the two issues of writer John-Paul Kamath's London Horror Comic. Then, after another year out, he returned to DC where he contributed to Batman 80-Page Giant 2010 and to 2011's Detective Comics Annual #12 before moving to Dynamite for a four-issue run on its Green Hornet spin-off, Kato. After that Ferguson went back to IDW for 2012's Dungeons & Dragons: Forgotten Realms five-parter, which he followed with the one and only volume of All You need is Kill. Published in 2014, the Viz Media graphic novel was followed by a contribution to Flash Gordon Annual for Dynamite for which he then worked on a brace of issues of Turok, Dinosaur Hunter. Staying at the New Jersey-based publisher, in 2015 the artist worked on the King: Flash Gordon four-parter before making his way back to Marvel, where he contributed to S.H.I.E.L.D. #9 prior to drawing the Fury: S.H.I.E.L.D. 50th Anniversary one-shot. Most recently Ferguson – who illustrated Superman Classic: A Giant Attack for Random House in 2015 – drew the final two issues of Marvel's Captain America: Civil War Prelude, a 2016 four-parter.

Latest Comic Guest Announcement - Mick McMahon Attending: Saturday & Sunday Artist: 2000 AD (Judge Dredd, ABC Warriors, Ro-Busters, Sláine); The Last American; Sonic the Comic; Tattered Banners; Tank Girl: Carioca ALTHOUGH John Wagner and Carlos Ezquerra created Judge Dredd, the iconic Lawman of the Future's first story appearance was drawn by Mick McMahon, who made his professional debut on the historic five-pager in 1977's 2000 AD Prog 2. After providing the art for the Dredd strips in the next two Progs, McMahon went on to become the Mega-City One lawman's most frequent artist over the next two years. Embellishing Ezquerra's design, the young illustrator – who has been credited as Mike McMahon throughout his career – provided Dredd with the characteristic look that remains the standard to this day. In 1979 he took a break from Dredd to illustrate Ro-Busters and then ABC Warriors for the self-styled Galaxy's Greatest Comic. Returning to work on the Lawman of the Future into 1981, he next provided stories to three issues of Marvel UK's Doctor Who Weekly and then drew a 1982 issue of Starblazer: Space Fiction Adventures in Pictures for DC Thomson. He came back to 2000 AD in 1983 to draw the first Sláine stories but ill health forced him to discontinue the series in 1984. His return to the medium came six years later and on the other side of the Atlantic. In collaboration with Wagner and Alan Grant, he launched The Last American at Epic Comics, Marvel's creator owned imprint. That 1990 four-parter was followed by a 1991 return to Britain where he contributed to the first seven issues of Apocalypse's short-lived Toxic!. Then it was back to Epic – where McMahon had already contributed to three issues of Clive Barker's Hellraiser – for 1992's Alien Legion: Jugger Grimrod one-shot. That was followed over a year later by a three-issue Batman: Legends of the Dark Knight serial for DC. After that his comic work became increasingly more sporadic. Over the next four years he made an occasional return to 2000 AD and to Dredd (in Judge Dredd Megazine) and contributed to a couple of The Big Book of... volumes from DC's Piranha Press imprint. Then, in 1997, McMahon began a 21-issue association with Egmont Magazines' Sonic the Comic. It was followed in 1998 by Tattered Banners, a four-parter from Vertigo, DC's mature readers imprint. It wasn't until 2011 that his next storytelling project appeared. Published by Titan, the four-issue Tank Girl: Carioca was followed in 2012 by a contribution to Self Made Hero's Lovecraft Anthology. A year later he drew a two-issue serial for Dark Horse Presents, Dark Horse's flagship anthology. It was his last project to date. With his constantly evolving style McMahon is recognised as one of the major artistic talents to emerge from 2000 AD. Despite his low profile since the beginning of the new millennium, he remains a major inspiration to neophyte comics artists.

