Tag: dublin comic con

News

Limit Break Comics to Release Range of New Books for Dublin Comic Con

Paul Carroll

Limit Break Comics is set to launch five new books at Dublin Comic Con this coming weekend, March 12 and 13. Among the new releases are second issues to the collective’s 2019 titles, Meouch and Plexus, and the introduction of a new creator.

The five books to be launched at Dublin Comic Con consist of: Meouch #2, an action comedy for grown-up kids; Plexus #2, a science fiction anthology series focusing on human connection; LENS, an espionage thriller collected in print for the first time; Old Game Plus #1, a collection of shot comics inspired by video games, and; Limit Break Presents #1, a new anthology series of stories connected by a theme. The new titles serve to re-introduce the collective to the Irish convention scene following the cessation of events during the Covid-19 pandemic.

Meouch #2 picks up where the 2019 issue left off. Creators Gareth Luby (Artist) and Paul Carroll (Writer) teamed up with Rebecca Nalty (IDW, Boom!) on Colours and PanelXPanel Editor Hassan Otsmane-Elhaou on Letters to bring the next chapter in the story to press.

Plexus #2, written and lettered by Paul Carroll, features three stories illustrated by Irish artists: Leeann Hamilton, Barry O’Sullivan, and Donna A Black. The stories focus on human connections, and the monsters we meet along the way.

LENS, written by Gary Moloney with art by Raquel Kusiak, is a one-shot following Jane Danner, an award-winning photojournalist by day, assassin by night. The first chapter of LENS was published in Bun&Tea, with the whole story collected in print for the first time.

Old Game Plus #1, written by Seamus Kavanagh, introduces Kavanagh as a creator for Limit Break Comics. Kavanagh’s stories – illustrated, coloured and lettered by an all-star collection of creators – are inspired by a range of video games across multiple genres.

Limit Break Presents #1 collects three stories, written by Gary Moloney, Paul Carroll and Seamus Kavanagh. The trio of writers are joined by John McGuinness and Rebecca Reynolds on art, Ellie Wright on colours, and Hassan Otsmane-Elhaou and Alice Coleman on letters. The book serves as the first issue in a series, with stories connected by a single theme.

Along with its new titles, Limit Break Comics is bringing Turning Roads to an Irish convention for the first time. The book was featured in the Irish Times list of Graphic Novels 2021 and awarded the Irish Comics News Award for Best Anthology 2021. It contains 18 short stories by 35 creators, telling stories inspired by Irish folklore.

Limit Break Comics is a Dublin-based comic publisher, formed on the back of a shared desire to see small press comics grow in Ireland. It was founded by Paul Carroll, Gareth Luby and Gary Moloney.

Article

#ComicsAtDCC 2017

Paul Carroll

The biggest weekend for Irish comics is here: Dublin Comic Con. Thanks to Declan Shalvey, the hashtag #ComicsAtDCC began on Twitter, making the job of easily identifying what’ll be available that little bit easier. I’ve gathered a bunch of titles here from what I know about and what I could pick up info about online.

All Ages Comics

Going by my own experiences attending Dublin Comic Con in the past, the All-Ages titles are few and far between. I’ve collected the few that I know about here, to make things easier for readers with kids to find something age-appropriate for them.

Fate by Anthea West. Click here for our review.

Freya, Written by Tracy Sayers, Art by Trisha O’Reilly

Wren #13, Written by Paul Carroll and Jason Browne, Art by Jason Browne, Lettered by Phil Roe

Rabbit and Paul Cover
Rabbit and Paul, by Seán Hogan. Click here for our review.

Small Press

The remainder of the Irish small press, as far as I know, is not quite as suitable for children as the above comics. While some titles may be – it’s a judgement call by parents – there are some that might traumatise kids.

The Guards
The Guards, Written by Shane Ormond, Art by Kevin Keane

Chuck, Written by Paul Carroll, Art by Conor Carroll

100-times-cover
100 Times, by Katie Fleming Deluxe Edition launches at Dublin Comic Con with additional material. Click here for our original review.

Brain Fetish Cover
Brain Fetish by Kinga Korska. Click here for our review.

Carrie & Rufus, by Ben Hennessy

The Broker, Written by Wayne Talbot. Massive creative team listed in review

Will Sinister, Written by Hugo Boylan, Art by John Quigley. Check out our review here.

Clone, by Hugo Boylan, Tara Ferguson, Rebecca Reynolds and Kerrie Smith. Check out our review here.

