comix economix – an interview with Avery Hill’s Ricky Miller

I think the true nature of what makes Avery Hill a truly worthy publisher comes not from the work that they publish, but from the approach that they take.

It seems to me that the two most important things to be taken from this whole interview would be these comments, “..we had a responsibility to sell as many books as possible and make some money for the creators…” and “…we put a massive amount of our time into the company and don’t take any money for that…”

It’s that approach to creator first commerce that I admire. It seems to pervade their whole ethos and, I think, informs much of their editorial aesthetic as well – people first. At the heart of what they do is the belief that people matter and so should be shown respect.

Untitled Ape’s Epic Adventure Steven Tillotson

ZL – Hi and thanx for agreeing to this interview!

Having looked around, you seem to have entered your 15th year as a publishing company and it seems like a terrible year to be in business, especially the business of comics. It made me think though, did you believe you’d last 15 years when you started, do you feel like you’ve accomplished more than you ever thought you could?

RM – It’s actually 8 years that we’ve been an LTD and a couple of years of making zines before that.

I think when we started, we probably saw it going a few years and our major aim was to have a nice row of a few books on our shelf which wouldn’t have existed if it wasn’t for us.

I Love This Part Tillie Walden

To some extent that’s still the philosophy of what we do, although as we’ve taken on more overheads, we’ve had to make a few more decisions based on business reasons rather than other reasons. We didn’t have any idea that one day we’d be doing print runs in the thousands rather than in the tens and that we’d actually have books winning awards! The day that Tillie (Walden) got nominated for an Eisner for I Love This Part is still one of the most mind-blowing things to have happened.

ZL – I don’t know if you want to, but that sentence ‘…although as we’ve taken on more overheads, we’ve had to make a few more decisions based on business reasons rather than other reasons. ‘, really cries out for unpacking a bit! 

It’s very open to interpretation and I’d love to dig out some detail. 

A Projection Seekan Hui

With comic companies so often being so negative, I’d normally be inclined to read that as, ‘we’ve started screwing creators and shipping production out to the cheapest printer we can find’. However, in my experience, creators seem incredibly positive about working with you, both in terms of the value you add to their work and your treatment of their works as published. 

So, my assumption about what you’re saying here is that the kind of projects you take on has changed rather than the treatment of creators or is it something else entirely?

A Quiet Disaster Alex Potts

RM – It’s more that we now think a lot more about how commercial a project is before we take it on. This hasn’t led us yet to do a project JUST for commercial reasons, every book we’ve put out we believe in from a creative point of view and it’s a book we’d love to read ourselves, but we’ve probably had to not pursue a few projects where we just didn’t see it making any money at all. In the past we might have gone ahead with that type of project just for artistic reasons, but we’re trying not to do that anymore. It means saying no to some books we might love to do, but in the long run it’s best for us and also for the creators.

ZL – For me, the whole idea of taking on ‘overheads’ seems damn scary! It’s sort of the difference between being in zine publishing and book publishing. Which is a loaded statement for sure.

Artifical Flowers Rachael Smith

What I mean is, for me zine publishing doesn’t require much money up front and doesn’t really expect to do more than break even or even just net back a bunch of reading through swaps. Book publishing carries the expectation of income to fund new publications, carrying back stock, selling in bulk and at discount, handling returns and all sorts of other time consuming and expensive upfront costs and gambles.

Does that seem like a fair view or am I over simplifying matters horribly!?

RM – The main thing is just not totally overstretching ourselves. We’ve so far not had to do anything financially that we couldn’t see a way of surviving if everything went wrong. We always pay invoices immediately, especially for staff and smaller businesses that we deal with and being responsible is really important in that we don’t want anyone else to hurt from mistakes we make.

On A Sunbeam Tillie Walden

Our biggest costs are always by far print costs. Reprinting something like On A Sunbeam is a massive cost. Our latest reprint of that cost £20K+, but that’s a book that will always sell and it’s just a short-term cash flow problem rather than a risk.

Breakwater Katriona Chapman

ZL – Do you miss the simplicity and immediacy of zine publishing. I don’t mean that as a ‘would you prefer to go back to zines’, more of a question of whether you appreciated having the opportunity to approach publishing in that manner and whether that had its own appeal and does that appeal still exist for you?

RM – I don’t really miss the zine aesthetic, I was never particularly into it. Dave might feel differently on that score as he was very much the one who produced all of those early zines that got us started and I was just a contributor for most of that. I like buying and reading zines more than I did making them. I’d encourage every creator to self-publish something at least once as it gives you a great education in the whole process of making, selling and marketing a book. 

Butter Tubbs Donya Todd

ZL – In the face of all that complexity, what is it about the process that keeps you going and motivated, what emotional aspects of it reward you, as I presume you’re not rolling in money from this, it’s publishing and comics after all!