Latest Comic Guest Announcement - David Roach Attending: Friday, Saturday & Sunday Artist: 2000 AD; Doctor Who Magazine; Batman/Demon Author: The Art of Vampirella: The Dynamite Years; The Art of Jose Gonzales WELL known for his encyclopaedic knowledge of comics history and for his remarkable ability to identify the work of other (often obscure) comics artists, David Roach began his professional career drawing for 2000 AD. He worked on various strips for the self-styled Galaxy’s Greatest Comic between 1988 and 1992, when he made his US debut illustrating a 13-pager for issue #3 of Marvel’s creator-owned Epic anthology. Over the next three years he pencilled stories for both DC and Dark Horse contributing to such titles as Dark Horse Comics, Star Wars: Tales of the Jedi – Knights of the Old Republic, Darkstars and Lobo before drawing 1996’s Batman/Demon one-shot. Much in demand as an inker especially on Doctor Who Magazine, Roach’s next major project was Star Trek: Voyager – Avalon Rising, a 2000 one-shot for DC’s WildStorm imprint following which he renewed his connection with 2000 AD. He remains an infrequent contributor to the UK SF weekly and to its companion title, Judge Dredd Megazine. While now spending much of his time working outside of comics (among other things he provides illustrations for role-playing game manuals and storyboards for films), the artist maintains his virtually continuous 16-year long relationship with Doctor Who Magazine. Primarily working as an inker for the Marvel UK title, he most recently illustrated 2015's two-chapter Highgate Horror. The co-author of 2014's The Art of Vampirella: The Dynamite Years for Dynamite (for which he also provides the occasional cover), Roach also wrote The Art of Jose Gonzalez for the New Jersey-based publisher the following year.

Latest Comic Guest Announcement - Joh Royle Attending: Saturday & Sunday Artist: Danger Girl, Stan Lee's Alexa, Spectacular Spider-Man Adventures, Knights of Pendrago IN 2012 John Royle bcame the regular penciller of IDW's various Danger Girl miniseries. He kicked off with the five-issue Danger Girl/G.I. Joe crossover – a great way to celebrate his two decades in the industry, which began in 1992 with a one-off contribution to Fleetway's Red Dwarf Smegazine. Rapidly moving on to Marvel UK and a run on Knights of Pendragon that took him into 1993,he then embarked on a variety of miniseries – Death's Head II and the Origin of Die Cut and Death Metal among them – before The House of Ideas itself came calling. Royle worked for Marvel until 1996, his most high profile project being Wolverine: Evilution (a 1994 one-shot that he drew in collaboration with Mark Texeira). Along the way he found time to illustrate a couple of Rai fill-ins for Valiant as well as to work on a number of Malibu's Ultraverse titles, among them Ultraforce, Prime and most notably The Phoenix Resurrection. His next work was for DC, primarily on 1997 issues of Star Trek: Starfleet Academy, but he was only there for a year before outside demands for his talents forced him to retire from comics although only semi-permanently After a seven-year break he resurfaced at Panini (Marvel UK as was) for which he contributed to multiple issues of Spectacular Spider-Man Adventures over the next seven years. Along the way he also worked on 18 of the first 19 issues of 2004's Marvel Rampage​ and was a major contributor to Stan Lee's Alexa, a 2005 iBooks one-shot. Then came IDW and Danger Girl.

Latest Comic Guest Announcement - Jim Cheung Attending: Saturday & Sunday ARTIST: Young Avengers; Avengers: The Children's Crusade; New Avengers: Illuminati; Scion MARVEL Comics Presents #170 marked Jim Cheung's professional entrance into the world of comics. His 1994 Red Wolf eight-pager (on which he was credited as Jimmy Chung) led to fill-ins on two DC titles the following year. Coming hot on the heels of those issues of Justice League Task and The Ray was a return to the House of Ideas where the British artist pencilled a three-issue run on Force Works before becoming regular penciller on Iron Man. There he worked on seven issues while also beginning to make his mark as a cover artist, initially on issues of Panini's UK reprints of Marvel comics but by 1997 for the House of Ideas itself. Prior to that, however, he drew 1996's Black Knight: Exodus one-shot. Cheung then illustrated all but one of the 12 issues of 1997's Maverick after which came a dozen issues of X-Force that took Cheung into 2000. At that point he signed on with the fledgling CrossGeneration Comics, an ambitious and audacious enterprise that required all its writers and artists to move to its Florida base. The company collapsed in 2004. In the less than four years it was in existence Cheung drew all but 11 of the first 39 issues of Scion (one of Crossgen's launch titles) moving on to a 2003 fill-in on Route 66. After that came the two issues of the aborted Brian Pulido's Lady Death – The Wild Hunt released by Code 6, an imprint set up to publish titles outside the Sigilverse (as the Crossgen Universe was known). At the start of 2004 and prior to the publication of the Lady Death comic, the artist made his way back to Marvel, where he has remained ever since. Initially producing covers, he eased himself back into storytelling with contributions to the first and last issues of Elektra: The Hand and an 11-pager in Spider-Man Unlimited #6 before launching Young Avengers, for which he pencilled 10 of the 2005 title's 12 issues. Going forward, with demand for his cover art steadily increasing, Cheung only drew the occasional contribution to anthologies although he sporadically illustrated the occasional fill-in or annual. That was until 2007 when he pencilled the five-issue New Avengers: Illuminati. There was a three-year wait for his next major project, the nine issues of Avengers: The Children's Crusade, while the one after that (Infinity #1) didn't come along until 2013. Named a "Young Gun" (one of a handful of artists that Marvel's then editor-in-chief Joe Quesada considered to have the talent necessary to become "a future superstar penciller") in 2005, Cheung is currently focussing on his cover work.

