The next British comic boom: A vision for growth in the UK’s comic book industry

Comic books are a much-loved part of British culture but the industry that sits behind them has long gone under appreciated. Comic Book UK, a new association representing the UK’s most significant comic publishers, aims to change that and pave the way for the next British comic boom.

Characters like Judge Dredd, Dennis the Menace and Bunny vs Monkey are among the UK’s most successful cultural exports, winning the affection of fans around the world and generating serious revenue in a range of different media. But their origins are in the pages of comics – one of the strongest, but often unheralded parts of the UK’s creative industries.

The UK has an incredible comic book heritage. The distinctly British format of weekly anthology comics dominated newsagent’s shelves for over a century, with readers enjoying titles like ‘Valiant’, ‘Topper’, ‘Jackie’ and ‘Misty’. At the height of their popularity, UK comics were selling millions of copies every week.

Judge Dredd Jock

The contemporary comic scene is a little different. The weekly titles are survived by the long running 2000AD and Beano and have been joined by the more recently launched Phoenix Comic. But they now sit alongside online innovators like web comic startup Fable, graphic novel specialists like Avery Hill and multimedia imprints like B7. Comics are also reaching readers in ever more inventive ways – with direct-to-consumer subscription models and online platforms playing increasingly important roles.

This strength in depth and variety of the UK comics industry is indicative of the growing global appetite for comic book content. This is of course most apparent in Hollywood’s reliance on comic-originated properties over recent years but also in the growing importance of kids graphic novels to the publishing industry and the huge numbers worldwide using comic reader phone apps.

Closer to home, UK comics are foundational to many parts of our creative industries – particularly film and TV. For example, 2000AD’s Rogue Trooper is soon to leap from the page to the screen in a film that recently wrapped at publisher Rebellion’s custom-built studio in Oxfordshire. Comics nurture talent as well as Intellectual Property (IP), with everyone from storyboard artists and character designers often having earned their stripes drawing comics.

Chief Executive of Comic Book UK, Mark Fuller, at Parliamentary Reception

Comics also generate a lot of goodwill and affection – sometimes from the least expected places. A recent Parliamentary reception we held saw MPs and Peers from across the political spectrum cramming in to pick up copies of their favourites and Creative Industries Minister Sir Chris Bryant put on record his love of the classic Trigon Empire strip!

Minister of the Creative Industries, Sir Chris Bryant, at Parliamentary Reception

So, the UK has a long comic book history, a vibrant and diverse contemporary scene, a growing worldwide market to tap into and an important contribution to make to the wider creative industries. The stage is all set for growth, with established and new publishers taking new properties to market in an ever-expanding range of formats. But it is not easy. Because while the act of creating a comic is relatively straightforward – all anyone needs is artistic skill, a good imagination and a pencil and paper – a little more is needed on the business side.

Three things need to happen to support growth in UK comics.

First, we need a supportive policy environment. This means things like targeted tax reliefs that derisk the investment in developing and marketing new titles. It means ensuring that UK comic companies – creative studios as well as publishers – can export to global markets with little to no tariff and non-tariff barriers. And it means ensuring that the value of the properties they invest in is not diminished by any erosion of copyright protection.

Second, we need investment and support from other industries. This means retailers stocking and promoting British comics – particularly as the face of the high street continues to change. It means the world of venture capital recognising the potential returns of investing in comic enterprises. And it means broadcasters, streamers and production studios working with – or potentially establishing in-house – comic companies as relatively low-cost routes to develop and generate early interest in new properties.

Finally, we need to support the industry itself to develop. The UK is awash with creative talent,  but it often needs support to become industry-ready. This means helping aspirant comic creators to develop the professional skills and attributes needed to translate artistic talent into rewarding careers. It also means ensuring comics companies have access to wider skillsets, including the best marketing, business development and innovation talent.

Making the case for all of this requires a cross-industry effort and a dedicated, credible voice. Creative UK does an excellent job of this for the wider creative sector, alongside a multitude of trade bodies representing creative sub-sectors. With the launch of Comic Book UK, the UK’s comic industry can now take its place alongside them and chart a path towards the next great era of British comics.

Written by Mark Fuller

Chief Executive

Comic Book UK