comics · interview · self-publishing · small press · Small press oaks · zines

Small (press) oaks – Simon Moreton

Today we talk to Simon Moreton.

Simon is a mainstay of UK small press zines and comics, having been making for 13 years. I first saw his work championed by the late Tom Spurgeon on his much-missed site Comics Reporter. It was when he started posting images from his recently finished ‘Where?’ series that I started paying greater attention. The sudden shift in style really making his art pop for my eyes.

Simon’s DIY and community led attitude really impressed me as well as his incredible approach in Where? So much so that I feel quite deeply attached to following what he does and why he does it. He was, in fact, the first person I approached about discussing influences as he seems to have a wide sense of taste and be sure about what interests him.

 

You can find him here

Website      Shop      Twitter     Instagram 

where4parts
All four parts of Where?

So, over to Simon!

 

Can you tell us a bit about the first creator whose work you recognised?

I’m going to say either Charles Schulz or Gary Larson in terms of comics. That was because when I was little, we had all these little Peanuts books that I would read again and again, and I loved the Far Side, too. Every year for a long time I’d buy my Dad one of those calendars where you tore off the page each new day for his desk at work. Each page had a cartoon on it, and at the end of the year, Dad would bring them home for me.

In non-comics world, for as long as I can remember I was excited by the visual art that was associated with sci-fi and fantasy games and literature, from 1960s paperbacks to the 70s and 80s album covers. Roger Dean and Rodney Matthews were early faves, but it was probably the Games Workshop artists that I first learned to identify. This was back in the late 1980s.

Games Workshop made – and still make – various tabletop and roleplaying games set in fantasy or futuristic settings, and paintable miniatures to go with them. They publish a monthly magazine called White Dwarf, which back then at least was full of illustrations, mostly black and white, by artists like John Blanche, Ian Miller, John Sibbick, Paul Bonner, and many more. Those were the first artists whose names I knew (and have now forgotten)

 

Which creators do you remember first copying?

Probably one of those Games Workshop ones, I would think.

 

Simon Moreton Ley Lines cover
Simon Moreton Ley Lines due out shortly

Who was the creator that you first thought ‘I’m going to be as good as you!’?

I’ve never thought like this, even as a kid. I’m not competitive at all. There have been artists I admired, but I don’t think I’ve ever thought I’d be ‘as good as’ anyone. Who’d want to be as good as someone else? Not saying it’s easy to see the strength in your own work (and gosh knows I’ve struggled with that) but other people? Nah – I’d rather just make work that’s mine and keep at it.

 

Which creator or creators do you currently find most inspiring?

I can’t provide one, but…. lately I’ve really enjoyed reading Max Porter (‘Lanny’ is A++) there’s a crackle in his prose that really is exciting. In terms of comics, it’s my pals and peers – Warren Craghead, Peony Gent, Maxim Peter Griffin, Brigid Elva and so on – that keep me on my toes.

 

I also saw a painting called Milltown Exit by Fay Jones recently that really kicked me into a different sort of brain loop with my figures and compositional stuff (one of the pages in my forthcoming book for the Ley Lines series is a homage to that painting).

 

Ooo and Bill Traylor, an amazing American painter, and also Rose Wylie. Both of their work is really stunning. Oh and Lynda Barry. ALWAYS Lynda Barry.

 

Which creators do you most often think about?

When I started making comics, John Porcellino was a big influence on me. As time has gone by, I feel my own work has taken its own path and that influence might not be so clear if you were new to my work. But what I do retain is a strong sense of the value of self-publishing, of following your own artistic instinct, of making community through what you do. So even if my influences have been expanding and my own art has drifted to new places, the way I do what I do is thoroughly indebted to John’s early influence on me.

 

Can you name the first three creative peers that come into your head and tell a little bit about why?

I’ve already mentioned a few, so I’ll add Molly Fairhurst, Stan Miller, and Carrie McNinch to that list.

 

 

Finally, can you tell us a bit about your recent work and yourself?

img_6365
Lettuce Bee

I’m a zine maker based in Bristol (b. 1983). I make comics, drawings, and also write prose. My work is largely autobiographical. I make a regular zine called ‘Minor Leagues’ which comprises prose, photos, drawings and comics. I have just finished a memoir about grief, childhood, and the landscape and history of a hill in Shropshire called ‘Where?’. I’ve has been making zines for 13 years.

Forthcoming: ‘The Lie of the Land’ part of the Ley Lines series, published by Kevin Czap and L. Nichols (May/June 2020, COVID-crisis-permitting)

Minor Leagues 10 (self-published May 2020) Out now!!

Where? (Serialised in Minor Leagues 6 – 9)

Lettuce Bee – an anthology of amazing work by amazing people

 

Thank you very much for taking the time to fill this out and let us into your mind.

 

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2020

comics · crowdfunding · interview · music · self-publishing · small press · Small press oaks

Small (press) oaks – Robert Wells

As promised, we’ve got part two of our two-fer from the team bringing Department of the Peculiar – Goes Pop to Kickstarter RIGHT NOW. This time artist Robert Wells. Part one of the two-fer featured Rol Hirst, writer of DotP.

Rob’s been on zine love before, so this makes him our first returning interviewee for the site (stealing the position at the last moment from someone else that I was slow to respond to!!).

 

He seems to be constantly busy drawing something and collaborating with creators whose work I enjoy, which is how I came across his work in the first place. He has really strong chops when it comes to drawing and designing characters and a lovely turn in understated snipe, so that’s been a bonus – as well as being lovely to chat to.

You can buy from him here, check out some free downloads of DotP here and back it here, and socially follow him on    twitter     instagram     or facebook

DotP 2 heroes insert
DotP 2 Heroes? stretch goal!!

 

Over to you Rob – tell us a bit about yourself and your tastes

Can you tell us a bit about the first creator whose work you recognised?

The first comic creator was John Byrne. I remember thinking that the art in X-Men, which he was still drawing at the time, looked similar to the art in a Marvel Premiere two-parter featuring Ant-Man (#47 and #48), then I noticed the credits in a comic for the first time and realised that people actually drew these things.

marvel-premiere-47-48
Marvel Premiere-47-48

Outside of comics, I was about to give the same answer as Rol (Hirst – writer of Department of the Peculiar – see interview here) and say Stephen King, as I’ve read quite a lot of his books (probably less than half of them but that’s still a lot). Then I remembered that when I was a kid, I really liked James Bond films and that I read a lot of Ian Fleming’s James Bond books (and some written by other people) when I was at secondary school. That was probably the first time I ever saw a film or TV series and then went and on to discover the source material, which was often quite different. (I have no interest in James Bond at all now.)

James Bond covers
James Bond covers

Which creators do you remember first copying?

Maybe John Byrne but I probably copied things out of comics before that not knowing the names of the artists I was copying.