Latest Guest Announcement - Agnes Garbowska Attending: Saturday & Sunday Artist: My Little Pony; L'il Vampi BORN in Poland who migrated to Canadian at the age of 4, Agnes Garbowska began establishing herself as a comics artist in 2008. Initially providing illustrations to fund-raising one-offs, she made her storytelling debut with a seven-page contribution to the 2010 first issue of Marvel's Girl Comics with a four-pager for the House of Ideas' Spider-Ham 25th Anniversary Special following before the year was out. Continuing to produce illustrations for various charitable fund-raisers (primarily for The Hero Initiative), Garbowska wrote and drew 2012's MyMisiu Gazette one-shot, which she self-published via CreateSpace. After that she began creating covers for IDW's line of My Little Pony comics, swiftly also taking to contributing stories to the various titles featuring the Hasbro toys. A contributor to True Patriot (a 2013 anthology published in Canada by True Patriot CMX), Garbowska has become increasingly in demand for covers with her output expanding beyond the My Little Pony franchise to take in other IDW titles as well as comics from Devil's Due and Dynamite (for which she illustrated 2014's L'il Vampi one-shot). Today Garbowska's focus is on her cover art although she still illustrates the occasional fill-in and carries on providing a steady trickle of stories to anthologies.

Latest Comic Guest Announcement - Lee Townsend Attending: Saturday & Sunday Artist: 2000 AD PROBABLY best-known for his contributions to such 2000 AD strips as Bison, Synammon and Breathing Space, Lee Townsend began his comics career in 2000 providing inks to the last three issues of Gary Frank’s Image/Top Cow six-parter, Kin. The artist, who had a brief stint working in animation for Dreamworks and Disney, has since provided finishes for a variety of titles, Judge Dredd Megazine, Marvel Heroes, Marvel Rampage, Transformers: Armada and Panini UK’s Spider-Man among them. The inker of Avatar Press’s Crossed: Wish You were Here between 2012 and 2014, Townsend also contributed to Spider-Man Annual 2015 for Panini and made a fleeting 2015 return to 2000 AD’s companion title, Judge Dredd Megazine after more than a decade. Following that Townsend illustrated a 10-issue run on The Official Ben 10 Magazine for Egmont. These days, however, he spends most of his time producing storyboards for advertising and character designs for the Cartoon Network