RM – I’m more interested in getting as big an audience for what we do as possible and I get most of my enjoyment now from figuring out the business side of things and seeing how far people like us can get without any insider knowledge, connections or experience other than what we’ve managed to gather as we go along. I see our logo as something of a metaphor for this, that we’re bunking over a fence into the publishing industry. 

Days Simon Moreton

ZL – We’ve dived quickly into depth here without really getting any history for context, which is terrible in an interview! So, to step backwards for a minute, how about you tell us what background you have with comics?

RM – Dave, the AHP co-publisher/co-owner, and I have been friends since school and definitely bonded through comics (as well as music). We both started reading lots of Marvel UK stuff when we were very young. I was particularly into Transformers and used to do my own Transformers fancomic when I was about 14. Then when we met at senior school we were reading some superhero stuff (it was the early 90s so mainly the Image guys pre and post them leaving Marvel) and then the DC mature readers titles that became Vertigo, like Sandman, Animal Man and Shade. Also a few self-published titles, such as Strangers In Paradise, Bone, Hepcats and A Distant Soil. Cerebus was probably the biggest one for us though (until it went off the rails) and I’d say that a lot of the stuff that Dave Sim used to discuss, with regards to creator ownership and self-publishing, still massively resonates in how we think about Avery Hill.

We both drifted from comics when we went to uni and then Dave got back into them when we were in our late 20s and leant me Y: The Last Man and Fables, which got me back into them as well.

Deep Space Canine Comic Book Slumber Party

ZL – I’m always interested to see Dave Sim mentioned because of how his place in comics seems to have shifted from Cerebus as a comic and more to what he did when publishing it and what he wrote about publishing itself. I could do a whole discussion about the value of the comic, but that’s a whole other interview!

What I am intrigued by is, how a publisher took what Dave Sim said and got inspired by it when you consider how anti publishers and pro creators doing it all themselves his writing was. So, at what point in Avery Hill’s history did he influence you and what impact does he still have on your approach to creators and publishing?

Victory Point Owen D. Pomery

RM – I think the main thing is the stress on creator freedom and ownership. We don’t take any rights from creators in terms of licensing, image, etc. And they’re totally free to tell their story however they want. The way he worked directly with comic retailers as well is really important and how he built his audience from the ground up pre-social media.

Desolation Wilderness Claire Scully

ZL – As a random question, have you ever considered reaching out to Gerhard and seeing if he’d want to be published, can you imagine a comic just filled with his illustrations of different environments!

RM – I’m not sure if he’s ever written a comic, but I’d definitely love to see a nice book of his drawings!

Escape From Bitch Mountain Comic Book Slumber Party

ZL –  Just to tack a further wide open question on there, what do you think the legacy of that generation of self-publishers has had on comics now? I personally feel it did a lot to re-introduce diversity of subjects and approach back into comics and spurred what I’d class as the book market side of comics.

RM – I’d love to read an Easy Riders, Raging Bulls type book on those creators and that time. I’m sure it would be fascinating, although equally male-centric. I’m not sure that many of today’s younger creators have read much of that stuff and I don’t think any of them are making enough from self-publishing to turn up at shows in limos like Sim used to. I think we have to look at it more in the context of an Image style business model nowadays, where books like Saga, The Walking Dead, etc kept some of that ethos, albeit with some work-for-hire aspects that Sim would frown on. The most influential on today’s market from that time is definitely Jeff Smith’s Bone, which blew the doors off of the middle-grade market. The lasting influence there is massive.

Follow Me In Katriona Chapman

ZL – Going back a bit to something else you mentioned, specifically publishing your own Transformers fan comic, and I can’t leave that stone unturned! What was it called and was it something you did for yourself and your friends or did you put it out to the wider world and are there still copies available to buy or maybe a link to read it somewhere?

RM – Thankfully it was pre-internet and I don’t think it will surface. It was done through a Transformers fan club and was an incredibly ambitious prequel to the whole Transformers saga called Pathformers that (shockingly) I abandoned after about 6 issues. Sadly, a lost masterpiece of the form.

Goatherded Charlo Frade

ZL – Do you think that early experience had an influence on setting up and beginning Avery Hill?

RM – I don’t think I would have thought of doing Metroland if it hadn’t have been for the Transformers comic, but I always enjoyed writing and drawing so I’m not sure.

A City Inside Tillie Walden

ZL – I’m a nosy person that’s very interested in how people get to a point, not just what they do, so I’d really like to know what was the trigger that finally persuaded you to publish your first book?

Also, when setting up the company, what was the initial impetus to make Avery Hill exist? I just think it would be interesting to know whether the original dream has been met, but also, digging into that a bit deeper, what moment persuaded you that it was possible to go out and publish comic books?

