Comics Australia

The Comic Artists of OZ

The Comics Industry of Australia was established in 1908 and since then has a strong market share in the global comics industry- especially in the American Comics Industry. It wasn’t until the early 80’s that local Australian comics would be produced in very low numbers with much of the comic ideas being imported from abroad.


How the local industry was suffering, it was to the credit of local publications that were being produced -like the: Dynamic Dark Nebula which was a graphic novel released in 1982- as well as the Southern Squadron which was released by OZ Comics in 1983. In the mid- 1980’s, there has been a growth of self- publishing Australian Comics. For example, Fox Comics began in 1985 and was published in Melbourne. “Phantasique” was published in 1986 in Sydney and received widespread popularity across the nation- especially due to its contributors Leigh Blackmore and Christopher Seqiera. The Australian based Superhero Comic Cyclone! was also published in Sydney in 1985.

Examples of noteworthy Australian Comics in the 1990’s and the 2000’s include “Da ‘n Dill” [Published by Dillon Naylor], “Dee Vee”, “Platinum Grit”, “Hairbutt the Hippo” and “Batrisha the Vampire Girl in K Zone”. In 2007, the Comics and Graphic Novel Portfolio was established in conjunction with the Australian Society for Authors. The Society was mainly in charge of the interests, needs and work contracts of comic and graphic novel artists and writers. This saw the boom of many Australian artists and it created successful and profitable careers of many artists- also bringing international name and fame to some of them as well. At present, the readership and domestic sales of Australian comics has been rising ever since the above Portfolio was launched in 2007- with sales toppling around $870 Million in 2014 itself. There has also been a steady as well as a continuous growth of comic shops in Australia as well.

Firstly, one of the causes of the above boom of Australian Comics is due to its movie adaptations- which is more popular within the male audience segment, although there are increases in popularity within the female audience segment as well. The above statistics is observed more by comic retailers and publishers at comic conventions, rather than just gathering the raw data and facts from market research. It can also be deduced that the innovations in comics technology has successfully aided in comic artists, graphic novel artists and writers to produce increasingly sophisticated comics- more especially since the launch of the Comics and Graphic Novel Portfolio in 2007. Also, the above standardization has made Comics and Graphics Production a very good career choice for many existing and potential artist and writers in Australia- by creating interesting and intellectual work that beckons the arrival of new budding talent.


Plus, it is also worth mentioning that comics itself can be more interesting than the bland movies of such comics- as they can bring out the vision and illumination of the stories and characters- which can make the reader feel that they wished that such vibrance can exist in real life as well, instead of the slightly less vibrant sector of comic movies. Hence this can attract the attention and inspiration of the reader to be inside the world of comics- or possibly to be a contributor within the comics industry itself.

Comics Australia