Latest Comic Guest Announcement - Alan Davis Attending: Saturday & Sunday Writer/Artist: Excalibur; Captain Britain; The ClanDestine: JLA: The Nail: Killraven: Fantastic Four: The End ALTHOUGH his first published work was providing illustrations to British fanzines it wasn't very long before Alan Davis made his professional debut. That was drawing The Crusader, which appeared in Frantic, a Marvel UK title, in 1981. From there he immediately leaped to the strip that was to make his name... Captain Britain. He drew the British superhero's exploits across a variety of Marvel UK titles from 1981 until 1986. Along the way he also became a regular contributor to 2000 AD (1982-88) and Warrior (1982-84). His US career kicked off in 1985, when DC hired him as series penciller for Batman and the Outsiders (subsequently Adventures of the Outsiders). He drew that title until 1986 when he left it for an abortive run on Detective Comics. In the middle of that he produced his first work for Marvel itself, Uncanny X-Men #213. That 1987 fill-in issue skyrocketed his already growing popularity, which he further boosted with another one-off [#215] alongside New Mutants Annual #2 and 3 and Uncanny X-Men Annual #11. But all of that was merely a lead up to the series that really thrust him into the top rank of comicbook superstardom. Launched in 1988 with the Excalibur Special Edition one-shot, Excalibur introduced a team of mutants based in Britain and led by Captain Britain, with whom Davis has remained firmly associated down the years. It was a huge hit with Davis illustrating 17 of the first 24 issues, returning to the comic just over a year after he left to draw and write another 18 issues between 1991 and 1993. In between his two stints on Excalibur Davis wrote and drew 1990's Wolverine: Bloodlust one-shot and then illustrated the following year's Batman: Full Circle one-shot for DC before focussing his attention on cover work, primarily for DC. Then, in 1994, he launched The ClanDestine, which introduced a new family of superheroes into the Marvel Universe. After eight issues the British writer/artist once again too to concentrating on covers and pin-ups (although he occasionally contributed a story to an anthology by one publisher or another) until 1996 when he produced the X-Men: ClanDestine two-parter. Two years later he relaunched Fantastic Four although he only pencilled the first three issues before moving across to DC to write and draw JLA: The Nail, a three-parter for which he produced a three-issue sequel – JLA: Another Nail – in 2004. Increasingly in demand as a cover artist and despite now preferring to script and illustrate his own projects, in 1999 Davis began drawing X-Men, working on two short runs while also authoring a 15-issue run on Uncanny X-Men. Those took him into 2000 and then, in 2001, he pencilled Superboy's Legion, a DC two-parter written by his regular inker, Mark Farmer. After that came a brief flurry of issues of Avengers for Marvel for which he next illustrated the following year's Spider-Man: The Movie Adaptation. Also in 2002 came Killraven, a six-issue series written and drawn by Davis following which he drew a three-part 2003 crossover that ran through Thor, Iron Man and Avengers. A year later he returned to Uncanny X-Men for a bunch of issues that took him into 2005. His next major project teamed Davis up with Stan Lee, the legendary Marvel Universe co-creator as the pair collaborated on Stan Lee meets Dr Strange. After that 2006 one-shot he moved on to write and draw the six issues of 2007's Fantastic Four: The End and then ClanDestine, a 2008 five-parter. In 2008 he also scripted and illustrated the Thor: Truth of History one-shot but it would be another two years before his output again included anything other than covers and the sporadic fill-in. He drew the five issues of 2010's Avengers Prime and five of Captain America two years later. Then, in 2013, he relaunched Wolverine but drew only 10 of the first 13 issues of the title before moving on to write and pencil the first four of 2014's Savage Hulk. His most recent significant projects were in 2015 when he illustrated three Ultron Forever one-shots, one each for Avengers, New Avengers and Uncanny Avengers, and then the two issues of Captain Britain & the Mighty Defenders.

Latest Guest Announcement - Ramón Rosanas Artist: Ant-Man; Night of the Living Deadpool; Agents of Atlas; Spider-Man 1602 ALTHOUGH his US comic book career didn’t get underway until 2008, Ramón Rosanas had already been drawing professionally in his native Spain for over 20 years prior to that. There he was contributing to magazines, newspapers and advertising (providing art for Coca-Cola, Martini, Yellow Pages and the like) alongside stories for some Spanish comic publishers. Rosanas, who’d briefly worked for Marvel UK in the early ‘90s, made his US debut on The Age Of the Sentry, beginning an exclusive relationship with Marvel that continues to this day. He followed that 2008 six-parter —which he pencilled in association with Nick Dragotta — by working on the five issues of 2009’s Marvel 1602 : Spider-Man and then, in 2010, on the Agents of Atlas five-parter as well as providing a contribution to the one and only issue of World War Hulks. Although the Spanish artist then illustrated a 2011 issue of X-Men Forever, he was effectively absent from the US scene for three years, while he was working in two graphic albums for French publishers – World War 2.2 (for Dargaud) and Fraternités (Delcourt). Both were published in 2013 as was Marvel’s Iron Man 2 Film Adaptation. In 2014, the Spaniard drew his most prestigious project to date, the Night of the Living Deadpool four-parter with the five-issues of Ant-Man and the subsequent Ant-Man: Last Days one-shot following in 2015. As the year drew to a close, Rosanas —who spends much of his time between comic assignments providing illustrations for books, magazines and advertising — came on board to launch Astonishing Ant-Man. It is his first ongoing project.