Hoda Machine, by Leeann Hamilton

Red Sands, Written by Ciaran Marcantonio, Art by Cormac Hughes, Colours by Triona Farrell

How to Live With Your Cat, Written by Paul Carroll, Art by Gareth Luby

Meouch, Written by Paul Carroll, Art by Gareth Luby

The Waves That Breaks, by Aaron Lotsy

Frozen Waste, Written by Aaron Fever, Art by Clare Foley

The Fort Night Comic Project, Written by Dave Hendrick, Art by Peter Marry, Colours by Dee Cunniffe

solstice-1-winter-cover
Solstice, Written by Danny McLaughlin, Art by Nathan Donnell. Books 3 launches at Dublin Comic Con. (As far as we are aware!)

project-crossroads-cover
Project Crossroads, Art by Seán Hogan, Stories by Hugo Boylan, JP Jordan and Adlai McCook, Colours by Stephanie Reville and Dearbhla Kelly, Letters by Kerrie Smith, Flats by Louise Fitzpatrick. Check out our review here.

Solo-Q by Jeklly Draws

Special Mentions

Sometimes, writers and artists work on things that aren’t comics. Launching at DCC, or just released this year, are:

Maelstrom, by Paddy Lennon – Book 3 of the Flare Series

A Little Book of the Coen Brothers, a Sketchbook by Brian Burke

A Death in the Family, by Paul Carroll, launched at K-Con earlier this year

Guests

As well as all of that, attendees will also be treated to the presence of a few of Ireland’s greatest comic creators, including Will Sliney, Declan Shalvey, Stephen Mooney, John Cullen, Triona Farrell, and Robert Carey. Anthea West and Leeann Hamilton, whose books can be seen in the list above, are also on the billing.

It’s going to be a busy weekend. There’s a lot to look at it, so many books worth reading, and so many artists and other creators whose work cries out to be picked up.

I’ll be in attendance as a vendor this year, but I had the utmost pleasure of getting to review a lot of the upcoming books for this year’s event. For those who don’t know, I’m Paul Carroll – just breaking into comics, hence the plethora of new books. Because Comix Ireland is a one-man show, you won’t find reviews of anything (or by anyone) I’m involved in (with) here, which includes anything by Gareth Luby, Tracy Sayers, or Jason Browne of Buttonpress. There’s objectivity, and then there’s bias, and the line gets a little bit finer the closer you get to a book. As for every other book on the list, you’ll likely see reviews popping up ahead of other events. I personally can’t wait to see what these amazing creators, and the ones who aren’t on this list, have to offer in the years to come.

Reviews

Review: Fate

Paul Carroll

One of Ireland’s longest running web comics is taking its first three chapters and going into print. Fate, by Anthea West, is launching with a collected volume of its first three chapters (and an exclusive print-only prologue!) at Dublin Comic Con this year. The book comes with cover colours by Triona Farrell, a map by Katie O’Meara, and additional colours by O’Meara and Rebecca Nalty. Following an incredibly successful Kickstarter earlier this year, West is ready to bring her beloved back to the convention floor.

Fate is an all-ages comic that combines West’s great sense of humour with a fun and vibrant adventure story. Following the misfortune’s of the only talking dustbunny – later named by another character as ‘Bunny’ – Fate builds up a large, fantastical world with each twist and turn. In a world populated by humans, fauns, dustbunnies, mermaids and demons – and probably a whole lot more – there’s a lot to be discovered with every turn of the page and addition to the site.

West’s sense of humour and style of illustration are perfect for her intended audience, painting a colourful story world filled with friendly and easy-on-the-eye protagonists, and menacing beasts with their eyes (and stomachs) settled on hunting down Bunny. With her art loaning itself equally well to its adorable protagonist and all the nastiness that aims to devour him, readers are in for a visual delight.

The book is certainly a lot less serious than most of the other titles released by Irish creators, but that doesn’t stop it dealing with themes of friendship, prejudice, and finding courage as an unwilling hero. While it’s still quite early in the tale, there’s a lot to uncover within the story about the world, its people, and the things that bind them together. Definitely one to check out, especially if you’re looking for something child-friendly from the Irish small press creators.