 

More generally I’d say Charles Bukowski, whose work I probably wouldn’t enjoy much at all now and may even find quite offensive, but I liked it a lot when I was in my early-20s. ‘Copied’ may be an exaggeration but around the time I was reading a lot of his stuff I started going to a writers’ workshop to improve my writing and in the couple of years I was going there I wrote a lot of semi-autobiographical short stories that often involved a lot of drinking.

Charles Bukowski covers
Charles Bukowski covers

Who was the creator that you first thought ‘I’m going to be as good as you!’?

I don’t know how to answer that really. I’ve hoped to be as good as a lot of creators, but I don’t know that I’ve ever thought that I would be as good as someone, not even artists whose work I dislike. I’ve certainly seen a lot of art that’s made me think ‘I could do better than that’ but that’s generally the work of amateurs who I wouldn’t be able to name. Art I tend to dislike in professional comics I usually dislike because it’s bland or conforms to some dull house style (I’m thinking of a lot of DC comics from a decade or more ago) but even then the artists involved probably have a better grasp of anatomy and better basic drawing skills than me, they are just working to tough deadlines and drawing characters who have to be drawn in a certain way.

 

Which creator or creators do you currently find most inspiring?

Cult_of_Luna_-_Mariner
Cult of Luna – Mariner with Julie Christmas

Sean Phillips, who I still can’t believe I was cheeky enough to ask to do a pin-up for DOTP Goes POP! #1 after he told me he liked my book. Not only did he agree, he even posted me the original art.

Other than that, I can’t think of one particular example right now but like Rol I love Better Call Saul and watch a lot of TV in general, particularly US TV, and I’m sure that influences my storytelling. I also listen to a lot of music – particularly metal – while I’m drawing and that really helps me to switch off and lose myself in my work.

 

Which creators do you most often think about?

Jaime Hernandez = Love and Rockets
Jaime Hernandez = Love and Rockets

For comics it’s Jaime Hernandez. He was already great when I discovered Love and Rockets in 1986/1987 but he has somehow kept getting better. I often go for long periods without engaging with his work at all (I haven’t bought any issues of the current Love and Rockets series yet and because I rarely get to visit good comic shops, I haven’t even seen them) but I always pick up the collections and come back to it eventually.

More generally? Now I will say Stephen King, even if what I’m usually thinking is just: ‘Bloody hell, he’s somehow written three more huge books since the last one I read, and I still haven’t read at least 20 of the ones I picked up in charity shops a decade or more ago!’

 

Can you name the first three creative peers that come into your head and tell a little bit about why?

Rol, Paul Rainey (who encouraged me to start drawing comics again at a time when I had almost given up on it), and Martin Eden (who I exchange long emails with very regularly).

Paul Rainey - Thunder Brother Special -cover Paul Rainey – Thunder Brother Special -cover
Martin Eden - Zeros Martin Eden – Zeros

 

 

 

 

 

 

 

 

 

 

 

Finally, can you tell us a bit about your recent work and yourself?

I’m 51, married, no kids, two dogs. I live in Kent. I self-published my first comic in 1991, when I was 22, published a handful of other comics in the ‘90s, didn’t do much at all in the 2000s, but got back into it big-time in the 2010s, when I was in my early-40s. It’s only since I did my graphic novel (which even I didn’t think I’d actually finish when I started it) that I feel like I’ve developed any confidence and really got going. I’d be happy for everything I did before that point, along with the years I wasted doing things other than drawing, to be stricken from the record. I write and draw but now I seem to be mostly drawing and I’m quite enjoying collaborating with other people on comics for a change.

 

I’m currently working on Department of the Peculiar Goes POP! #2 (just finishing off a 3-page back-up strip but the rest is done)

 

About to start drawing a 6-page sci-fi strip, written by Paul Duncan, for The ’77 #3

 

Malty Heave #2 (with Phil Elliott). I have written most of my story for this horror-themed issue, which will probably be out for Halloween now, but Phil and I have both been distracted by other things and haven’t really got going with drawing it yet (although Phil has drawn at least two pages of his strip).

 

Thank you very much for taking the time to fill this out and let us into your mind.

 

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2020

 

 

comics · crowdfunding · interview · music · self-publishing · small press · Small press oaks

Small (press) oaks – Rol Hirst

zine love is all about talking to people about their art to encourage others to see how easy it is to create.

We love digging into the personal histories of those that inspire us, especially when those histories can open a wider world out to us to delve into and discover new things to excite and inspire us. So, we thought we could start up a feature where we asked creators what their earliest inspirations were, both in their chosen fields and in art in general and what continues to inspire them. I think of it as a bit like Mass Observation, but for the small press, an oral record of personal histories outside of the accepted norms of history.

We may even, if we get enough responses, start doing silly charts about the biggest influences, who knows!

 

With that in mind we thought it would be fun to reach out to some creators we know and admire and get the ball rolling – we’re going to start with a two-fer from the team bringing Department of the Peculiar – Goes Pop to Kickstarter RIGHT NOW

DOTP Goes Pop 2 - cover - Robert Wells
art by Robert Wells

First up – we’re going to talk to Rol Hirst, tomorrow will be Robert Wells. If you’re my age and from the UK comic collecting scene, you’re likely to remember Rol Hirst as a reviewer in the truly excellent Comics International. A reviewer who ended his run by taking up writing comics! Rol along with a reviewer called Francis Barbieri (which I desperately hope I’ve spelled correctly) were the two that most aligned with my tastes in comics and had a nice pithy touch to their work.

 

It’s good to know that Rol Is still working and making – and particularly nice to see that dry humour continues in the comics he creates – check out some free downloads of the comic here and back it here.

Buy some of Rol (and collaborators) comics here in digital or physical form

Rol also regularly posts about music on his site My Top Ten

Over to you Rol – tell us a bit about yourself and your tastes

 

Can you tell us a bit about the first creator whose work you recognised?

In comics it was probably John Byrne. I started reading comics around the time he took over the Fantastic Four and I was a huge fan of his art and back-to-basics storytelling for years. Back in my letter-hacking days, he even started to recognise me as a fan, one time sending me a signed copy of a novel he’d written. I felt like I stabbed him in the back a bit years later when he took over the writing and art on Amazing Spider-Man and I was reviewing in Comics International at the time… but I stand by those reviews, his work on Spider-Man was atrocious. Shames, because most of his work up to (and even after) that point still stands up well today.

Sorry, John.

Fantastic Four - Art by John Byrne

 

In general, it would be Stephen King. Even though he often struggles with an ending (don’t we all?) and lately is far too comfortable falling back on familiar tropes, his narrative voice always fascinates and entertains. He has been a constant companion.

 

Which creators do you remember first copying?

Mr Men by Roger Hargreaves

That’d probably be Byrne as well. The first comic strip I created was called Sharpshift, and I ripped off quite a bit of his Alpha Flight run in that… and because I couldn’t draw for toffee (and hasn’t yet started conning gullible artist folk into drawing my mad ramblings for free), I pretty much traced all my figures from old Byrne comics.

That’s for comics at least, outside of that it would be Roger Hargreaves. I spent ages drawing my own Mr. Men books when I was a kid.

