Disclosure – I provided the cover for the final collection of Sliced Quarterly, edited and published by Ken Reynolds
ZL – I have the impression of you as a long-term and influential individual within the UK small press scene. How do you think of yourself in those terms and who would you consider your peers?
KR – Perception is a funny thing. I’ve only been involved in making comics in any capacity for the last 5 years or so… I started shortly after my daughter was born. That’s not really a long time when you consider how long it can take to pull small press comic projects together. We’re 3 years and 3 volumes in on Sliced Quarterly, and it took about 3 years to do 5 issues of Cognition. That felt pretty quick to me.
So, I don’t feel like I’ve been around for ages.
As for influence… If you run an anthology it can give off a perception of being ‘in charge’ but that’s never really the case with Sliced. I round things up rather than commission on that one.
All in all, I still feel as though I’m figuring things out. I think back 4 years to the person that had aspirations of making comics… I’d have looked at me now thinking, ‘wow, you made all this stuff’. I guess that’s the trick. Keep making books.
The only way I’ve ever felt influential is when I can help other creators. Something I will do any time I can. It’s indie comics, you don’t step on people on the way up, we all lift each other.
As for peers… I guess that’s just all the people I work with consistently, the people that help me as much as I try to help them. Chris Sides, Jimmy Furlong, Jon Laight. But I could list hundreds of creators. Anyone I’ve worked with through Sliced, anyone that’s hired me as a letterer.
There aren’t levels to me. If you’ve made a comic, any comic, you’re a creator. You’ve done something special. After that it’s all subjective. But if you’ve had an idea, do everything you have to do to get that book over the line and made a reality, you have my utmost respect. If you keep doing that over and over, you might get a reputation, I suppose? But if you make good stuff, you make good stuff. I always want to read books I love.
ZL – You’ve mentioned that you’re planning on focussing on single publications now that you’ve put Sliced Quarterly to bed, are there any concrete plans in place or is more of an ambition at the moment?
KR – I have one book that is a definite. We began to serialise a story over the last 5 issues or so. We got to a nice pausing point, and when I decided Vol 3 would be the last collection I promised the creator that I would continue to help them publish the story in some form. That is partly where the idea came from.
Ultimately this move is an extension of what Sliced has always been about. Getting stories in front of readers that don’t usually get that chance. Now it seems like a natural evolution to do the same thing with longer form books instead of short comics. My experience in self-publishing and crowdfunding can be useful to someone that is attempting it for the first time. It’s still that principle of helping other creators. The Sliced banner is just a label for that.
ZL – Do you remember the first time?
KR – The first thing I really remember loving when I was growing up that made me want to make something myself was Wallace and Gromit. I couldn’t get enough of it. The animation delighted me. I tinkered with simple animation throughout my design education, but I never fully committed to it.
There was something about the style and sense of humour that made it all so accessible. It was tangible and real. Animation that you could reach out and touch. There is something special about stop motion animation, even now as it becomes more scarce. Anything that takes that much time, effort and artistry deserves attention and respect.
If we talk comics, I recall the moment I realised comics could be more than what I knew them to be from my childhood. I’d loved the Beano etc, but when one of my college tutors showed me Arkham Asylum by Grant Morrison and Dave McKean, it opened my eyes and I went on to discover how diverse the medium can be. I wish more people had this sort of revelation. My main bugbear is comics being described as a genre rather than a medium. It’s reductive because comics can and should work in ANY genre.
ZL – You’ve spent a few years now working with creators as an instigator of some kind, what do you personally gain from taking that role?
KR – I think I’ve touched on this a little in an earlier question. In indie comics we HAVE to help one another. Simon Russell once said something that I thought particularly pertinent to this point. “Art isn’t a zero-sum game.” It isn’t a competition. By helping others succeed you don’t affect your own chances of success.
Another answer would be the realisation that lots of people helped me on the road to making my books, and I would have to be a huge arsehole not to do the same for others.
As for what I gain? Satisfaction. To know you helped someone makes books that are special. To know that without you something special had less chance of existing… If you think of it like that, then it’s a responsibility to help, isn’t it?
Making is the aim. It isn’t sales or reviews. It’s the process of making. That is the goal. Everything else is out of your control, and to put your hopes on how things are received is a set-up for failure and unhappiness.
Enjoying making something, put it out, it has a life of its own, make the next one. And the next.
ZL – You are gifted the opportunity to set up a new museum showcasing all of the creators who have influenced you from birth to now. The first show is called ‘First, Formative and Now’ who do you pick and why?
KR – Oooooof! This is a brutal question.
The Hobbit – Tolkien
The first story I got really lost in. I return to it a lot and have recently begun studying the mythology Tolkien created in his lifetime.
When I discovered and researched his work in college it cemented my career path.
The friends I’ve made in small press comics. The people I speak to regularly, the people I send my work to for feedback, and they in turn send their stuff to me. It’s comradeship, support and guidance from people that are trying to achieve similar goals in very different ways. It’s not competitive, we all want to see the others make the best stuff they can. There are hundreds of these small groups in the wider scene, everyone drives everyone else on and it’s a fantastic atmosphere to grow and explore your art. Each time I go to a convention, meet new people, see new work, it refuels me. Encourages me to make my next thing. The vibrancy and enthusiasm within indie comics is special, and we shouldn’t take it for granted.
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content copyright iestyn pettigrew 2019