Finally it's here.  The long awaited full history of Newton Comics, the Australian publisher of the 1970s, complete with scans of every single comic that was issued and a plethora of rarely seen collectibles, most of which have never been seen since they were published, and a host of previously unseen and unearthed documents. Features an introduction by noted Australian comic book historian Kevin Patrick and an afterword by long time Newton Comic collector and author Robert Thomas. In this book you'll read how a maverick publisher, Maxwell Newton, was able to get the license to publish Marvel Comics by stealth in the 1970s. You'll read how the comic book line started, how successful it was and how it all fell apart with spectacular results.  This is a story that anyone who has an interest in comic books - especially Marvel Comics and publishing needs to read. It's a story that has never been told in it's entirety before, even people who were at Marvel at the tim

 As people who read this blog would be aware by now, my good friend and legendary Batman artist Norm Breyfogle suffered a stroke last week.  As he lives in America his medical costs are through the roof.  Right now all his life savings are being pumped into making sure he recovers fully, but it's not enough - more is needed. Norm's brother, Kevin, has set up a page to raise funds for Norm's on-going rehabilitation.  If you've ever read a comic, or like art then go and donate.  If you're an artist then grab some art, throw it onto eBay or elsewhere, sell it and donate the proceeds to Norm.  And you should do this.  I've known Norm for over ten years now and I know for a fact that each and every time he's been asked to donate for a fundraiser for an artist, a writer or anyone really, he's been there.  He's given art freely, he's drawn sketches, offered commissions and donated valuable pages in order to help his fellow human beings.  He's gi

People often ask, how is that DC Comics can license characters such as Constantine without worrying about crediting or even paying the creators? How is that the second Swamp Thing movie was made, using concepts and, in some scenes, entire dialogue lifted directly from the Alan Moore/Steve Bissette/John Totleben run without fear of retribution?  Well, here is your answer. This is the rarely seen contract that DC Comics signed with Swampfilms Inc in October 1980. Swampfilms Inc was one of those faux Hollywood companies set up with the sole purpose to register a copyright, obtain rights and make a movie. Its VP was none other than Michael Uslan, who also managed to get the rights to Batman for every Batman film from the Tim Burton reboot to The Dark Knight Rises, and the forthcoming Batman v Superman. As an aside, Uslan, whose name appears on films generally before, and with far more prominence than the creators of the works he produces, is a very, very rich man due to his busin

Toth by Michael Netzer Alex Toth should need no introduction to anyone with even a passing interest in comic books and art.  Toth began drawing comic books in the 1940s and was widely regarded as being one of the most visionary artists to ever grace the medium.  His influence can be seen on any number of artists, from Ross Andru and Doug Wildey through to Steve Rude, David Mazzuchelli and Tim Sale, Toth left an indelible impact.  His art work transcended what people believe is comic book art and entered the realm of fine art and his work remains in print and is keenly sought after.  More than that, Toth was a scholar of art and comic books and was widely versed in its history. He was also an avid correspondent, albeit one that had a reputation for not suffering fools lightly and for being abrasive and brutally honest and blunt in his appraisals of others and his views.  In 1960 Toth moved into the field of television animation where, as with anything he would do, he left his mark