 

Who was the creator that you first thought ‘I’m going to be as good as you!’?

I’m not going to answer that question, but I hope I can explain why. Throughout my time reading comics – particularly once I started writing them myself – I could pretty much divide professional writers into two camps: those I knew I’d never be as good as (probably most of them, to be honest) and those I knew I was better than (and if you knew me, you’d know self-confidence is not my forte) and I couldn’t ever explain how they’d got where they were. There are a couple of particularly high-profile creators who have made millions from comics that I know I can write a better story than any day of the week… but I’m not going to name them, because they might be a favourite of somebody reading this, and everyone’s entitled to their opinion.

That’s the same for everything, really.

TMSAV 2cover
Too Much Sex & Voilence issue 2 cover by Nigel Lowrey

 

Which creator or creators do you currently find most inspiring?

In comics, it’s probably Rob (Wells). If it wasn’t for him, I wouldn’t even be writing comics anymore, since I’d pretty much left them behind 6 or 7 years ago. I can’t believe how lucky I am to have him drawing Department of the Peculiar. That has inspired me to start writing again.

I admire Vince Gilligan as a writer. The character, pacing and detail in Breaking Bad & Better Call Saul puts everything else in its shadow.

 

 

 

Which creators do you most often think about?

What, in some kind of pervy way? I always thought Walt Simonson had a very fine beard.

Seriously though, there’s only one answer to this question: Stan Lee. Without him, my life would be lacking in so many ways.

Bruce Springsteen would be my answer outside of comics. A different kind of storytelling, but always there for me.

 

Can you name the first three creative peers that come into your head and tell a little bit about why?

Rob, obviously. Nige Lowrey, who was the main artist on my first long-running comic, The Jock, and really should have become a superstar but missed the boat like so many of us. And then probably Davey Metcalfe, who I’ve known as long as Nige, and who has been a constant collaborator on various projects over the years, and always goes above and beyond to help out. After that, I could go on and on…

Pjang 1 cover
Pjang 1 cover

 

Finally, can you tell us a bit about your recent work and yourself?

I’m Rol Hirst, a writer and English teacher whose previous comics include The Jock (which ran for more than 30 issues in the ’90s), PJANG and Too Much Sex and Violence. I live in Huddersfield with my partner, Louise, and son, Sam. I like music, scones and too much coffee.

 

Thank you very much for taking the time to fill this out and let us into your mind.

 

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2020

 

 

books · comics · illustration · interview · long list interview · self-publishing · small press · women's art

the long list interview – Sarah Harris

**this is another very late post up of an interview – i think this has sat around for nigh on 8 months – so, please do bear that in mind when reading?**

When we talk about scenes we often talk about those creators working within a group, style or friendship circle. Rarely are activists who buoy up those scenes referred to or approached. Yet, as often as not, it is these individuals who make a scene vital. Not just because of their financial or social support, but because they organise and raise awareness, sometimes even being the creators of the support network that bring the scene together. Sometimes, arriving on their radar is something of a badge of approval.

Some of these people are purely activists, some are also creators themselves, and that’s what we have here with Sarah Harris. A creator who is also one the heroes of a scene, in this case UK small press comics and sometimes zines. This interview was done long while ago and I’ve been very slow in organising myself to get it live – so in the meantime, Sarah has since contributed to the comics anthology The Whore Chronicles, as organised by Anthony Esmond.

In this, I was particularly interested in how a fan moves into the role of a scene activist and sometime organiser. I think this is a fascinating interview, not just because of the insight into small, fan led occasions, but because Sarah is such an engaging person to talk to.

You can find her on     twitter     facebook     instagram

handmade flip-book

ZL – Hi Sarah, let’s start with the obvious question, can you tell us a bit about yourself please?

SH – I’m Sarah Harris, and in the grand scheme of comicky things I’m nobody remotely important. I’m just someone who has loved comic books for a number of decades, buys thousands of the little buggers (for other women it’s shoes and handbags, for me it’s paper pamphlets), and even reads about half of them…

 

ZL – What’s your history with comics?

SH – Like a lot of people of my age, it’s hard to remember a time before comics were a part of my life, as, in the *ahem* 70s when I was a nipper, ALL kids read comics. We literally had no other entertainment 😊 There were like 2 TV channels or something, not that my parents let me watch either of them, or there was tree climbing – and that’s no fun on a rainy day. So, I read real books when I wanted to feel intellectual, and comics when I wanted to be entertained – they were my equivalent of cartoons or computer games for young ‘uns nowadays, I guess.

Generally, though, I wasn’t following any specific comic from week to week until 2000AD which was the first one I had a proper newsagent subscription for. Before that I’d just spend my pocket money on spec on whatever looked good that week. I was lucky enough to get 2000AD from the very first issue at the age of 9 due to 1) a cool TV advert that said that the launch issue came with a free frisbee! (comics didn’t generally have free gifts back then and dear god I wanted that piece of round throwable plastic!) and 2) my dad being a huuuuuge science fiction fan who had given up on having a son to pass his passion down to – he saw an opportunity here to get me hooked on Heinlein and Wyndham and Van Vogt and Phil K Dick and Asimov and Aldiss and Bradbury and Arthur C Clarke, and it totally worked.

2000ad issue 1 cover

2000AD and, while it lasted, the wonderful British girls’ horror comic Misty, were my weekly obsession until the mid-80’s, when I moved away from home to work my gap year before university, and for the first time discovered that there were actual comic shops! Until then I thought they only came from newsagents, because I’m a twit.

Those shops were the original Denmark Street Forbidden Planet and a shop in Nottingham that might have been called Strange Tales (my gap year job was with IBM and I moved around between their London, Warwick and Nottingham offices) – and they blew my tiny miiiiiind. I was aware of American comics before this point, obviously, but I thought they were just all superheroes, which I had absolutely zero interest in (I blame Pat Mills for that 😊 2000AD was very snooty towards capes and spandex). But at Forbidden Planet and that Nottingham shop I discovered Swamp Thing! and Elektra Assassin! And Watchmen! I mean yes, they are all kind of still superheroes 😊 But they were more, I dunno, “edgy” 😊 and the art was amazing (and in some cases painted, which really sung to me). I was hooked…

I never looked back from that point, soon after came the time of Sandman and Vertigo, spooky narratives and lots of gorgeous painted and collaged artwork, and I was totally in my element. Horror, supernatural and sci-fi stories have been my lifelong sweet spot ever since.

 

ZL – What was it that made you start COLLECTING comics rather than just reading them

SH – Hmmmm… good question. I don’t think that I realised I was collecting at first. In the 90’s we had the big speculation boom with all the foil covers and variants and craziness – but that was mainly happening at the more testosterone-fuelled end of the superhero market, especially with the launch of Image – and that wasn’t ever my thing. All a bit too macho for me, all those muscles and pouches 😀

So, I figured that I was a reader but those “other people” were collectors.