Latest Guest Announcement - Todd Nauck Attending: Friday, Saturday & Sunday Artist: Nightcrawler; Young Justice; Spider-Man: The Clone Saga; Wildguard; Guarding the Globe; American Dream ALTHOUGH he started off at Marvel in 1992, contributing strips to two issues of the House of Ideas' humourous What The--?! anthology, Todd Nauck's professional career really got underway in 1994, when the artist was hired to work for Extreme Studios. He remained with the Image Comics imprint headed by Rob Liefeld until 1996. Along the way he illustrated all six issues of Badrock & Company alongside a 14-issue run on NewMen, a New Force four-parter and the Power Rangers Zeo one-shot. He also worked produced covers and pin-ups and drew issues of such titles as Youngblood Battlezone, Team Youngblood, Supreme. Then, in 1997, he moved to DC although his first stories didn't appear until 1998. Single issues of Legionnaires and Legends of the Legion, Legion of Super-Heroes and Superboy and the Ravers were followed by Young Justice, which he launched in 1998. Nauck drew all but two of the 55-issues of that title as well as 2000's Young Justice: Sins of Youth two-parter and the first and last issues of SpyBoy/Young Justice, a three-part DC/Dark Horse crossover published in 2002. As Young Justice rolled to its end he also pencilled the odd fill-in for DC but then returned to Image to produce his own title. Launched in 2003, Wildguard: Casting All was the first major publication of a concept that Nauck had used as an ashcan, when showing samples of his work to potential editors at the outset of career. The six-parter featured a team of superheroes selected after "auditioning" on a reality TV show. It was followed by a 2004 one-shot, a 2005 two-parter and a three-issue mini in 2008. All were written as well as drawn byNauck. In 2003 he also drew a three-issue Teen Titans run for DC, following it up in 2004 with the launch of Teen Titans Go! for which he pencilled 34 of the title's 55 issues. In parallel with those he also illustrated 10 2006-7 issues of Friendly Neighborhood Spider-Man, reuniting him with Marvel's web-slinger, who he had drawn in two 1998 issues of Sensational Spider-Man. Then, with his Teen Titans Go! stint coming to an end and after a handful of Marvel fill-ins, the artist then took on American Dream, a 2008-five parter set in the House of Ideas' MC2 Universe. That was followed by the three issues of 2009's Marvel Apes: Prime-Eight. After that Nauck – whose work had also graced issues of various of the web-slinger's titles over the preceding few months – moved on to pencil the six chapters of 2009's Spider-Man: The Clone Saga. After that came four 2010 episodes of Amazing Spider-Man Digital and then the Amazing Spider-Man: You're Hired one-shot. Then, in 2012 and after another flurry of Spider-Man fill-ins, the artist made returned to Image once more. This time working for the Skybound imprint he drew all six issues of Guarding the Globe as well as the 12 of the following year's Invincible Universe. From there he moved back to Marvel for the 12 issues of 2014's Nightcrawler. Increasingly in demand for his covers but still producing the occasional fill-in, Nauck is currently drawing Marvel's four-issue Amazing Spider-Man & Silk: The Spider(Fly) Effect.