Check out Anthea on Twitter at: @antheawest

 

Reviews

Review: Clone

Paul Carroll

Clone is another new comic from Hugo Boylan, one of Ireland’s most prolific small press writers. This time, he’s teamed up with Tara Ferguson on the story, who also took up the role of artist for this mind-mess of a comic. Joined by Rebecca Reynolds on colours and Kerrie Smith on letters, this is one of those books that makes you question everything from dinner to your reflection (and, in some cases – like mine – your twin brother.)

I was warned that this would be a weird book. I did not expect this sort of weirdness. It’s the sort of lingering weirdness that akin to sand on a beach, getting everywhere, even long after you think you’ve cleaned it all up. But it’s also akin to the lasting sensation of a good drink. It’s maybe not good for you, but you want it to last a little bit longer.

When dissecting a comic, I don’t normally start with the letters, but as Smith’s intelligent design in the book comes early in the story, I’ll start there. A pair of stories unfolding simultaneously in the book’s opening pages requires either (a) the audience to figure out which is more important or (b) smart lettering. Smith helped with the latter, adding opaque speech bubbles to the messy subplot of the first act. (I mean messy in a “get it off me” sort of way; on a narrative level, it worked incredibly well.)

The story deals with a lot with identity, responsibility, regret, and insanity. There’s not a lot to say that won’t spoil the book that’ll spoil your appetite, so let’s say this: I really enjoyed the story – which isn’t for everyone, but which is worth trying – and while I won’t say it had a nice ending (nice in the “you look nice” sort of way), it was ended well. Nothing in the story is “nice”, which is perfectly fine for a book that doesn’t pretend to be something it’s not.

Ferguson’s art style is simple, but suitable. With a relatively complex story to tell in a few short pages, there’s no room for playing around with mind-numbing artwork – though I can see something more complicated being suitable for her storytelling in the future, if this book is anything to judge her taste and style by. I should note, simple isn’t a bad thing. Simple makes the story tell itself, and simple worked. The visual elements of the book were, when they weren’t supposed to be otherwise, easy on the eye. There’s a lot to fit into the book – a lot that’s supposed to look the same, if the title didn’t give that away already – and she didn’t let herself down.

Adding the Reynolds’ vibrant colours, we’re given a slightly chilling dichotomy of easy-on-the-eye images against a story that might make you want to rip your own eyes out – just to be safe that what you’re not seeing isn’t there.

Again, this isn’t a book for everyone, but fans of sci-fi horror would probably find something they like in it. It’s worth trying, and it’s worth telling Hugo and Tara how insane they probably have to have been to write this book. The comic launches at Dublin Comic Con on August 12th.

Check out the creators on Twitter:

Hugo Boylan: @hugoboylan

Tara Ferguson: @TaraaFerguson

Rebecca Reynolds: @brobexx

Kerrie Smith: pocketkerrie

Reviews

Review: The Broker

Paul Carroll

Launching at Dublin Comic Con, The Broker is the first book from podcaster Wayne Talbot. The book has an interesting publication history (and it’s not even out yet!), originally intended to be released across three anthologies by Lightning Strike, and changing creative teams when it stood out by itself. The original creative team consisted on Wayne Talbot as writer and Miriam Abuin on lettering, both of whom remained throughout the entire project. For the book’s first act, pages 1-10, Ruairi Coleman served as artist, with Timothy Brown on colours. For the remainder of the book, Brian Corcoran assumed the role of artist, with Talbot picking up colours. Ciaran Marcantonio resides over the book as editor as it reaches convention tables for the first time.

The plot of the book seems less tedious after putting the book’s history into words; conceptually, it’s simple, and thematically appropriate for the current political climate. Talbot deals with corruption, brutality and conspiracy throughout three acts, pacing the tale incredibly well across each part. The protagonists are believable in almost every aspect – we’ll let the team away with the superb reflexes of their heroes due in part to the fact that comics allow a certain distinction from reality. Nothing is held back between the twists and turns of a plot centring around Brokers with their own visions of how the world should run, and wicked and scrupulous means of achieving their goals, playing with lives as chess pieces.

Readers can be understandably concerned when they hear about the change in artist between two parts of the story, but fear not: Coleman and Corcoran’s styles compliment each other well. Where Coleman dealt with some of the more explosive scenes of the book, relying on dynamic movements between panels, Corcoran deals with the forensics in greater capacity, picking apart the plot with a fine pen. It helps that each artist deals with a different primary protagonist, with Corcoran and Talbot creating a new tonal quality to the book as it enters its second act. Talbot and Brown’s colours blend well together, and while I would personally question one particularly vibrant background colour choice, Talbot succeeded in completing the colouring of the book as well as any seasoned creator could hope.