Of course, by the time we got to the new millennium I had a converted garage full floor to ceiling with long boxes, containing many thousands of comics I’d not even got around to reading yet, and I couldn’t really deny any more that I was a collector (today I’d say hoarder 😊 ) – but it definitely crept up on me…

I carelessly lost all of that original collection (long sad story, sob! I could have retired on it!!) in the early 2000’s and for years I resisted getting back into comic collecting as it had hurt too much to say goodbye to them. I didn’t set foot in a comic shop again until around 2012, but from then it was a very slippery slope, and here I am again with a room full of boxes. This time around I’ve even started going back to the silver and bronze age and buying back issues of all those classic superhero comics I turned my nose up at for so many years. Turns out they are pretty good! Who knew???!!

 

ZL – When and why did you moved from collecting into FANDOM?

SH – To be perfectly honest, I don’t really know what “fandom” means. It’s a relatively recent term, I think, I can’t remember hearing it before a few years back, and I tend to associate it with big groups of people who rabidly support a TV show and get all arsey and defensive about it on twitter.

I don’t think I’m like that. Except maybe a bit with the Battlestar Galactica reboot (best show ever!!!!! If you don’t agree, fight me!!!)

I came late to conventions. I did go to lots of signings in the 80’s/90’s (mainly at Forbidden Planet in London and Nostalgia & Comics in Birmingham) – but I never went to a UKCAC or anything like that. A lot of the guests were from the “superhero” side of things that, as we’ve already established, I stupidly thought I was too good for 😊 and I didn’t have any comic book reading pals to go with – everyone else I knew had grown out of them like you were supposed to and got into alcohol or drugs instead.

home made cosplay suit of full fantasy battle armour and sword

My first proper convention was LSCC (London Super Comic Convention) 2013, I think. I wasn’t really overly fussed about it in advance, I went as company for a non-comic-reading illustrator pal who wanted to see Artists Alley, not really knowing what to expect, and I had a blast! After that I went to quite a few, especially enjoying the more grass roots comic shows like True Believers (which is local to me and I haven’t missed one since they started).

My kids were young at that point and I had nobody to look after them while I went gallivanting, and they had no interest in comics (heathens), so if I wanted to go to a con for the day, I had to somehow get them interested enough to want to come with me. The route to that was cosplay – they really enjoyed the dressing up, and I got to buy comics while they did so. As a bonus, I discovered I was quite good at making their costumes and it was a fun hobby for a while (they have since outgrown it and I now just go to cons on my own, and no longer have to build armour for the privilege :D)

 

ZL – What differences do you see in the comic world since you first got involved, for example, how do you feel about getting closer access to creators through social media?

SH – I don’t know that I’m best placed to answer this one – as I don’t think I am really that closely involved in the “comic world” now, and I certainly wasn’t back in the day. I just read ‘em 😊

The question about how much I’m influenced by creators’ views and opinions and actions now is an interesting one though – the whole “can you separate the creator from the art”. I think I am pretty good at that. I don’t think that someone needs to be a wonderful person for me to enjoy their art or their writing. If you start going down that road, there are very few great pieces of music or classic works of literature that you couldn’t pick holes in. I think that’s a generational thing, more than anything. I think we old gits just got used to the fact that the people who created the art we liked weren’t always nice people! There are limits, obviously, but if it is just a case of someone being a bit of an arse on twitter, or not lining neatly up with my own politics, then I don’t care. If they make good comics, I’ll still read them.

 

ZL – What got you involved with the small press?

SH – All credit/blame here goes to the Awesome Comics Podcastepisode #8 (I think), 3 years or so ago. I had seen small press creators at their tables at various cons, but I had never had the courage to actually stop and look at any of the comics, figuring that I would be given the hard sell and end up buying a load of naff homemade comics that I didn’t want (sorry guys!!).

It was the week before Melksham comic con and the organisers had put a link to the podcast on their facebook page, as the ACP guys had done a kind of preview rundown of what was going to be at the con. I downloaded it for a listen in the car – mainly to see if they mentioned anything I could use to get the kids enthused – and they had Shaun Dobie on as a guest talking about his comic Descending Outlands. It was due to have a new issue launched at the con, and it sounded right up my street (I’m a sci fi girl, as previously discussed), and I decided to pick up a copy. Already knowing that the comic sounded good removed my fear of being hard sold something I didn’t want and gave me the guts to approach the table…. dressed as Rocket Raccoon 😊

From then on – having discovered that some small press comics are actually very good!! – I sought out reviews and recommendations from the Awesome chaps and other sources and have bought a TON of small press comics since. I still mainly buy mainstream comics, but small press is definitely a big part of my reading repertoire now.

Also, everyone is so damn friendly! I’ve made a load of new friends in the small press crowd, which was a real unexpected bonus side effect, after being a total loner in my comic reading hobby for the vast majority of my life.

 

ZL – What was the tipping point into organising a small press day at your local comic shop?

SH – I think I just wanted to contribute in some way. Suddenly I had this great new circle of friends who all make comics. I didn’t have any urge to make my own (which they all thought was weird 😊 ), but I wanted to join in or help somehow…

At the same time, my LCS (Incredible Comic Shop in Swindon, Wiltshire) moved to a much larger premises, and didn’t really have enough stock to fill it all. I asked if they would consider stocking some small press and they said yes, as long as I did all the work and they didn’t have to pay for anything 😊 So they gave me a couple of shelves, and I asked a few creators I knew to come along for a signing event to launch the new “department”. We had 5 tables, so it was like the world’s smallest convention, but it went down really well with the shop customers, and everyone had good sales – both the creators who were there – and those I had stocked on my small press shelves.

4 - shop event image 23 - shop event

ZL – What made you think it was worth doing a second time?

SH – The fact it went down so well the first time, I guess.

To date I’ve organised two small press signings at the shop with multiple creators (5 or 6 tables), and a couple of individual events for more mainstream artists. The first small press event was the best attended of the four. Unfortunately, as time went on, I think that the novelty of small press product and signings wore off for the shop and its customer base, and it is now very difficult to shift independent product there.

 

ZL – What support did you get when setting up the initial event and how did that change over time?

SH – There was definitely more enthusiasm at the start from the shop themselves – for the first event they printed leaflets and posters, and paid for online advertising, and most importantly, when customers came in store in the weeks before the event they were keen to tell everyone about it.

It made a difference when the shop was pushing hard on local promotion. Mainly they used flyers, (in store, but I also put them in the local library, on noticeboards etc), posters and locally targeted paid facebook ads. I also put links to the events on local community facebook groups, although I’m not sure how much good they did.

I did try to get the local newspaper to show an interest too, but they were spectacularly disinterested.😊

By the second/third event that support had all but gone, sadly, but perhaps that was down to me not cheerleading strongly enough. Also – at first, probably due to the novelty of it, the actual small press product was really moving off the shelves, so that was clearly a plus point for the shop, cash going through the tills… but the shop’s customers very quickly moved back to their Marvel/DC heartland and sadly it was difficult to keep their interest up in the indie stuff. To the extent that the last couple of events were so poorly attended that I was genuinely embarrassed. I felt so bad for the creators turning up to a field of tumbleweed, and that (combined with some health issues) has put me off doing any events this year. I am not writing them off completely forever, though.