Finally, to heap in the questions like an avalanche, what did you think you’d be able to achieve, in what timescale?

Metroland 1, 2, 3 & 4

RM – Dave wanted to start a zine called Tiny Dancing and I decided to contribute a comic to it called Metroland, which I used to write and draw. As we got more into that world we found loads of other comics creators who were much better than us, like Tim Bird, Owen Pomery and Simon Moreton and decided we should just publish their stuff instead. So the first book we put out that wasn’t by one of us was Grey Area by Tim and the The Megatherium Club by Owen. Simon’s collection, Days, was the first big graphic novel we ever did.

Grey Area Our Town Tim Bird

We had absolutely no background in publishing, no contacts, no financial backing and not much of an idea about the small-press scene. We didn’t really expect it to go anywhere and thought it would just fizzle out at some point. There was definitely no grand plan. We often compare ourselves to those small record companies that start because they like a band, like Electric Honey, Jeepster, or Factory Records. I like the idea of doing something where no one can tell you “No” and taking control of what you want to do. Neither of us would be remotely interested in working for another publisher (I’d maybe consider running Marvel for them…).

Internet Crusader George Wylesol

ZL – I’m going to jump around because that’s how my head works sometimes and because I realise it would be good to get some context.

I know many people don’t really want to talk about numbers, particularly sales and income, but I’m not one of them! Forewarned is forearmed I fully believe. So, what were your initial expectations for sales and break even for published comics and on what did you base those? Was there a network of people you could reach out and did you reach out to them?

Zebedee and the Valentines Abs Bailey

RM – From the point of view of the books making money, we didn’t start out with that intention and the print runs and costs were never going to generate a meaningful profit. We were fan amateurs doing our best to publicise work by people we liked (and we had to like both their work and the person themselves) and that was very clear to all of the creators as well. However, at a certain point it got big enough that we realised those terms had changed and that we had to take it even more seriously and that we had a responsibility to sell as many books as possible and make some money for the creators. A lot of companies can start as hobbies and then grow beyond that and it’s really, really important to notice when you have crossed that line so that you don’t start failing to deliver to the expectations of your creators. We feel a deep responsibility to the creators for the amount of work they put in. We want the final book to look as good as possible and sell as many copies as we can.

Ismyre B Mure

ZL – I don’t want to derail this set of questions yet, so I’ll come back to some of those points in a bit, if that’s alright? I’m wondering if you ever achieved those initial numbers, or blew them out of the water, or did you find yourself still sitting on a fair amount of dead stock?

RM – We made some mistakes in the early days in terms of print runs. Everyone does. It’s rare you have “just enough” books, which is what everyone is trying to aim for. You either get stuck with a load or you go to a 2nd print after a short period of time because you printed too few.

It’s Cold in the River at Night Alex Potts

ZL – What did you do to decide on those initial numbers, was it based on a marketplace assessment, segmented by a target audience, more of a finger in the air informed guess, or the more hopeful, ‘well if I sell this amount it’ll cover all the costs and it doesn’t seem that unreasonable to expect these sales figures’?

And the punchier question, how much better have you got at making those estimates now that you’ve been at this for so many years?

I would guess there’s no great problem thinking you’ll only sell 500 and suddenly finding 5,000 ordered. Of course, I’m just assuming that, so feel free to re-educate me!

Tower in the Sea B. Mure

RM – It’s all finger in the air as in those days we had no clue what print runs other publishers were doing. A few people took us under their wing and gave us some idea. I’ve always been interested in developing out the business side, so I always ask people questions. All of the published data is close to useless for comics as so many aren’t sold through tills. We’re a lot better than we were, but we’re still pretty conservative and get taken by surprise a lot. Storage is expensive, printing is expensive, shipping is expensive…it’s an expensive business.

We have UK and US distributors who sell our books directly to bookshops and to comic shops, either directly or through Diamond. All books are returnable, so each month we’ll get a hit on books that come back. A while ago we got notified of 650 books that were returned and unsellable again due to slight dings or scratches on them, so they have to go to be recycled and we lose all of the money on those. They pay us on a 4-6 month lag, so it takes that long to get any money back on most books. Which means cash-flow is king. You need a pipeline of good sellers to be able to stay afloat if you don’t have big financial reserves as you’re always paying for the next book out of the money from the previous book.

Maleficium Edie OP

ZL – Heading back to your earlier point about starting as amateur publishers, could you expand a bit on what expectations you set yourself at first and how realistic those sales or rather, your measures for sales, were in the end? How much of the continuation of publishing over the time was linked to your expectations shifting to meet reality and what emotional effect that had upon you?

