THOUGHT BUBBLE MONTH 2025! This weekend Thought Bubble hosts drop-in portfolio review sessions. Organised by that great comics community booster Alison Sampson (Winnebago Graveyard, The Department of Truth, Sleeping Beauties) has put together a remarkable pool of talent to provide these free reviews at the event this year. It includes Stephanie Hans, Declan Shalvey, Caspar Wijngaard. Patrick Horvath, Ahmed Raafat, Jacob Phillips, Sean Phillips, Michael Kennedy, Jim Zub, Lauren Knight, Dave Wachter, Donya Todd, Marc Laming, Abz J. Harding, Zara Slattery, Charlie Adlard, Shazleen Khan, Marc Ellerby, Christian Ward, Paul Cornell and, of course, Alison herself.
These are drop-in sessions and you can find out more on the Thought Bubble site which has the full details here. We caught up with Alison to chat about the thinking behind this important piece of programming, why comics community matters, and some supportive highlights from 2025. And we also have some contributions from some of those creative forces taking part too to round things out.
Don’t forget that we also chatted with Alison about her own practice here at Broken Frontier earlier in our Thought Bubble coverage.
ANDY OLIVER: How did the idea of the portfolio reviews at Thought Bubble come about and what can participants expect from the experience?
ALISON SAMPSON: Having a portfolio review at Thought Bubble (with Steve Wacker, who at that time edited Spider-Man), on my first visit, with my first comic, was a formative experience for me in making comics. I asked him if it was worth me continuing and he said yes, and I did and although that was a very simple thing it meant a lot and here we are. So I know it can sometimes just take a few words to do much. A decade and a bit later and I was asked to help judge the 2000 AD art competition (which is essentially a set of public portfolio reviews) and it seemed to be useful and constructive and I thought we could offer this as a service.
We all remember about how important these reviews are. Every convention I do, I meet people wanting to make comics and we chat and that conversation is important, not in an abstract sense, but in terms of how people feel about the whole thing and also often in an incredibly specific way. I’ve spent my entire working life bringing people together to build things, and things have been built *and the environment is better*, and it is very difficult to stop doing that when you realise how easy it is. Given that to me Thought Bubble is tightly bound up with not just reading but making comics it seemed right. I asked the Thought Bubble directors if we could do tag team reviews and they offered space, if I organised. Thanks to Amy, Martha and Chloe for making it possible.
For what people can expect:
– To be welcomed. These reviews are for anyone of any age or level of skill, if they have finished sequentials they would like to show and hear back about. There is no lower or upper limit on age. It is never too late to start. Even as I write this, ahead of time, it is not too late to start. All you need to do it turn up with your finished work in physical form (or on a phone or tablet if it is a webcomic and has to be read through that medium).
– Safety. The whole thing will be looked after by volunteers, you won’t have people craning over your shoulder and there is nothing to be nervous about. You are just the same as us, just maybe at another point in the timeline. It’s a conversation between equals.
– Generosity. Even though the reviews are limited to five minutes (so as many people as possible can get a turn), there is a lot that can be fitted into that time. The reviewers will offer what they can and with a couple of centuries of experience between us (especially if you have more than one review, which you can) that is pretty good.
– To be seen. I’m personally very excited to see what people bring, whether it is potential, or polish or love for the craft or care, or enthusiasm, or just the thrill of discovering a way of expression, or all these things, or even, blazing raw talent. One of the most important things artists have to learn is to show their work. It’s never a bad time to show your work.
– Answers, maybe. Bring your questions. I’m not the only person to ask ‘Should I continue with this?’. There’s been several times when my answer has been ‘You should show that to as many people as possible, right now’.
– Questions, certainly. Given a review is supposed to be about finding ways to move up, there will be comments and suggestions and it won’t be the reviewer figuring out what to do with those.
– A new point of view. We aren’t releasing who is reviewing when as we are deliberately wanting to mix it up. See someone whose work you do not know and get a new perspective. All the reviewers have much to offer and you might be surprised at who is good at what.
– Brevity. It is only five minutes so people should decide carefully what they want to show, edit it down to eight pages or under (putting markers in books or zines works), think what they would like to ask and take note of the answers. Be organised, turn up early, bring a pen and paper and you’ll get the most out of the opportunity.