Between them, Talbot and Brown created a theme of colours to track throughout the book, working with Abuin’s lettering to tie the whole piece together neatly. Reds carry violence, purples hint at the presence of the antagonists, and oranges case a light on Catelyn’s past.

The risks involved in changing teams are many, but a book like The Broker was perfectly designed to make use of it in the best way. I would question it if the division in acts wasn’t apparent in the writing, too, and any reader should worry when they see such a drastic change in a book’s lineup; thankfully, The Broker blends its second team’s styles with its original creators.

A couple of side notes before I finish: I love that there’s a soundtrack to listen to while reading the book (interior back page, for those of you yet to read the book), and; Catelyn is perhaps my favourite single character from an Irish small press book. As well as being incredibly Bad Ass, she has a few choice panels that really stand out for me towards the end of the second act. When you’ve read the book, then you can ask about it if you don’t immediately spot what makes her so relatable.

I look forward to something new from Talbot, whichever creative team he works with. And, while this is no criticism of The Broker, I’m thankful that the next project he’s announced is less contemporary in nature, so that we might see more of how he creates, and less of the current politics that fills newsfeeds daily.

Follow the creators on Twitter:

Wayne Talbot: @waynetalbot

Miriam Abuin: @miriamabuin

Ruairi Coleman: @ruairicoleman

Timothy Brown: @artoftimbrown

Brian Corcoran: @_brian_corcoran

Ciaran Marcantonio: @ciaronious

Reviews

Review: Will Sinister

Paul Carroll

One part Western, one part ‘whatever-we-can-call-Boylan’s-creative-madness’, Will Sinister is one of a few new books launching at this year’s Dublin Comic Con; we were lucky enough to be sent an advanced review copy. Hugo Boylan (Malevolence, High Fantasy, Black White and Grey, Superhero Helpdesk… you get the picture yet?) teams up with artist John Quigley (Malevolence) and letterer Kerrie Smith (Girls Like You, Superhero Helpdesk) to bring us a new tale of death, violence, and broken expectations. With Dearbhla Kelly on cover colours, it makes for a pretty package with a rustic interior.

There’s an expectation from the book’s beginning for there to be some traditional gun-slinging and contextually appropriate racism (maybe not slurs, exactly…but hate), and in many ways we’re not disappointed. There’s a clear divide between the “cowboys” and natives, and an unravelling tale behind this particular snippet of history.

Typical of Boylan, there’s a twist in the feel of the book; also typical of him is the unpredictability of when something like this will happen. The particular splicing of spirituality with the Western tale is reminiscent of Jonah Hex and Preacher, and while the later arc of the book raises a few questions about the history of the comic’s scruffy protagonist that aren’t quite addressed, the blending of the natural and the supernatural works incredibly well in Will Sinister, while preserving the character’s dodgy integrity.

Quigley’s art gives the story a rustic, wild feel, perfect for the brutality of the dark reality of the era. Expertly capturing distress, agony and disgust, and he creates a visually disturbing narrative, with a few choice character designs standing out. As a bonus, the book contains the concept art for Sinister and his most intimate, primal companion. Perhaps its a bias for Irish small press, but it stands out as one of my favourite representations of the character.

Adding to the tale are Smith’s experienced lettering hands. There’s a sense of power given to certain characters, and the barriers between the natural and the supernatural are broken down further still with her inclusion in the book.

If I had to criticise the book, my one judgement would be that I felt like we’re left with a loose end or two by its final page, and no promise within its pages of a follow-up. Maybe it’s a personal thing, and a familiarity with continuing narratives across multiple books, but when a book ends the way Will Sinister does, I’d like to think there might be something to come later, and an opportunity for unanswered questions to be resolved. Don’t let it put you off picking up Will Sinister at Dublin Comic Con; think of this as an excuse to keep an extra close eye on future releases from this team of creators.

(Update: the story will continue. Confirmed by Hugo Boylan shortly after this review went live.)

Follow the creators on Twitter:

Hugo Boylan: @hugoboylan

John Quigley: @johnquigley209

Dearbhla Kelly: @dearbhlala

Kerrie Smith: @pocketkerrie

Reviews

Review: Red Sands

Paul Carroll

‘Mad Max’ meets vampires in Red Sands issue 1 from Lightning Strike Comics. I received a digital copy of the comic from the book’s writer for review. Written by Ciaran Marcantonio, illustrated by Cormac Hughes, coloured by Triona Farrell, and lettered by Bob Kelly, the book collects two parts of a tale originally published in Lightning Strike 6 & 8.  