There’s also the flip, in terms of how creators’ expectations have been managed by you in this process. Have you ever had to sit a creator down and go ‘Slow down, you’re thinking mountains and we’re thinking hills’?

The Rabbit Rachael Smith

RM – It’s all emotional with us. If the creator is happy, we’re happy. If the creator is delighted, we’re delighted. If the creator is not happy, we feel awful. A lot of that is managing expectations at the outset. 

The main focus for me for the past few years has been putting everything possible in place from a structural perspective to make sure that we can do as good a job as possible. That’s distribution, printers, marketing, PR. and sales. It’s all about sales when it comes down to it. Every job we do in this company is about sales. A friend of ours, Gareth Brookes, who makes graphic novels and some years ago we published a couple of zines by, said something the other day which really resonated with me. He said that we’re “too professional” and I knew what he meant, in that we can give the impression that we’re bigger and more successful than we are in reality. That’s because we put a massive amount of our time into the company and don’t take any money for that (we have day jobs). We also hire three contractors to work on sales, marketing and publicity who are all great at their jobs and we punch way above our weight.

Marble Cake Scott Jason Smith

ZL – This is a tricky one to slip in, but I wonder after how much emotion and anxiety you expected to be involved in the process and whether you were prepared for how much there actually was?

There seems to be a lot of opportunity to build up a large amount of guilt around having your expectations for success and having to reconcile that with reality and having to deal with the creator’s own sense of worth and expectations of what makes that work worthwhile?

RM – I didn’t expect any anxiety. I expected to care, but not anxiety. The way we work, we get emotionally invested in every creator and we don’t want to let them down in any way. A lot of them we’d consider good friends. I feel massive amounts of guilt when we take tough decisions, but everything we do is done with good intent and never about our financial gain. There have been some lows, especially in the early days where we probably made some mistakes due to lack of experience or lack of resources. If a book doesn’t sell enough it’s always our fault and we just have to try harder. We do the best we can.

Mimi and the Wolves Alabaster Pizzo

ZL – I think emotional investment is probably the least thought out part of anyone’s initial business plan, it’s almost always ‘Where do I get the money to make this?’ What advice would you give about remaining emotionally healthy when getting into publishing?

RM – I don’t think it’s taken a massive toll on us; we can sleep at night and I can look every creator in the eye because I know we’ve cared about each book and done our best. I’d say you just have to be very honest and aware of your capabilities. You also need a business model where you and the creator share success, so you’re all working towards the same goal.

Parsley Girl Matthew Swan

ZL – I’m thinking not just about being a publisher, but also considering your creators’ emotional wellbeing now. At the start of becoming a publisher did you begin by managing the creator’s expectations, or did you start to realise they needed managing?

Or, have you been lucky to work with creators that are already realistic? I hope you’ve never found yourself dealing with a creator whose work you thought had gone successfully into the market where they were devastated that it had been a failure, and I wouldn’t want to open old wounds for anyone.

I am intrigued though about what you do when something goes very badly or very well, what challenges does that offer you as a publisher, particularly a publisher that has managed long term relationships with a number of creators.

Permanent Press Luke Healy

What happens, say, if they’re disappointed in responses or sales, but you’re proud and can see that they could go on and achieve more – what do you feel is your role in that situation?

RM – A lot of the time we’re the creator’s first experience of working with a publisher, which is a responsibility that we take seriously. I like to think that we’re a really good publisher to start a career with as we’ll look after them as much as possible and also not rip them off or keep any rights that we shouldn’t. We’ve worked with a number of creators who have gone on to bigger publishers and we always feel great about that. It’s a feather in our cap and means we’ve done our job right. It also helps the sales of their books with us if the creator is then being marketed by a bigger company.

Seasons Mike Medaglia

ZL – You don’t take submissions of work so how do you find new creators to work with? Do you actively search out creators on social media or through word of mouth from other creators or did you start this with a hit list of creators you wanted to publish? Basically, how does a work or creator get on Avery Hill’s radar and how do you think about prioritising that work for publication? Is that approach to do with being curators as much as publishers, about carving a space in comics that looks like the shape of your tastes?

Walking Distance Lizzy Stewart

RM – We’ve always had a very loose list of creators that we’d like to do a book by at some point. A few of those we’ve managed to tick off in recent times, such as B. Mure, Lizzy Stewart and Kristyna Baczynski. We like the process of curating what we do; seeking out the creators in various places. We follow lots of people we like on social media and Patreon and always seek out new creators at shows. If they’ve self-published it’s a big bonus as then you know they can get a project completed and also understand a lot of the production side of things as well. Getting submissions ends up taking lots of time and 99% of the time we’ve had to pass on the projects, so it’s not particularly fun for us. We’ve also now got such a large roster of existing creators that we really want to leave space for them to come to us with new projects as well.