It is even hard to sell Image / IDW / Dark Horse etc books to that crowd! These aren’t generally people who go to comic cons at all, so there was no “brand recognition” for any of the small press stuff. If it isn’t Marvel/DC IP it is a very hard sell. Therefore I can’t really blame the shop for moving their promotional muscle back behind things that are more likely to generate them actual funds.

Other people – such as the Awesome Comics Podcast, and Stuart over at True Believers – were great at both publicising and attending my little events, because they are heroes – but the podcast in particular covers the whole country, and it’s not easy persuading people to come to Swindon for the day! 😀

a comic if i ever saw oneIMG_8430

ZL – You mention the idea of ‘brand recognition’ and the difficulty in maintaining an interest from customers in small press creations. I’m wondering how much, you think, considering the fact that these comics can be 24 pages in length and take sometimes a year between issues and are often created in thanx to Kickstarter backers, how much do you think that robs them of a chance to sell well?

SH – It is difficult to maintain interest yes, I found it easier to sell one off comics or ones where there were already a few issues out, so they could buy up a set at once.

A few customers at the Swindon shop tried to put some of the small press stuff on their pull lists and were told that they didn’t really work that way as not diamond distributed plus it could be a long wait. They weren’t too impressed! They are used to monthly or fortnightly titles.

 

ZL – That’s an interesting consideration, with the environment you’re trying to sell in – these are comic shop buyers so they’re likely to be people who want regular publications to deliver regular updates and that’s likely to be an important sales point. Do you think that comic shops are a good place to sell these sorts of semi-annual comics creations?

SH – It’s definitely a different world for those used to having a pull list of regular ongoing comics. They like one offs or already complete collections best…

But in general, at least in a comic shop, you have a captive audience of people who actually already love and read comics… but who very rarely go to comic cons or have any other exposure to small press stuff. Most in our shop didn’t know the small press existed until we introduced them to it!  So, yes, I think it is a good place to sell small press IF you can keep the momentum and interest up.

Some customers weren’t interested and considered the small press stuff to be inferior in some way to their big 2 faves, but most were enthusiastic, at least at the start.

 

ZL – Just to loop back on something you said, there’s a point I want to pick apart a little more about advertising and expanding the audience for buying comics and particularly the issue of expanding that reach beyond the normal ‘monthlies’ crowd. It seems to me that, in general, comics is very much concerned with talking to comics people and we’re very locked into that closed circle of ‘collecting’. I think local advertising of an event can be an opportunity to open things up and I wondered if you felt the same, because there’s a dynamic here that I’m seeing, in terms of, with the flyers in store and with the facebook advertising, it’s still talking to the converted. Whereas, I’d say, you attempted to get the information out to a wider public. Had you considered that dichotomy before, was that why you were trying new places to drum up interest?

SH – Hmmm. Tricky question, and I don’t know all the answers. The best results we got for attendance at events were when the shop did targeted facebook advertising in the local area (so not just to the people who follow their page, they targeted anyone interested in comics within a 30-mile radius) and also when they printed flyers (which I distributed all over!) and posters. When they stopped doing this the attendance fell off significantly, but that was probably also down to natural attrition.

The creators themselves pushing the events and the fact that the shop carries their books, also helps a lot. Some are a lot better at that than others.

collage art and drawing from one of Sarah's hand made books

Whether we can get people into the shop who aren’t already interested in comics at all is the big question. It is possible that some of the small press titles might appeal to them more than the pro comics especially if superheroes aren’t their thing. The shop is very Marvel/DC heavy though, so that might put them off.

I actually found that the small press comics that were a little more arty or different sold a lot better at the shop than more trad superhero style stories. I think for the fans of more traditional types of comic stories, they would rather buy their usual pro titles and didn’t think the small press alternatives looked up to their standards. Whereas for an artsy autobiography comic, for example, Marvel and DC don’t really have an alternative offering for that.

With hindsight, I should have bought more of that alternative kind of stuff in and less of the traditional stuff. But I thought I would need lots of “normal” comics to transition my “normal” customers!

You live and learn…

 

ZL – OK, but I’d still say that most of that advertising was going to the ‘converted’ though.

SH – Ah. I didn’t explain myself properly. By facebook advertising I meant the shop originally paid extra to promote to local people but outside of their own page followers.  You can serve an advert to everyone within 30 miles of Swindon who likes comics, conventions, etc. That was what worked really well.

For the later events they stopped doing that and only posted on their own page (the captive audience, as you say).

Ditto with the flyers, I took those all over the place, local conventions, other shops, the library, the local market etc. Anywhere I could get the word out. But then for subsequent events they didn’t print any flyers.

So yeah basically, when they advertised beyond the existing shop base, it worked. But that costs money and they clearly didn’t think they saw enough return from the first one to justify that expense again. (I think they are wrong about that, they made plenty on their margin on the small press stuff alone, and I know that some of our event visitors bought standard shop stock while they were there too…)

a page reflecting Sarah's interest in street art

 

ZL – Ah – you did answer clearly, I think I was not clear enough!

I was thinking that the advertising, the flyers in the shop and even the facebook ad, they would be to people ALREADY interested in COMICS, rather than just general PEOPLE, the expanded audience I was thinking of. That’s what was interesting – only you tried something that took it to PEOPLE and not COMICS interested. You put it out on community message boards, went to the library, stretched to reach a different audience. I just wonder if that had continued where it would have gone. Maybe I’m deluding myself, I’m good at that! I seem to think that there must be better ways to get comics in front of people than we currently have.

Here I’m thinking about a little rant I had on twitter a while back, where I questioned whether graphic novels or comic magazines are actually likely to expand comics readership. I also question whether these individual, slow running comics are best served by being published individually on a slow timescale and whether something more on the model of 2000AD might not serve them better? Maybe even a group website along the lines of something like Aces Weekly or Study Group where brand and content can be regularly pushed, a wider base can build momentum? Maybe even advertising used to monetise the work?

I guess that’s a lot to ask you, so maybe a fairer question would be, how likely would you be to sign up to something like that – an anthology with regularly changing strips, either online or physical, or a combination, where the content gets packaged up at the end of a storyline, much like 2000AD monthly?

SH – I guess the Comichaus anthology is along those lines. That came out regularly every month and was pretty good. And, also the Dirty Rotten Comics anthology was similar in format. Not sure if either are still going though.  Anthologies are often a tough-ish sell in my experience as people flick through and judge it by the weakest looking story in the book. Trick is not to have any weak stories!

 

ZL – How does it feel to have stopped?