Latest Comic Guest Announcement - Jorge Molina Artist: A-Force; What If? AvX; Captain America: Man out of Time A 2008 Pilot Season one-shot for Image/Top Cow was the first story credit for Jorge Molina who had started out a year earlier as a colourist who worked on books for Ape Entertainment, Slave Labor Graphics and UDON Entertainment among others. That Urban Myths comic was followed a year later by What If? Secret Wars, a one-off that led to an association with Marvel that continues to this day. Following in swift succession the Mexican artist drew the X-Men: Manifest Destiny – Nightcrawler one-shot, a contribution to the one and only issue of Models, Inc and five issues of Avengers: The Initiative. In 2010 came the World War Hulks: Spider-Man vs Thor two-parter and an issue of Avengers Academy with 2011 bringing the Captain America: Man out of Time five-parter, fill-ins on X-Men Legacy and Uncanny X-Men and a flurry of issues of X-Men. Those took Molina into 2012 during which time he became increasingly in demand as a cover artist although he continued to fill in on such titles as Wolverine and the X-Men and X-Men: Legacy while being a prime contributor to the four issues of 2013's What If? AvX. A contribution to Marvel's X-Men: Gold one-shot and a three-issue run on X-Force came in 2014, which was when the artist also took to producing covers for DC and for Valiant. Then, in 2015, after a single issue of Thor and years of jumping from comic to comic, Molina took on his first regular assignment, becoming series penciller when Marvel launched A-Force.

Latest Comic Guest Announcement - Dan Cornwell Attending: Saturday Artist: Rok of the Reds FOR CLOSE to five years Dan Cornwell has been honing his craft on the British small press scene, contributing stories to such titles as Dogbreath, 100% Biodegradable and Futurequake. He is now embarking on his first major project, a six-parter for Black Hearted Press. Penned by legendary 2000 AD writers John Wagner and Alan Grant, Rok of the Reds is being launched at London Film and Comic Con Spring, which Wagner is also attending.

Latest Comic Guest Announcement - Doug Wheatley Artist: Star Wars, Blade: The Vampire Hunter; King Tiger FANS OF the sci-fi universe created by director George Lucas will undoubtedly recognise Doug Wheatley's name not only from his 2005 adaptation of Star Wars Episode III: Revenge of the Sith for Dark Horse but also through his work on many other of the Portland, Oregon-based publisher's Star Wars comics, most notably 2006's Star Wars: Dark Times and its sequels. Although he had produced a cover for Star Wars: The Bounty Hunter #3 back in 1999, the Canadian artist's association with Lucas's creation began in earnest in 2003, by which time he had been drawing comics for almost exactly nine years. Hired by Marvel in 1994, Wheatley illustrated a single issue [#18] of Nightstalkers before being assigned as regular penciller on Blade: The Vampire Hunter for which he drew all 10 issues. After those came fill-ins on Punisher War Journal and Conan with 1995's Double Edge: Omega one-shot squeezed in between. The artist next drew the Magic: The Gathering – Elder Dragons two-parter for Acclaim's Armada imprint while also working on Killer Instinct #4 for Acclaim itself and contributing to a 1997 issue [#8] of The Batman Chronicles for DC. After that came the artist's first Dark Horse work although, after drawing both issues of Myst: The Book of the Black Ships, he moved back to Acclaim where he illustrated a couple of Eternal Warrior one-shots for its Valiant imprint. His next project was Hulk/Sub-Mariner '98 for Marvel after which he pencilled all four issues of Dark Horse's Aliens: Apocolypse – The Destroying Angels followed by 2000's Superman: Lost Son of Krypton two-parter and its 2003 sequel, the Superman: Last Stand on Krypton one-shot, for DC. From then until the end of 2013, Wheatley was almost exclusively occupied at Dark Horse with Star Wars although he was also increasingly in demand for covers and pinups. With his work in Lucas's sandbox at an end, in 2014 he contributed to all four issues of Blackout for Dark Horse for which he then drew 2015’s King Tiger four-parter.

Latest Comic Guest Announcement - Jason Masters Attending: Saturday & Sunday Artist: James Bond 007; Batman Incorporated THIS November Ian Fleming’s world-famous secret agent is returning to comics after an absence of two decades. Launching James Bond 007 at Dynamite is Warren Ellis and South African artist James Masters, who is making his UK show debut at London Film and Comic Winter 2015. Masters’ US career began in 2010 at DC, where he worked on titles for the Batman and Superman publisher and its WildStorm imprint before illustrating a three-part story in Batman: Legends of the Dark Knight in 2012. Very soon after he became a regular illustrator on Batman Incorporated, staying attached to the comic for only four issues before moving on to a flurry of fill-ins, including a couple of Guardians of the Galaxy issues for Marvel. Subsequently Masters' work featured in The Vampire Diaries, Legends of the Dark Knight and 2014’s Batman: Futures End one-shot for DC as well as 2015 issues of Wolverines for Marvel before he moved on to Dynamite and James Bond 007, his most high profile project to date.