Retrograde Orbit Kristyna Bacynski

ZL – I noticed that you hired outsiders to fill non-editorial roles and seeing how considered your other decisions have been, I’m presuming that’s because you valued the editorial role most? Would that be fair to say?  

RM – I think having someone freelance as an editor would be a loss of control over the relationship with the creator that I wouldn’t particularly enjoy. I think so much of what we do with Avery Hill and what makes us different is that it’s locked into mine and Dave’s taste and aesthetic and it’s that influence that we bring to bear on the creative process. It would be hard to relinquish that input and those decisions to someone else and then having to just market and sell something we didn’t feel like a tiny bit of ourselves had been involved in. That’s pretty much why we don’t publish works in translation that other publishers have put out or why we don’t really like taking finished projects.

Something City Ellice Weaver

ZL – How much editorial input do you have in any work that you produce or does that vary depending on the creator?

RM – It varies greatly. There are some creators that basically just want us to proof-read it and then there are some that want input at every stage of the process. I’m happy with either scenario really, we try to work however they’d like to work. Ideally they would rough out the whole book in a way that’s legible and I’d then go through and make suggestions on structure and pacing and anything I don’t think is right in the story. Then they go off and start drawing it and I’ll give input as and when required. Then feedback on dialogue and any bits that might need redrawing if they haven’t come out right. Mostly I just make suggestions and leave them to determine if they agree with what I’m saying. I like to make it clear it’s their book and their vision and I’m just asking them questions to make sure they’ve thought about all of their decisions. Just because I don’t like something or don’t think it’s the right decision, it doesn’t mean they should change it. It’s their work and they have to be happy with what ends up on the finished page.

Swear Jar Abe Christie

ZL – Philosophically, what do you aim to achieve through your input? 

RM – Really I think we consider ourselves more project managers than editors. We’re there to help them get it done and make sure they’re happy with the results. We’re enablers, and that can take many different forms; mainly it’s about keeping them confident in their ability to complete it and helping them where necessary. It’s more people skills than anything.

Terrible Means B. Mure

ZL – Considering what’s going on in the comics market are you worried about your future sales or are your sales firm outside of the direct market of comic shops thanks to your use of book distributors? To add to that thought, what are your opinions about the future of print comics both here in the UK and in the US as well? 

RM – I think the direct market is definitely on its last legs, but there’s still a place for specialist comic shops in whatever comes out of it. I feel like in the UK, where shops are a lot less reliant on Diamond and already use multiple distributors and wholesalers, we’re in a good place to weather what comes next. Although obviously the full repercussions of Covid on top of all of this are still working their way through the system. We sell a lot of books through bookstores and directly through our online store so we’re prepared for whatever happens. But the relationships we have with a lot of comics stores are vital and without them I’m not sure what the wider industry would look like in this country. I don’t think the answer is just to become a small part of the wider book industry, we still need our specialist places to champion this medium.

The Beginner’s Guide to Being Outside Gill Hatcher

ZL – What do you think your company’s legacy has been in the market place and in creators lives so far?

That’s a slightly loaded question I know! But I think this is one of those issues of appreciation.

Tom Spurgeon used to say that he thought comics has this built in attitude towards believing everything that has not got a run for 100’s of issues behind it is a complete failure. I’m with him in believing this is completely wrong headed.

To put it in personal terms. You’ve also introduced artists who are now published with other companies and have therefore then gone on to create more work.

If you sit back and reflect upon that, how does it make you feel about your efforts?

What We Don’t Talk About Charlot Kristensen

RM – I’m proud to see our creators go on to greater successes. Publishing the first books of people like Tille Walden, Zoe Thorogood and Charlot Kristensen will be a great legacy. I hope we’ve given them a good experience and platform to jump off from and that they’ll come back one day when they have a personal project they want to do that doesn’t fit anywhere else. I think the way we do things has also influenced publishers like Good Comics, who put out great books. I’m not sure beyond that at the moment, we’re still going and I think will only get stronger, so the full extent of what we’ve done isn’t clear to us yet.

The Impending Blindness of Billie Scott Zoe Thorogood

ZL – Do you see yourselves continuing to grow in terms of output and staff numbers or do you feel you’ve reached a good balance of what you can achieve within the limits of your energy levels?

RM – We’ve just hired someone to do the bookkeeping which means that I don’t have to do it anymore and to me that’s the most exciting thing to happen this year!

The Flood That Did Come Patrick Wray

ZL – Right – to lighten things up and spread some love. Which three creators would you recommend people search out if they were fans of Avery Hill books?

RM

Casey Nowak 

Patrick Kyle

Sophia Foster-Dimino

ZL – What’s the last (non-Avery Hill) comic or zine that you read that made you really think about what it was talking about or how it was using comics?