AO: Comics can be a very supportive scene in the UK but it’s also a very tough one. How important is the idea of comics and community to you? And how vital is it that we all do what we can to elevate and promote the people around us in the community?
SAMPSON: Put simply, we can do better as a team than individuals, helping each other yields more value than not helping each other, and if we try and make the environment better, it’ll be a better environment for us. It is, frankly, a piece of piss to write a helpful email, and that can have a disproportionate value for someone. As I recently found out when I was told that Rob Davis wrote to Tom Humberstone recommending me for the Solipsistic Pop anthology, when I had not at that point drawn any comic at all. If he hadn’t done that, I would not be writing this. You reap what you sow, etc.
Everything we have depends on something falling into place and there’s a responsibility, almost, to pay it forward. Also, the gig is not just to promote within the community, it is to *build* the community. Meeting up for drinks, turning up for other people’s launches, playing a daily game of Wordle in a group, making a co-working space online. Welcoming visiting artists, Boosting each others work. Turning Up is important and it is something everyone can do.
I’m not one to pull up the ladder, why would one do that? I’m in favour of multiple ladders, more pies, different flavours of pie, bigger ladders, bigger pies, ladders all over the place, pie everywhere and everyone getting a slice. It is not a zero sum game.
AO: What have been some of the highlights in terms of boosting the medium and those that work within it in the UK in the last year for you?
SAMPSON: Actually a really hard question to answer as my main job is to draw and sometimes write comics, and anything like this is kind of what I might do as some kind of sidebar and I don’t tend to think too much about it. Or – some things are best left under wraps. But there are few big areas in the UK I can say about straight away. Thought Bubble continues to support, exhibit and help develop comics in the UK and reaches out into the community, LICAF puts UK comics in a broader context, MCM London shows how diverse both makers and readers can be – and introduces the medium again and again to new people, especially as the owner ReedPop strengthens the connection with the London Book Fair.
Broken Frontier provides pipeline, Down the Tubes and Bleeding Cool document. Karrie Fransmann has been on a tour representing comics to book publishers. Hannah Berry has been surveying the community, The Comics Cultural Impact Collective have presented a document to the UK government packed with data which indicates and highlights comics’ massive cultural impact. Sara Kenney has been pursuing comics in conjunction with The Environment Agency. British artists and writers have been nominated for and have won awards, including Eisner Awards.
It was this time last year exactly that I was at NYCC waiting to see if Shazleen Khan had won the Harvey Award they were nominated for. Emma Vieceli showcased her storytelling talent by launching her book Breaks published by Orbit, AND wrote and starred in a musical (Unfolding). World Con in Glasgow in 2024 had a lot of comics programming and a very engaged audience. I missed out on a bunch of conventions this year but Portsmouth, Hastings, LFCC, MaccPow and more are getting more comics to more people. Peter Brewer is still building the world’s largest comic collection from UK comics (he may be the patron you did not know you had) and his son Guy is still documenting it.
Gosh Comics had countless launches and signings and gave over its most prominent shelves to small press. Rachael Stott is drawing a Terry Pratchett graphic novel and Rhianna Pratchett is writing another. Paul Cornell founded new publisher Cosmic Lighthouse to develop comics adapted by science fiction writers from their own bestselling books. Zainab Aktar’s Shortbox digital festival is presenting an array of specially made new work, and earning the makers a good payout. Every comic shop is pulling its weight, and places like Waterstones Piccadilly too has comics advocates in house. A1 Deadline is relaunching with covers from relative newcomers Laura Helsby and Cathy Kwan.
Caption in Oxford was relaunched. Scottish Comics are having a renaissance (again). Diamond Comics UK – a huge supporter of creators – was bought out by its own management and will be able to help us get our books into shops again, Lucy Sullivan made art for a major feature film which recreated her studio in the film (The Thing With Feathers). A number of creators who often, but not always, remain anonymous put their own money into big comics events. Lots and lots of volunteers mucked in. 2000 AD asked me to draw Judge Anderson.
People are having good ideas all the time and putting them into practice. That’s the beauty of comics. You can have an idea and just do it.
Ahmed Raafat (Who Are the Power Pals?)