Latest Guest Announcement - Will Meugniot Attending: Friday, Saturday & Sunday Artist: DNAgents Animation: The Real Ghostbusters; Silver Surfer; C.O.P.S.; Jem; Action Force; Spider-Man and his Amazing Friends; The Super Hero Squad; G.I. Joe: The Movie IT WASN'T until 1983 that Will Meugniot – who was already making a name for himself in animation – really came into his own, at least in the comicbook arena. In the decade prior to the launching of DNAgents at Eclipse, he had contributed to such ground-level titles as Barbarian Comics, Hot Stuf' and Superbitch as well as to Tarzan Monthly for Byblos in the UK before gaining sporadic work at Marvel. At the House of Ideas he worked on a number of series, among them Marvel Chillers and Marvel Team-Up before migrating to Eclipse where he joined writer Mark Evanier as co-creator of DNAgents. The comic ran for 24 issues although Meugniot bowed out in 1984 with #14. From there he moved on to write and draw Pacific's two-issue Vanity, which featured a character he had introduced earlier in 1984 in the Pacific Presents anthology. Since then, as his career in animation has gone from strength to strength, Meugniot has limited his comicbook work to covers and pin-ups with just the occasional story thrown in. Among his subsequent credits have been a 1993 issue of Exotic Fantasies (which he also wrote) for Fantagraphics Books' Eros Comix imprint and 1994's DNAgents Super Special for Antarctic Press. Most recently, Meugniot – who is currently the regular cover artist on AC's Femforce – illustrated one of the stories in Dark Horse deluxe 2015 anthology Edgar Rice Burroughs' Jungle Tales of Tarzan. As for Meugniot's animation career, it began in 1978 when he was installed as story director on Jana of the Jungle. In the almost four decades since he has worked in a variety of capacities – as story director, storyboard supervisor, storyboard artist, writer, producer and/or as director – on a wide range of series. Much of his time has been spent on Marvel titles – The Incredible Hulk (1982-83), Silver Surfer (1998), X-Men (1992-93) and X-Men: Evolution (2002-3) among others. His sundry projects include The World's Greatest Superfriends and Godzilla (1979), The Real Ghostbusters (1990), Captain Planet and the Planeteers (1990-91) and Conan the Adventurer (1992) as well as G.I. Joe: The Movie (1987). Most recently Meugniot was the storyboard artist on The Super Hero Squad Show from 2010 to 2011.

Latest Comic Guest Announcement - Jim Balent Attending: Saturday & Sunday Writer/Artist: Tarot: Witch of the Black Rose; Catwoman For the first eight years of his career, Jim Balent drew for a wide variety of publishers. Starting off in 1985 with a contribution to DC's Sgt Rock #397, his work appeared at Marvel, First, Eternity, Adventure and Harris in such titles as Air Raiders Coloring Book, Nexus, Shattered Earth, Evangeline, From the Darkness and Vampirella. Across the same period he also became in demand for his cover work, especially as he established himself as a leading practitioner of what came to be known as bad girl art. His illo's adorned the aptly titled Bad Girls as well as Bambi: In Heat, Female Fantasies, Razor, Spicy Tales and Witch among others. In 1993, after a three-issue serial for Dark Horse Presents and a handful of fill-ins for DC, his talent for drawing females brought him to the assignment that made his name. He illustrated Catwoman​ for DC for seven years from its premiere issue through to 2000's #77. Along the way he drew Lobo's Big Babe Spring Break Special, Legend of the Dark Claw, Batman: Batgirl, Catwoman/Vampirella: The Furies among other DC one-offs while also contributing to Lady Death in Lingerie, Wonder Woman Gallery and similar titles. When Balent left Catwoman he also left mainstream comics, choosing instead to set up Broadsword Comics to publish Tarot: Witch of the Black Rose, which he continues to write and draw to this day. Broadsword has also released Balent's three-issue 3 Little Kittens: Purr-Fect Weapons​ [2002].