RM – I only very recently started getting into manga and it’s totally reinvigorated me. My main favourite is 20th Century Boys which might be the best comic I’ve ever read. It’s an incredible lesson in storytelling structure and the art is some of the best I’ve ever seen. Working with creators like Tillie Walden, Charlot Kristensen and Zoe Thorogood who are heavily influenced by manga has really made me appreciate what that language can bring to comics and I think some of the most interesting things happening in the US and UK area mesh traditional UK/US comics and manga.

The Great North Wood Tim Bird

ZL – I’d like to thank you for taking the time to talk to us and for giving such honest answers. I hope you enjoyed the process!

RM – Thanks for the opportunity to talk about some of this stuff, it definitely made me think!

ZL – And finally – please plug away anything you want to plug!!

RM – You can check out all of our titles in our store!

https://averyhillpublishing.bigcartel.com

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2020

Rockinktober

Just for fun I usually do a personal version of #inktober that I call #metalinktober – but this year I thought, what the hell, let’s start #rockinktober and set some art challenges for the group (or anyone else for that matter) and also take the chance to put some focus on bands and albums that I like.

Here are the prompts and I’ll be posting up the images at 00:01 UK time each day. Where there’s a band and album, I’ll be posting the album cover for you to be inspired by.

Feel free to email through the contacts page and share far and wide if you’re so inclined!

Small (press) oaks – Ken Eppstein

Ken Eppstein is a good man to know in comics. He works hard to be fair to all of the creators he’s published. I like his tastes as well, so I think you’ll find very good work, including his own, in the comics he’s published.

I like that he’s interested in quantifying rather than guessing what people need, researching and getting data in to inform his work. It’s an approach I admire. His recent surveys have been supported by Fieldmouse Press’s SOLRAD site.

 

Ken Eppstein

Find Ken here

website          twitter          instagram          facebook

 

 

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

You know, I think it was Curt Swan. One of the first books I ever owned was the hardback “Superman from the 30s to the 70s” collection. Still have it… Two copies actually! A nice one and my original copy with no dustjacket and a shredded spine. Lots of artists in there, but Curt Swan was the guy whose work was still in comic racks.

 

Which creators do you remember first copying?

I started answering this question by saying that it was probably one of the X-Men or Legion of Superheroes guys, but the more I thought about it, I’m pretty sure it was actually Jim Davis. I remember copying Garfield for a handmade birthday or Mother’s Day card or something. I can’t remember any specific copying before that.

Garfield
Garfield

 

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

I honestly don’t know that I’ve ever had this thought. At least not phrased that way about a specific artist. I will say that as I worked with artists, writing scripts and seeing their interpretations of my work, I gained confidence in my own ability to do it on my own.

I did for many years think about artists I could never be as good as. Technically adept artists, mostly. I guess I still think that framed as a matter of technical skill, there are many artists that have a more sophisticated skill set than I ever will.  Most who have dedicated themselves to that aspect of the craft, in fact. I don’t, though, conflate that craftsmanship with “good” or “bad” anymore. As a teenager, I realized that some of my favorite musicians are technically limited but are still able to create works of emotional and cultural depth. I now think the same thing is true of comic arts, but for some reason it took me longer to get there.

 

Which creator or creators do you currently find most inspiring?

Lynda Barry.  I took her five day “Writing the Unthinkable Workshop” last summer and all of my friends are tired of me talking about it. I went into that workshop a fan and came out an acolyte. She totally changed the way I create and the way I talk to other people about creating.

Lynda Barry

Which creators do you most often think about?

Other creator you mean, right? Because I’m pretty self-centered.

I don’t think I know. I care about a lot of creators.

Can you name the first three creative peers that come into your head and tell a little bit about why?
Bob Corby (of Back Porch Comics and SPACE): Maybe not so much my peer as my hero in terms of small press life. No one works harder for his community.

Bob Corby
Bob Corby

Timmy Wade, my coffee shop buddy who just recently hung together his first self-published comic after years of fretting about it. (Saphead comics.  Its not just good, its great!)

Saphead comics - Timmy Wade
Saphead comics – Timmy Wade

 

Pat Redding Scanlon who is my favorite current collaborator in a lot of ways. So talented and one of the few artists who live at the same intersection of punk rock and comic fandom as I do.

Pat Redding Scanlon

 

Outside of comics I’d say The New Bomb Turks, the first group of rock ‘n roll weirdos to take me in when I moved to Columbus. Also, almost entirely responsible for my garage punk record obsession.

Steve Anderson, my friend who has run a pirate radio station, written an excellent short story collection titled “1976,” guitarist and singer of the band I’m With Stupid, and filmed truly independent movies budgeted solely on beer and wit.

