Count Binface comic by Dave McKean and Martin Rowson: surprise co-creator revealed

The satirical figure known as Count Binface has been immortalised in a new comic anthology timed to the hotly watched Clacton by-election — a release that links pop culture, charity fundraising and a campaign already drawing national attention. Published ahead of the vote, the book collects work from leading British cartoonists and donates its proceeds to homelessness charity Shelter.

The 72-page volume, published by SelfMadeHero, arrives on August 6 — one week before the Clacton by-election on August 13 — and offers a brisk, unofficial portrait of the dustbin-helmeted candidate who has become a headline-grabbing, jokey rival to Nigel Farage.

Who made the comic?

The anthology brings together a wide range of creators from the UK comics scene. Contributors span veteran graphic-novel artists, satirical cartoonists and newer voices.

  • Dave McKean — cover work and visual experimentation
  • Martin Rowson — political cartooning
  • Bryan Talbot and Woodrow Phoenix — long-form storytelling
  • ILYA, Krent Able and Mark Stafford — short strips and gags
  • Additional contributors include Steven Appleby, Hannah Berry, Darryl Cunningham, Nick Abadzis and many others
  • Cover artist credited to JAKe Detonator

Several dozen creators appear across the anthology; publishers say the line-up was assembled quickly after Count Binface confirmed he would contest the by-election. I also contributed a three-page strip to the collection.

Why this matters now

The comic’s timing is no accident. The Clacton seat has become a national talking point since Mr Farage — who won the constituency in 2024 — announced his resignation and forced a by-election after scrutiny over undeclared gifts. Major parties declined to oppose him, turning the race into an unusual contest where fringe and novelty candidates gained unusual prominence.

The campaign has drawn 34 registered candidates, from independent locals to satirical entrants, turning the electoral contest into what one campaign observer likened to a pop-culture event on the ballot paper. That context helps explain both the comic’s existence and its charitable aim.

Item Details
Title The Count Binface Comic Book (unauthorised satirical anthology)
Pages 72
Publisher SelfMadeHero
Release date 6 August 2026
Charity beneficiary Shelter (proceeds to support homelessness services)

Part of the anthology’s appeal is its mix of satirical bite and affectionate silliness. The book frames the character as an outsider political figure — a deliberate foil to mainstream candidates — and lampoons both local and national debates while raising money for a social cause.

Campaign colour and manifesto gags

The Count’s campaign platform, as presented in publicity and interviews, leans into absurdity as political commentary. Pledges cited in press coverage range from the theatrical to the deliberately trivial:

  • Nationalising a celebrity (presented tongue-in-cheek)
  • Abolishing VAR in football
  • Fixing the price of a traditional seaside ice cream — the 99 Flake
  • Committing to build at least one affordable home

These proposals are part satire, part civic theatre: they have helped turn a local by-election into a national spectacle and provided material for cartoonists and satirists to riff on in the new book.

Publishers and participating artists describe the project as a rapid, collective response to an unexpectedly theatrical political moment. SelfMadeHero’s managing director said she mobilised the creative team after the candidacy announcement, noting that many contributors agreed to join on a tight schedule because they saw the opportunity to make pointed, humorous work that also raises funds for a pressing social issue.

In short: the anthology is both a cultural artifact of this unusual campaign and a small-scale fundraising effort. Whether the comic shifts any votes is unlikely — but it crystallises how British political theatre now often intersects with art, charity and satire.

Whatever the result in Clacton, this project illustrates a contemporary media trend: politics increasingly bleeds into pop culture, and creators respond quickly, using familiar formats to comment, criticise and sometimes cajole public attention toward wider social concerns.

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