SH – Let’s say “paused” not stopped – never say never 😊 Another interesting question. To be honest, I totally feel like I failed. I should have worked harder at keeping the customer base interested in small press, written weekly reviews for the shop website, rotated the stock more often, been in store more often to hands-on sell stuff… But there was a limit to how much time I could devote to what felt like a losing battle, week in week out. And stock wise – I had already spent a hell of a lot of my own money buying comics upfront that are still sat there a couple of years down the line, stubbornly refusing to sell – and it gets to the point where you have to draw a line…

It was an experiment, to see if I could get the locals excited about small press enough to sustain a section of the shop, without it being any work or expense for the store owners – and it looked for a minute like it might work… but in the end, I failed.

That doesn’t take away from the success of the first two events though – they were a lot of fun, and lucrative for the attending creators, and I’m proud to have – at least temporarily – expanded a few Wiltshire comic readers’ horizons.

cover for Sliced Quarterly

ZL – On a final note, you mentioned earlier that your comic friends think you mad because you’re not trying to make your own comics. I find that interesting, because I know you’ve made your own books before (I’ve added images throughout the interview), and some of those are pretty comic like to me. Also, I’m sure I’ve read somewhere that you’re working on a short comic story, but I can’t find where I saw that, so maybe I’m just back to deluding myself again?

SH – Yeah. I’m slowly dipping my toes in with a short 5 pager I’m doing for an upcoming anthology that I can’t talk about yet and before that I did a cover for Sliced Quarterly, so I seem to be getting involved!

(EDIT – This was a strip that appeared in The Whore Chronicles co-ordinated by Anthony Esmond)

 

 

comics · Go look · news · small press · zines

Covid-19 coping round-up

Begin with a digressions then get to the point, that’s my way right?

Digression – you all know that Covid-19 is keeping many people home (and bored) so I thought, why not steal an idea from the great Comic Reporter and do a rolling round up.

 

So here we go  –

online libraries

Solidarity! Revolutionary Center and Radical Library (hosted by University of Kansas)

Comic Book Plus (public domain comic books and strips)

free reads – downloads

Download Judge Dredd Case Files vol.5 for free  – you need to sign up to get it

Colin BellDungeon Fun & Pirate Fun

Colossive PressColossive Records 2019

Dave Cook –   twitter   –   Comic Pack download

David Cooper – twitter    –  Bruce

Phil Elliott –  facebook art page     –    Mammy, Rodney & Wonders of Science   –   Tales from Gimbley (read online)   –    (go here and you can order In His Cups and (w/ Glenn Dakin – Beyond Finity)

Anthony Ez Esmond    –    The Whore Chronicles

Gareth A Hopkins –   twitter – (w/ Eric Blagsvedt) – Found Forest Floor

Nicole Little  –  website   – downloads    – facebook

Chris Mole –   twitter –   Brigantia (w/ Nikki Foxrobot and Melissa Trender)

Ken Reynolds   –  website   –   Cognition   –   Sliced Quarterly   –  My Life as a Cartoon   –   In Trouble

ShortBox   – they have 8 different comics available here  including work from

Emily Carroll    Lucie Bryon    Niv Sekar     Anatola Howard     Nicole Miles     Jean Wei

Sam Wade    and the Pingu Zine by many

Lucy Sullivan –   website   –   Barking download

Brian Talbot  –  website (sidebar has download links)

Artyom Trakhanov – twitter    –   patreon    –    inprint   –   original art     –    shop – free digital copies – you can also purchase here

Andrew White – website     twitter      Downloads –  Yearly 2018   –   Yearly 2019   –  Drowned River Lores

Jim Zub  –   twitter    –   patreon    –    Skullkickers & Wayward downloads

free read – webcomics & online comics and zines

Warren CragheadKids Comics

Diabolik   –   well known and long running Italian comic

Pete Doree –    twitter  –    The Kids From Rec. Road     –    Stan & Jack #1

Hiveworks

LaurenLA HONTE!

Dave NiceMake Your Own Stickers

Tillie Walden – still has On A Sunbeam up online – excellent – you can buy it from Avery Hill, who are also excellent

Tom Woodman  –    twitter    –    Future

go buy

Broken Frontier are running a tag on twitter #brokenfrontierboost to help those who have lost out from closed events

Take a look at Colossive Press – they’re increasing their efforts to raise money for a local hospice

Gareth Brookes – tweet here  –  website    – also see this

 

Delaine Derry Green   –   twitter   – Not My Small Diary

Drawn Chorus Collective  –  shop

Happy Clamshop

Kusshop

Microcosm Publishing – particularly This Zine Has Issues #2

Miller Town – that’s art and zines from Henry and Stan Miller – both great

Olivia Montoyazines and handmade objects

Danny Noblebig cartel

Small Zine Volcano – Not actually buying – free zines for the cost of the postage

Mark Staffordonline shop

Olivia Sullivan  –  shop

Robert Wells – I know he missed out on a kickstarter, so think about buying something from his big cartel– he’s lovely and talented

Amy Wike – supporting US artists by selling prints of people hugging – A Hug or Something Like It

Shannon Wrightshop (digital comics for $1 and a free zine)

virtual cons and activities

Zara Slattery   –   twitter   –  has a couple of mask to print ans colour in

Don’t Hide PR are offering a boost to small press creators – press release list

open calls

kus! s! – announcement – closes 13 May 2020

twitter

Already happened but still viewable is #kitchenconnights the most recent version of #kitchencon     ** UPDATE** Another one is planned for  19th April

facebook

Geek Asylum Virtual Con (26th April)

Stay Home Comic Con (28th-29th March)   –  Already happened, but still loads of resources and details available

Xerox Days

 

 

comics · graphic novels · LGBTQ+ · paper underground · Reviews · self-publishing · small press · story telling · webcomics · women's art

Star Bright Review

Star Bright can be found online, on twitter and bought here

Alice Clarke can be found online, on twitter , on instagram and facebook

Rob Zwetsloot can also be found on twitter

At the beginning of the year I wrote about 5  works that I thought deserved recognition. One of these was Star Bright and you’ll find what I wrote about it here, this will be a very specific dig into just a little thing I noticed in the work that struck me.

I keep coming back to this work for a couple of personal reasons, not the least of which is that it’s really a good world to spend time in. By that I mean that, I enjoy how calm it is, that it’s filled with kindness, but most of all, the strongest sense that brings me back is how it models acceptance. Sometimes showing an answer is the best way to help someone with hard questions.

So, I guess I’ve read it four or five times by now, critically read it I should qualify and then the other night, that’s mid-April 2020 or mid COVID-19 lockdown, I just sat down to enjoy it and not dig in.

Then I started noticing something I’d not picked up before, which is one of the joys of re-reading really. Now, I can’t say for definite whether it was intentional, whether it was the writer or the artist or the team figuring it out. I can say it doesn’t matter, sometimes you’re a good story because things happened that came together well. I can tell you that I had seen these things, but not consciously considered them before. To unpack that, my mind has felt the story being built those actions, but until now I’d never THOUGHT about how that was achieved.