Bob Calhoun author of “Beer, Blood and Cornmeal”, “Shattering Conventions” and an upcoming collection of San Francisco true crime stories.

 

Bob Calhoun
Bob Calhoun

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

My most recent project, including works in progress are:

What Have I Done For You Lately #1: A zine with my current WIP and sketchbook selections.

How to Collect Comics The Nix Way #1: A zine about the creative side of comic collecting, featuring illustrations and short fictions inspired by comics purchased at a comic-con.

Currently working on an illustrated novel titled “On Tour With Roy Lee Hood” and a graphic memoir about opening my first comic shop “What The Hell Is A Rudy Goose?”

WIP - Ray's Short Childhood
WIP – Ray’s Short Childhood

I’m a writer, cartoonists, and publisher from Columbus, Ohio.  In addition to my own rock music and record store themed imprint Nix Comics, I’ve been a contributor to the Columbus Alive, Red Stylo Media Comics, Rocker Magazine, Roctober Magazine, WFMU Rock and Soul Ichiban, and the satirical comic website, The Outhouse.

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

Surfers' Love Call

 

all art copyright and trademark its respective owners.

content copyright iestyn pettigrew 2020

 

 

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

 

 

Small (press) oaks – Rol Hirst

cover for the The Jock by Nigel Lowrey

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

 

 

comix economix – an interview with Nix Comics publisher Ken Eppstein

Kickstarter live here

 

Nix Rock Logo

 

website                                 facebook                                  twitter                            instagram

 

Intro

We’re back with a lovely long interview with cult comics publisher, maker and general poetry aficionado Ken Eppstein.
I’ve known about Nix Comics since its first being mentioned on The Comics Reporter and been intrigued by how grass roots and open it seems as a publisher.
Then I saw a blog post where Ken went into details on sales and breakeven and knew I had to dig into this. Ken was incredibly helpful and polite throughout this whole process and comes across as a genuine and honest person – it made it great fun to be in touch and sort this out.

 

KP Cover

Interview

Hi Ken

Hey iestyn!

ZL – I’m going to start all sensible and check my facts out first. My understanding is that Nix Comics started around 2008 as a publisher, is that right?

KE More like 2010 for Nix proper. I started doing some cartoons and submitting them to Roctober Magazine around 2008, though. They were adaptations of interviews that I had conducted a few years before that as part of a newsletter for Evil Empire Records’ regular customers. I couldn’t mentally have gotten to “Nix Comics” without Roctober. Advice/help from Jake Austen was pretty instrumental to me, though, so I wouldn’t quibble if you called 2008 the start in that sense.

ZL – I’ve read that you had decided to end your record shop and find new adventures. That went with coming back to comics and finding there weren’t many comics that suited your tastes, so you thought you’d make your own. Does that sound about right?

KE Hahaha…. “Decided” is a generous way to put it. The brick and mortar Evil Empire Records was a flop. Not enough people in Columbus who want to buy Billy Childish records, I guess. (Town full of fuckin’ heathens.)

By the time I was starting to do comics stuff, my retail efforts were limited to on-line sales, which didn’t bring me the same joy: the only part of running a retail operation that I really enjoy is meeting people and making recommendations. I was at a point where I needed more personally.  I can’t tell you why all the pieces of Nix Comics snapped into place specifically at that point in time, but long stifled creative urges were finally bubbling over in my brain.

Nix Comics Quarterly 1 Cover
And yep… My perception was that there weren’t a lot of comics to my taste when I started making my own. And there hadn’t been for many years. I felt that way and said as much at the time, but I do feel like qualifying that opinion nowadays. I hadn’t had my ear to the ground for a while and the only experience I was going from was my knowledge of what was coming to stores that only sell Diamond distributed products. If I had bothered to actually go looking instead of shooting my mouth off, I would have found stuff.  What I should have said is “there is never enough” stuff that I personally want to read.

 

 

ZL – When you started, did you expect that you’d be able to make a good living – well, as good as selling records – from doing comics, or do you have an additional set of income, so it’s more of a moot point?

KE A good friend of mine once ribbed me by saying it was “awesome” that I based the Nix Comics business model on the tiny, mostly defunct, independent records that I loved. I had to laugh, because it was definitely true… My plans had a lot in common with how outfits like Estrus Records and Get Hip Records operated. Those labels were distribution efforts created to be vehicles for the Mono-Men and the Cynics, respectively, but they grew to include other acts that fit into that 90s garage punk scene. Anyways, I figured it would be a way to make a little extra side cash with the potential of it becoming a fulltime thing if all the streams converged properly.

I also was aware of the worst-case scenario, that maybe Nix would never would catch and I would blow a lot of money on something that only a handful of people appreciated. I mean… How much mass appeal can there be for a comic whose main distinctive feature is that the lead writer likes to include oblique references to Kasenetz & Katz Super Circus songs? I was (and am) cool with that in the sense that I don’t really have any other vices these days. Don’t drink or smoke or gamble outside of the occasional lottery ticket. Making comics keeps me out of trouble.

