This is a test post by Hemendra for Campfire.

This is the body of the text for test 2. We are using this to see what it looks like on the home page of the website, and to see if it messes up the format.

This is the body of the text for test 1. We are using this to see what it looks like on the home page of the website, and to see if it messes up the format.

The comic book industry will never be the same again!

Over the last twenty years or so, I’ve had the pleasure to work for some of the biggest and greatest names in the world of comic books, but it’s been a long time since I felt as excited as I did last week, when I paid a flying visit to Delhi to see the crazy gang at Campfire, one of India’s hottest and greatest graphic novel publishers.

I’m currently writing a new, top secret and hush-hush graphic novel for Campfire and was thrilled to accept an invitation to visit the offices to discuss the art, script and procedure for the book. From the moment I stepped out of the airport to be met by angelic Andy Dodd, Campfire’s maestro of marketing, my senses were in a whirl. Words can’t describe the sights, smells and sounds of Delhi. I guess the best I can do is summing it up as overpowering. Think of a cross between Ridley Scott’s Blade Runner and a scene from Conan the Barbarian and you might just about get it.

Jet-lagged, I was ushered into Castle Campfire, where I was greeted by awesome Aditi Ray, Campfire’s ultra-cool Editor-in-Chief and introduced to the team, which included sultry Sukanya Choudhury, who has the onerous task of making sense of my ramblings and turning them into a graphic novel that will shake the universe.
Then I was escorted down into the dungeons to meet an incredible team of artists, including the amazing Amit Tayal, whose past work includes Campfire’s take on The Jungle Book and Ali Baba and the Forty Thieves: Reloaded. I’ve got to say it’s not often you find yourself surrounded by so much talent in one small place. A trip out for lunch introduced me to yet more of the delights India has to offer, although hindsight tells me I should have known…

By Chris Wilson

If you’ve been around TGC for long, you have undoubtedly read one of my little diatribes about the importance of comic adaptations of traditional literature. I’m a minority among educators and lovers of literature in that I strongly support the use of comic adaptations especially for, but not limited to, younger kids.

I’ve made the case before that comic adaptations get kids interested in classic literature. It is that important step that leads youngsters to love the classics and enjoy studying them in high school. A few months ago, Campfire Comics started mailing me their comics –– all the way from India. Classic literature, mythology, biography and some original titles are part of the line-up. Of that, I mostly received mythology and classics. I used my influence as a teacher ––which is based upon my work building deep and important relationships with my students –– to turn them on to Campfire’s comics. I displayed the titles on my book cart and talk.

Graphic novels are descriptive work in which the story is communicated to the reader with the use of sequential art. This sequential art can depict the story in either the traditional comic format or by using various experimental design methods. A graphic novel tells a complete story; one which has a beginning, a middle and an end, as opposed to a comic, which is normally part of an ongoing series.

How are graphic novels different to comics? There are a number of prominent differences between graphic novels and comics. Generally, you’ll find that a standard comic book is thin, with a paper cover, whereas a graphic novel will probably appear much more substantial in size and content. As each comic forms part of a series, it begins, continues or concludes a story that has been addressed in earlier comics from the same series. Graphic novels, on the other hand, are normally longer and cover a story from the beginning to the end in one volume, following a very similar story.