While the divide in the story as a result of how it was originally published it slightly jarring (right up until the next page turn, that is), each part of the story presents the reader with different sets of information, and charges the tale with tension amidst the dystopian history lesson. Years of working in comics – and a collection that would leave casual buyers in awe – have prepared Marcantonio for the creation of this horrid world, haunted by a burning sun, long nights, and bloodthirsty vampires. There’s a nice blend of tension-building with the narrative guidance of the book’s protagonist, providing us with all the information we need to understand what’s happening in the moment, without providing all the answers.

Hughes’s artwork loads itself well to the style of the story. Snippets of gear changes and exploding blood bags capture quick movements, while lines of tension are drawn between panels as characters square off against each other, poised for strong words. With the addition of Farrell’s colours, the story is brought to a dark and bloody life. Cool blues and stark yellows dominate the pages of the book, with deep reds drawing bloodied warning lines throughout the book.

There’s a lot to like about this book. Dealing with issues of parentage, survival and the common good, this vampire dystopia is much more than meets the eye. The book is reminiscent of classic genre flicks from the 80s and 90s, from Mad Max 2 to From Dusk Till Dawn, with a climate change apocalypse thrown in for good measure.

While the exact cause of the events that led to Red Sands is still uncertain, one thing is clear: dying is almost inevitable. The sun will burn you up, human or vampire. The vampires will drain you as quickly as you drain your fuel tank. And, if Red Sands Testament (Writer: Marcantonio, Artist: Robert Carey, Colourist: Ruth Redmond, Letterer: Miriam Abuin) is anything to go by (a bonus story at the back of the book!), the battle is being fought on all fronts.

Red Sands is definitely one to check out for horror and sci-fi fans, and to give readers a good idea of the sort of stories Marcantonio can tell ahead of his upcoming graphic novel Neon Skies.  

Check out the creators on Twitter:

Ciaran Marcantonio: @ciaronious

Cormac Hughes: @fhiacha

Triona Farrell: @treestumped

Robert Carey: @robcareycomics

Ruth Redmond: @ruth_redmond

Miriam Abuin: @miriamabuin

Dublin Comic Con
Article

Dublin Comic Con 2016

Paul Carroll

Dublin Comic Con opened its doors on a sunny Saturday morning to the general public; those of us near the front of the line had some refuge from the blistering morning sun – we’re still suspicious of that, given the history of Irish weather – and waited a good two hours to get in.

And it was worth it.

DCC was filled to the brim, with attendees in plain dress and costume, vendors with all manner of geeky wares, and artists – writers and illustrators both – manning the tables in the Artists Alley.

Photos were posed for, money exchanged hands, people were heard screaming with delight – and occasionally telling a Jon Snow cosplayer that he knew nothing, or informing a Wally that he had been found – at the various items around the room, and marvelling at the cosplay outfits.

And me? I was making my rounds. Several times a day. I eyed up the tables, I ignored my shopping list altogether, and I earned the title I would later be given: the Patron Saint of Small Press. Below are my comic purchases from Day 1.

100 Times, Helion #2, The Circle, Flare One-Shot, Malevolence, Finn & Fish The Rinse Cycle #2, Finn & Fish The Wash Cycle, Rubenette Preview, The Guards
100 Times, Helion #2, The Circle, Flare One-Shot, Malevolence, Finn & Fish The Rinse Cycle #2, Finn & Fish The Wash Cycle, Rubenette Preview, The Guards

Day Job, Big Bastard #1-5, Wren Vol.1 (colour edition), Stoat #1, "3"
Day Job, Big Bastard #1-5, Wren Vol.1 (colour edition), Stoat #1, “3”

Hound 2, Con Jobs, Something in the Tae, Schlock, An Bruid on the Moors Part One, Oh No Comics!, The Warrior Maidens, Sakura #1
Hound 2, Con Jobs, Something in the Tae, Schlock, An Bruid on the Moors Part One, Oh No Comics!, The Warrior Maidens, Sakura #1

Innocent Tales #1-3, Pulp Stories, Paul J Bolger Inktober Sketchbook, Sleep Tight, Rover Was Here
Innocent Tales #1-3, Pulp Stories, Paul J Bolger Inktober Sketchbook, Sleep Tight, Rover Was Here

