Cartoons

Back in the late 80’s and early 90’s of the last century (oh that feels bad) I had a brief but rewarding period drawing cartoons for a magazine called the Freelance Informer. Sadly, that fine magazine for the IT contracting industry has long since published its final issue but it remains a treasured memory.

I drew six panel cartoons and five strip cartoons. They are dated – this was a time when desk top publishing (DTP) was a new thing, and ‘cutting and pasting’ still meant just that (I have kept my scalpel) – and, to be honest, they’re not that funny or even that good. This was never going to be a career because I can’t draw. But I was young and immortal and knew no better. And I liked them.

Looking at them now I’m struck by their innocent air and clean finish. I remember taking great pains to remove all the working lines. and simplify the outlines as much as possible. That minimalistic approach, the polishing to hide the hard work, rears its deceptive head in almost everything I do these days. Blame the 60’s and the cartoons of Hergé and Schulz and Mad magazine. I do.

Foolishly, I didn’t keep copies of the entire magazines, only the pages on which my work appeared – again, my youthful vanity – but I do know the volume and issue numbers, so if anybody is out there that knows the dates please do share them with me. Specifically, they are:

  • Volume 5 numbers 8, 11, 12, 14 and 15
  • Volume 6 numbers 18, 23 and 24
  • Volume 7 numbers 8 and 13
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#AmBroadcasting

IMG_8374I had a great day today. Helen Ottaway, Karen Stewart and Sheila Hedges invited me to their On-Air Book Group and gave me the platform to discuss An Other’s Look and crowdfunding in general – and they gave a big shout-out for where to pledge. It was so enjoyable and I will definitely be listening to their book group next month.  Thanks to everyone at Frome FM for making me very welcome.

FromeFM is a Frome based non-profit community radio station run by Frome Community Productions CIC. Produced by over 100 members, it broadcasts new programmes every month online and on 96.6FM. FromeFM provides niche music programmes; Frome focussed debates and reportage; sustained support for and coverage of the work of community groups; and radio for children.

It’s just great.

Frome FM (96.6FM)

If you fancy some lunchtime conversation, tune into the Frome FM Book Club (96.6FM or online) on Friday, 27th April, at 1pm. I will be talking about An Other’s Look and how I came to write it.

I’m doubly excited about this because we’ll also be discussing Do Androids Dream of Electric Sheep? by Philip K. Dick and The Rabbit Back Literature Society by Pasi Ilmari Jaaskelainen. My book in such exalted company!

The Wrong Story Blog Book Tour

The Wrong Story, is going on a blog book tour. Here’s the poster with its itinerary. I’ve asked it to send postcards. Do you think I should have a tour T-shirt made up?

The Wrong Story Blog Tour Poster

By the way, if you want to help its sibling to get out there and join it, there’s still time to pledge for An Other’s Look at https://unbound.com/books/an-others-look/

The Limehouse Golem review – a big helmet with lots of makeup – 3/5

The Limehouse Golem is a Ripperesque throat-slasher stuffed full of London fog, grubby horse-drawn coaches, grimy cockney characters and naïve prostitutes with dirt smeared on their faces. Was it ever clean in London?

It stars Bill Nighy, Olivia Cooke and Douglas Booth, ably supported by a bald Eddie Marsan who steals scenes and Daniel Mays who wears a big helmet.

Directed by Juan Carlos Medina , based on the book by Peter Ackroyd, Dan Leno and the Limehouse Golem and with a screenplay by Jane Goldman, the film is a convergence of two storylines: a series of explicitly gory and unsolved murders in olde London-town and the trial of a musical hall comedienne Lizzie Cree (Cooke) who is accused of murdering her failed playwright husband. Drawing these strands together is Inspector John Kildare (Nighy) and his sidekick, Constable George Flood (Mays).

Plot-wise, the requisite twists, turns and red herrings of any self-respecting whodunit are all in place, along with the bold device of the audience seeing each suspect in situ as the murderer, but what really keeps us guessing is how much was the makeup bill? Most of it is slapped on the musical hall mentor and star turn, Dan Leno (Booth), but there’s plenty left over for everybody else. My tip for any school-leaver is to forget university, get into the makeup supply business and win a contract for films based in Victorian London. You’ll be on velvet for the rest of your life.

For me, despite the calibre of the cast and crew, it’s the plot-driven narrative that is the film’s weakness (unless you like people being cut up with knives in which case it’s all great). Yes, it keeps us guessing but is that enough? I think it’s reasonable to expect more of the character-driven strands to be developed, such as Kildare’s past victimisation (just say he’s gay and be done with it) and his relationship with his sidekick Flood (just say he’s gay and be done with it), or the way in which the claustrophobic dynamics within the theatre’s ‘family’ worked. Otherwise, why mention them?

The characters are, with the notable exceptions of Lizzie Cree and Dan Leno, thinly drawn. I doubt Flood is meant to be a Watson to Kildare’s Holmes but even so, Daniel Mays must be wondering what is the point of his character other than to take the weight of his considerable headgear. Remove Constable Flood from the film and nothing changes. But it’s Inspector John Kildare who gets most of my sympathy. No DNA sampling, no crime scene forensics, no computers – and he’s being played by Bill Nighy.

Olivia Cooke and Douglas Booth are fascinating to watch on screen because they bring something of the human condition to their characters – but with Bill Nighy the acting is in what he doesn’t do – which is act. With Bill it’s all about the twitches, stares, stiff movements and The Face. The joy is watching Bill Nighy ‘be’. He is a character in his own right who simply has lots of different jobs: louche academic, resurgent pop singer, ageing lover and now a Victorian policeman, Inspector Bill Nighy.

As the credits rolled I was left with a feeling that the likes of TV’s Sherlock and Ripper Street have done this sort of thing to death, and done it well, and that this film needed to be something really special to justify its big screen status, something more than just a neat tale. Sadly, it’s not. I think more bald men and smaller helmets might be called for. And makeup. Lots more makeup.

Reviews and comments

Version 2One of the things I’ve learned (and am still learning) is that once a book has been published, genuine reviews on book sites such as Amazon and Goodreads are like gold. If anyone has read The Wrong Story and liked it, a review on either of those sites would be hugely appreciated. Thank you! And to those that have already written reviews, huge thanks too. You can find out more about The Wrong Story and how to get hold of a copy by clicking here. And you can find it on Goodreads by  clicking here.