I’m going to stop being coy in just a few more lines, but I want one more piece of context before I do that. When you write a story, you will have actions, scenarios and often similes and analogies in your story. It’s considered good literature if you manage these in a consistent way, so all similes relate to water or fire. In visual media you can achieve the same but in a slightly different manner, they are often repeated visual cues. Critics have picked apart works like Watchmen for its use of such literary techniques.

Well, here I was stuck inside and facing another seven weeks before I could go out. I have a child we’re having to shield and had spent two weeks with them having to be separated from my other two children and then from me as we showed symptoms. Then I was reading and seeing all these panels with hands clutched away from friends, afraid to reach out as well as panels of hands just gently held, friends in love with their friends. It was like fire through my veins, but it was also so very simple and very human and that’s why I keep coming back to this beautiful little comic.

 

 

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2020

comics · graphic novels · interview · LGBTQ+ · long list interview · paper underground

the long list interview – Alice Clarke and Rob Zwesloot

I spoke to Alice a long time ago and have been very slow in getting this interview up on the site, for which I apologise.

I’d seen Star Bright in the small press section of my local comic shop (without realising that Alice worked there at the time) and was intrigued by it, flicking through, but never quite committing as it wasn’t my normal art style. When I put out a call for interviews and reviews and Alice responded I was pleased as it gave me the reason to engage and test that prejudice. I’m glad I got that chance as I was particularly struck by Star Bright, so struck I awarded it one of the five Paper Underground awards zine love gave out for 2019. I was very moved by the story, it ended with an admittedly quiet emotional outcome, but it hit with quite a heavy weight.

I also want to thank Rob Zwetsloot for their additional responses (and help with editing!!)

That there are only 200 copies, and not all are sold, seems to me a big shame. It’s a strong and accessible work, even for younger children and it seems like a comic that could fly with the right publisher to raise awareness and get some strong distribution.

Star Bright can be found online, on twitter and bought here

Alice Clarke can be found online, on twitter , on instagram and facebook

Rob Zwetsloot can also be found on twitter

cover for the graphic novel star bright of a young girl wishing she had a friend

ZL – Hi Alice, could you give a brief introduction about yourself first of all?

AC – Hi Iestyn! I’m a Brighton born & raised artist. I’ve been drawing since a young age and graduated from the University of Brighton with honours in Illustration in 2017. I lived in Texas for two years from when I was about twelve, which is where I first came across manga in my middle school library, and ever since then I’ve been hooked on comics.

ZL – I guess the obvious question is, what have you been doing since the strip finished up at the end of October 2018, apart from, running a successful Kickstarter to get it physically published?

AC – It took quite a few months to fulfil the Kickstarter as I was doing almost everything by myself and I was working full time. In April I quit my job to sort and pack all my earthly possessions and on the 1st of May I moved to Japan – so since then it’s been an adjustment period I suppose! Comics-wise I’m working on my first solo comics project, a lot of which has been building up the courage to start drawing. I’m thumbnailing it right now!

ZL – How did it feel to see the Kickstarter do so well, and then receive positive reviews from the likes of Broken Frontier as well?

AC – It took me a long time to work up the confidence to even try to make a comic in the first place and I only feel I was able to do it with the support of my wonderful co-creator and writer, Rob Zwetsloot, as well as friends and peers who cheered me on every step of the way. So, for the Kickstarter to be such a success, I was completely overwhelmed and overjoyed. I am extremely grateful that people such as Stephen at Page 45 and Holly at Broken Frontier took the time to read and review our work and say such nice things about it.

ZL – You got a lot of backers, I was wondering how many copies you had produced over and above those to fill the initial Kickstarter orders and how well they are selling, and where people can buy them if they want a copy?

AC – We had a pretty small print run of 200 copies, around half of which were for the Kickstarter. We have around 30 left over not including copies may be left on shelves in comic book stores – my previous workplace, Dave’s Comics in Brighton, Page 45, all the Travelling Man stores…
You can buy them on my Etsy store! Rob is fulfilling orders at the moment since most of our readers are in the UK, it didn’t make sense to send them to myself in Japan.

ZL – I’ve read Star Bright myself and – terrible person I am – as soon as you said it took you two and a half years I went and looked at the first drawings and the last ones to see what improvement there was.  I was struck by two things straight away.

The character designs were strong from the outset, it is easy to tell characters apart and there’s great scope for communicating their emotions, which is very important in this story.

Your figure work and anatomy were very strong by the end, also your line work was much more assured.

Do you see the difference and how do you feel about your progress?

AC – Thank you so much. That’s not terrible at all – I always do the same, I think it’s fascinating to see someone’s growth in this way! For me personally, I feel the change is immense (I actually can’t bear looking at the old pages haha) and I learned so much as I drew each page of the comic – people aren’t kidding when they say if you want to get better drawing, draw a comic. It forced me to draw many things I would never usually draw (backgrounds!!) and think about how to lay out each page and panel in a way that was visually interesting but conveyed more than just an illustration on its own would. I think I also got a bit more confident in my work and was more willing to take risks with angles, poses, etc.

ZL – Is there a point where you thought that the drawing really hit its stride and you felt that you were achieving an outcome you could be proud of, were you proud right from the start?

friends having a sleepover, one is brushing the hair of another
chapter 3 frontispiece

AC – I don’t think I was particularly proud of my work (meaning the drawings themselves) until maybe end of chapter 3, chapter 4. A long way in, I know, but I have a lot of self-confidence issues with my drawing (thanks art school) and it wasn’t until that far in that I think I found my stride and the way I wanted to draw the comic. I am pretty proud of all the pages at and after that point.

ZL – What was the genesis of this comic, did you know the writer Rob before you started working together?

AC – I think we knew of each other through mutual friends and the UK cosplay community, but it wasn’t until I put it out on Twitter that I was looking for a writer for a comic project that we really started talking. Rob came to me with a rough outline of ideas and character concepts and I just loved it straightaway, the rest is history!

ZL – I find it interesting that you call it out as an LGBT comic, because, to me at least, it’s far more universal, dealing with social anxiety and self-image. I’m particularly interested to see a comic written by someone with different life experiences that handles the feelings and emotions of teenage girls so convincingly and wondered what inspiration and insight Rob drew on to write the story. Did you work together on the storyline and character decisions or was this a more traditional writer and artist collaboration?

AC – As LGBT creators we always want to create work that reflects ourselves and our community in one way or another, and while Star Bright may not feature a story with a hard-hitting LGBT subtext, I think it’s important that people can read and access comics and books that feature gay and trans characters without that necessarily being the focus of the story. Especially as a book aimed at a younger audience who may not have figured out or even thought about those things yet (I know I certainly hadn’t when I was Zoe’s age…) I wanted to manifest LGBT themes in a manner that was more suggestive but also conspicuous. Accepted. Like Robin and Sarah always showing up holding hands, Zoe and Star’s progression from friendship to something more just being accepted. I hope that makes sense.