A Clockwork Universe, Phantom 80th Anniversary, Speakeasy, The Fantastical Sombrero, None Shall Pass (Preview), Double Dead
A Clockwork Universe, Phantom 80th Anniversary, Speakeasy, The Fantastical Sombrero, None Shall Pass (Preview), Double Dead

On Sunday, I  also managed to pick up Girls Like You and issues 1-3 of High Fantasy from Hugo Boylan. He was quite convincing. (But not enough to make me get even more books, because I figured 43 comics was a decent cut-out point.) Over the weekend, my stock of prints also got bigger, with a couple of Seán Hogan (Rabbit and Paul), as well as a healthy dose of nerdy merchandise (including a Spider-Man slate coaster, a wooden box with the Flash emblem on it, and a Bulbasaur plushie, because starter Pokémon are important.

Sunday also provided an opportunity to learn more about the Small Press process, from a panel of experts.

Small Press Panel. L-R: Seamus Kavanagh, Eoin McAuley, Leann Hamilton, Kinga Korska, Keith Keane, Hugo Boylan, Paul Bolger, Charan Marcantonio
Small Press Panel. L-R: Seamus Kavanagh, Eoin McAuley, Leeann Hamilton, Kinga Korska, Keith Keane, Hugo Boylan, Paul Bolger, Charan Marcantonio

The lessons learned were invaluable; from a writer’s perspective, the most important tip was to respect the artist, and do all of the other work for the comic so that they don’t have to.

Comics are such collaborative works – evident by the title pages of many of the con’s debuts – and the community in Ireland so close-knit, that this vital lesson is one worth remembering and repeating frequently. The atmosphere at DCC was all about the community that has formed around these little (and sometimes not so little) books, and encouragement is never far away.

Everyone who participated in the weekend’s affairs are likely experiencing the same double-edged side-effects of a major convention: excitement for comics, and exhaustion from a weekend of talking about them. Needless to say, there’ll be even more amazing work at next year’s event, and from more creators. A guided tour of the Artists Alley (from me – Paul Carroll) for a friend, Tracy Sayers, showed just how welcoming the community can be, and I know that we’ll each be exciting to join their ranks in the near future.

Flare One Shot Cover
Reviews

Review: Flare One-Shot Comic

Paul Carroll

This site is new. Reviews are new to this site. Paddy Lennon graced me with a digital review copy of the Flare One-Shot comic earlier this week, and it should be said that I typically avoid reviews due to the struggle of maintaining objectivity. in lieu of an official review policy and statement (maybe when the DCC madness subsides I can get on that), please accept here and now that I will not be giving a star-rating on any reviews here. What I will do is tell you what I liked, and point out some things that I thought might have helped improve a comic, coming from someone with a storytelling background and some limited experience in design and illustration.

 

Onto the review!

One thing that should be noted about this one-shot comic is that it isn’t a single, self-contained story. This has its ups and downs. On the plus side, we get a nice introduction to three distinct protagonists. I liked the different stories told within the comic book. They were unique tales, told from very different worlds, but all by one author; they shared a voice, and it was a comfortable read. On the flip side of this, there’s a regrettable absence of depth to the stories overall. I was keenly aware that there were larger stories being hinted at within the pages of the comic, but before we were given any further experiences of the characters or the world they inhabit, the next story would begin.

Don’t get me wrong, this was a fun book. The collection was enjoyable. Paddy Lennon can certainly tell a good story – he does it three times within one issue. I only wish the stories might have been longer. (The related novels Lennon wrote before this comic, I suppose, are where we might get our fix of the longer stories.) For newcomers to Lennon’s work, there can be an absence of backstory to everything that happens within the pages of this book.

However, despite the limited length of the stories – understandable given the constraints of a single-issue comic – they work well as a set. Perhaps more significantly, Lennon and co. told these tales with different illustration styles taking control of each story. Where First Date is told as a full-colour, vibrant superhero tale, Wolfhound is a gritty, scratchy noir tale. The final story, One Day in Tokyo, is told with a mix of the vibrancy of First Date, with a nostalgic pallet during the story’s most critical points.

The creative team behind the Flare One-Shot comic say an awful lot together, demonstrating the amazing potential of this comics team. While readers may find themselves looking for more, we can rest assured that Lennon’s stories are not confined to panelled pages – Flare and Shooting Star are both also available as novels, minus the graphic elements. The book is definitely worth checking out, and launches at Dublin Comic Con 2016.