As someone who is a self-taught artist with no formal art training, portfolio reviews were a vital part of my learning experience and one of few chances I can get feedback on my work and tips on how to improve from seasoned pros. I used to see which cons have portfolio reviews and make sure I went to them, and if they didn’t, I’d ask writers, artists, editors at their tables if they have the time to look at my work (and everyone was more than gracious with their time and advice)
And often you’d be chatting with one of your favourite creators and realize that you share a similar journey, or similar struggles, and that maybe: you’re not alone in this!
Charlie Adlard (The Walking Dead)
One of my pieces of advice I always give people about getting into the comics biz is always maintain some sort of direct personal touch. In a small industry like ours, I still firmly believe it’s advantageous to actually meet people, whether they’re pros, editors, or just fellow creatives, and portfolio reviews are one of the best ways to do this. Of course social media etc. has its advantages of getting your work seen, but you have to couple it with getting out there and, in the case of something like this, getting direct advice from someone. Eye to eye contact is something the internet cannot provide.
Declan Shalvey (Time Before Time)
I believe portfolio reviews are an imperative aspect of conventions. Some advice I got from artists and editors at shows has stayed with me to this day and helped me greatly. From my own experience on either side of the table, there is no better way to get informed, concise and incisive feedback on your work. Discovering ways in how one’s work can develop, identifying strengths, weaknesses and helping the artist find their voice are all avenues that are best explored in-person. It can be harsh, maybe even brutal at times, but there is no other way to cut through the noise and help an artist develop their inner critic, a tool that will stay with them for the rest of their careers.
Donya Todd (The Witch’s Egg)
I think that portfolio reviews are absolutely integral to moving forward as an artist because we need fresh eyes on our work sometimes to see how it is perceived outside of ourselves. I never have mediocre reviews – they’re either spectacular or devastating, and both are valuable.
A great portfolio review, when I was a student, said the art was genius, but that I’d always struggle to find work because it didn’t have a place in traditional illustration. Right on the money with that one.
A terrible one was a group review with a big publisher a few years ago – just before lockdown, and I was struggling to move forward and was stuck in a cycle. He didn’t get it, he didn’t get me, I was so embarrassed and had travelled a long way.
I quit comics for 5 years after that and focused on getting my masters degree and painting, creative writing and having fun. I came back from these new experiences with a better sense of self and style and ready to make comics again.
I have tutored students for years as an associate lecturer, and sometimes all people need is to be listened to, so you can brainstorm and the idea comes unstuck. It’s so important to get feedback because everyone thinks and sees differently.
Gustaffo Vargas (Altiplano)
Portfolio reviews were essential in the beginning of my career (I didn’t even have a career in comics by then!). they didn’t only let me learn very important basic information and develop my skills, but to learn “how to think”, why I’m doing something. That was a game changer and each review I had improved my skills and thoughts. Also gave me a good chance to see that there are professionals in this craft, that they are normal people and skilled artists that have been on the other side of the table asking for reviews in the beginning of their careers.
Being a reviewer to me is basically touching base with my beginning and being able to help artists that want to learn. I feel it’s the minimum I could do (when I get the chance and time) to return that favour. And of course, you always learn something with each review.
Lucy Sullivan (Barking)
Making comics is often a solitary experience that can lead to work become somewhat myopic. Getting advice from a an outside voice that can bring an objective insight along with professional experience is a brilliant opportunity to develop your work. It’s also an excellent reminder that we are a community and all in it for the love of comics. Please take up the chance to talk to one of us and give your comics an extra boost, especially if you are an emerging creator. We have all been at that point and can point out some hurdles and pitfalls to avoid. Look forward to seeing the work at Thought Bubble.
Zara Slattery (Coma)
Portfolio reviews are really nice – I remember an Illustration icon giving me his time when I was a student – it sailed over my booze-addled brain, but came to land a few years later and I really appreciated it!
Interview by Andy Oliver
Find out more about the Thought Bubble Portfolio Reviews here
Thought Bubble 2025 runs from November 1oth-16th with the convention weekend taking place on the 15th-16th. More details on the Thought Bubble site here.
Read all our Thought Bubble 2025 coverage so far in one place here.
Poster by Ng Yin Shian