Robin and Sarah in the background holding hands in the background whilst Star and Zoe walk by talking with each other
Robin and Sarah in the background holding hands

Rob is non-binary, so I think those self-image issues and feelings of anxiety and not fitting in would not be too dissimilar to a young teenage girl’s at all. Although it was chiefly Rob who wrote the story, it was quite different when originally brought to  – there are whole characters we decided together not to use in the final version.
I would say we were co-creators more than anything else when it came to the script, and as someone who was once exactly in Zoe’s shoes, a young teen girl struggling at school with loneliness and friendship troubles, I did my best to help nuance Rob’s wonderful script in a way that echoed my experiences. In that way I think we are a little bit outside the traditional writer-artist style of collaboration. Rob also gave me almost complete freedom with page layouts and pacing, only really giving me stage direction and visual pointers when they had a strong idea for how a certain page or scene needed to be drawn. I think our collaborative method was really symbiotic and we both helped each other constantly to build on our strengths and grow our skills.

ZL – This sounds like an interesting point and I’d like to bring Rob in on this and get their point of view, how did you find the experience of writing about teenage girls?

RZ – First and foremost, I wrote these characters as just people, with wants and desires, different history and life experiences. I think that’s important with storytelling, otherwise you’re concentrating on just one part of them (and it reeeaaaalllllly shows when you do). A lot of Zoe’s character was based on me growing up and some of the problems I faced. It was sort of wish fulfilment for how I’d liked to have been able to face my issues while I was still a teenager. It’s been nice to learn that a lot of other people had these sorts of experiences, so I wasn’t quite as lonely as I thought – although I guess the irony there is, we were all too lonely to reach out to each other at the time. Having said that, while writing the story I was worried that I might end up not writing the girls ‘correctly’ – despite the agnostic approach to creating the characters, I don’t have experience as a teenage girl. I think at one point I was even asking friends “did you ever just talk in Simpsons quotes as a kid?”.

However, I said to Alice at the start that she should correct me if I did something wrong. It really helped with the way the scripts were written. I’d write the chapter, do my edit passes, tweak it until I was happy with it (or as happy as I could get), and then Alice and I would read through it together and punch it up, almost like a TV show writers’ room. We’d add bits and change stuff for story reasons, consistency, for better visual layout in the comic, etc. It definitely would not have been as good as it is without her input. I think Zoe ended up an amalgam of Alice and myself in the end, and really the only mistake I made with them was initially writing them a bit too mature. We added in more of the uncertainty and confusion of being fourteen and left it up to the reader.

 

ZL – What impressed me most with the art on this was how you used it so efficiently to highlight emotional states, it’s interesting to see someone approach a Japanese style comic that develops the use of body language and silent connections more than the hyper normal, speed line mania one usually sees being aped. The approach lifts what is really a small, introverted narrative and lends it a heavy sense of emotion, rather than playing up an opportunity for melodrama. I’m wondering if there was a conscious decision to play the story that way, or whether it was something that came from the characters as they emerged, or whether it was something that the two of you brought from your own influences?

powerful loneliness illustrated by a blank face girl walking away in darkness
powerful loneliness

AC – Thank you very much, I’m really pleased you picked up on some of my visual choices. I am not really sure, I think for my part I just tried to draw and convey the story and the emotions in a manner that felt natural to me. Some of my most favourite storytelling techniques in comics are found predominantly in manga, so a lot of the ways I decided to draw certain scenes involving drama and emotion are probably very influenced by Japanese comics. I find the quietness and subtlety of melodrama in manga oftentimes much more emotive and appealing than some of what I’ve seen in western comics, and I think it’s closer to reality so it works better for stories like Star Bright where the narrative is close to home and relatable, (well, except for the whole alien thing haha).

ZL – I don’t know whether you were aiming for this, but it’s definitely something that I picked up, whilst this is clearly a comic aimed at teenagers, a YA style, it’s also something that I, as an adult could read and identify with. The style is engaging and endearing and open and it feels like I’m getting an insight into the lives of the girls and girls that age in general. What was the aim of creating this story, who were you hoping to talk to and what was it you felt you had to say to them?

AC – Thank you so much. I really like books that have a wide appeal, that have something for everyone. Many of my favourite series fans’ ages range hugely so I guess maybe it’s a natural way for me to create work (Cardcaptor Sakura, Jojo’s Bizarre Adventure, Lord of the Rings…)
For me, not having a voice when amongst my peers and the smothering feeling of loneliness and being misunderstood as a teenager was something I had rarely, perhaps never seen represented in books and comics I’d read, so I really wanted to voice it myself with this comic. With Star Bright, I was hoping to talk to that lonely girl who spends her school breaktimes at the library reading by herself, who begs her mum for sick notes, so she doesn’t have to go on school trips, the girl who’s always last to be picked in P.E., who never has a pair for group work. I’m sure there are lots and lots of Zoes out there in the world, and I wanted this book to find them somehow and let them know they’re not alone, and if they didn’t find them yet, there’s definitely a Star waiting for them.

ZL – It’s also surprising how, if you gave it as an elevator pitch, something seemingly sweet and so low stakes in terms of character arc, manages to be so engaging and supple in its storytelling. I genuinely came away feeling happy and like something good had happened in my day. Part of that was how well the art managed to communicate the characters feelings, both using body language, character interaction and then more subtle artistic effects, for example, when Star first goes and stays with Zoe’s friends. How much thought and how many tries did it takes to nail that approach? Did that solution just come naturally to you or did you think it through and try different approaches?

AC – Wow, thank you. That means a lot to me! We spent a lot of time reworking the last chapter and a half or so, trying to figure out the emotional beats and get the height of the drama just right for the bus scene with Zoe and Star. Like you say, it’s a low-stakes story and I was always worried that it wouldn’t be enough to engage some readers. It’s hard to know how many tries and rereads it took to get the script right, since I was always working with Rob right up until I had even finished drawing the page to tweak lines of dialogue, etc. I can say however that there are almost no pages I drew more than once or that changed dramatically from their original thumbnail sketch.

ZL – Final question, I promise!

What are your plans for the future, would you like to do more comics and see them published, or stick to webcomics, or are you out of the comics games for a while?

AC – I would love to have my comics published someday, it’d be a dream to be published by somebody like First Second. But small steps, for now I’d like to try and successfully complete something solo and really indulge in my interests.

ZL – …and you Rob?

RZ – At the moment I’m (very slowly) working on a new story concept that may end up as a book. As for Star Bright, it’s over for now but we may always return to it in the future.

ZL – Thanx for all your time

 

Paper Underground Award announcement

 

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2020

 

go read · webcomics

Read it online – Witch Gauntlet

A metal inspired webcomic with a great mix of cartooning and textured linework delviering a fun story – Satanic cults, black metal, a young rebel without a cause all deleivered with a poker face.

Web comics Witch Gauntlet by Ze Burnay the first page featuring a dream sequence of the metal head hero flying through a void and encountering a hideous demon
Witch Gauntlet