I should add for the record, Get Hip = NOT defunct! (Record pun intended.)

 

ZL – Is that lack of commercial need aided by you living somewhere cheap or do you just have low expectations for cost and lifestyle?

KE Ah… you know… My expectations are always butting up against my pragmatism. Expectations are my Mr. Hyde: furious, sad and confused that I can’t sell a couple thousand of the comics and zines that I feel are good and different. That’s what? 50 copies per state in the US? Even accounting for the relative paucity of people in Montana, that’s not an unreasonable goal, right?

My pragmatic Jekyll knows all too well that it’s never been easy or likely for artists to make a living. My guess is that it’s harder than ever because thanks to things like crowdfunding and print on demand services, the bar for entry into the field is lower than ever.  That’s great in the sense that I believe that all artists should have access to means for creation, but it’s a drag in terms of an overcrowded field.

The funny thing is I sometimes feel like I’m by default Hyde and I need to take the potion to turn into Jekyll.

 

ZL – Yeah, I know what you mean. I’ve got to a point where I feel like I’m so likely to fail it just doesn’t even matter anymore, not sure what that counts as but I’m going to coin the phrase ‘entropic pragmatism’ I’m so despondent it seems like it doesn’t actually matter so I can justify giving it a go. That sounds quite messed up when I say it out loud! Moving quickly back to you then…

When you first started up Nix comics what did you think you’d be able to achieve, in what timescale?

NWC01_Page_04

KE Ack. You ask hard questions. Tough to answer because the immediate goal has always been the next book or next few books, whatever they may be. Everything else was (and is) pretty experimental.

I had a good day job at the time I started and spent year one throwing money at Nix, hoping it would jumpstart things.  My goals were pretty standard, I think, for wannabe publishers: I wanted to make sure all the artists got paid and to print enough copies that I could make some money if they all sold. I thought I would pick up distribution and get to the point where it was at least self-sustaining. I was also hoping to get a core group of artists locked down… Like, so they could plan on having X amount of work every year from me.

It was pretty clear to me by the end of the year that things just weren’t going to work out that way.

Second year I tried to just do titles where I paid artists a percentage of sales. Only two titles in 2012, Nix Western Comics and Nix Comics for Kids. It worked OK… Nix Western actually made both me and Bob Starker a little money. (Sad story: the little bit of money Bob made was by his account more money than he had made in his entire three-decade musical career.) Nix for Kids was a bomb and I went into the red for it and only paid Brian Kraft a pittance for a 20-page full color comic.

Kind of hated the extra work for not a lot of money involved in that whole process and, with the exception of the Belligerent Kitties minis, haven’t done anything but a flat rate for a maximum number of printings since. Like if I give somebody $150 for a Bus Stop Ned, that’s good for printing 2000 copies of that comic. Any other publications or merchandising would require a new deal. There’s potentially a lot more money on the back end for me than the artist gets up front, but I think that’s fair.

I also changed my plans for reach. After being rejected by Diamond and a brief relationship with Ubiquity Magazine distributors I adopted a “Columbus first, then the world” mentality. I’ve really tried to concentrate on being a notable publisher here in town in hopes that I can spring off of that into something more broadly notable. I have NO IDEA how to get that done, so no timeline on that goal.

For a long time, my focus was just on getting books out. I was pretty resigned to them not making money, but I really wanted them to get made! A couple of years ago I was forced to leave that “good job” and since have had sporadic employment. This has led to more of a focus on the books making money, or at least all of my side hustles making money. I miss the days when I could do whatever-the-fuck I wanted.

ZL – It seems like many creators have to flit about, scraping pennies together, more so than ever. I can’t really say why that is, I’m not sure anyone can, really. It seems like society is moving more and more to the job and side hustle and the hustle to the hustle. It’s like everything is just too much for even the basics to be affordable.

 

ZL – I skipped this in my fact check, sorry for going back but, for those who don’t know anything about you, could you give a brief history of Nix comics; where you’re based, and the kind of titles and creators you publish? Am I right in saying your based in Columbus, where CXC and the Billy Ireland started up in the last few years?

KE Yep, I’ve lived in Columbus for the past 30 years, minus a brief stay in Boston in the early 90s and a brief stay in San Francisco in the early 00s.  I think this is the 5th year for CXC coming up and the 7th for the current Billy Ireland digs. (Those numbers should be right within a year or so.)

The Billy Ireland had been around as a library and archive for many years prior to that: divided up between a warehouse and a tiny library in an Ohio State University basement… I think one of the great shames OSU should feel is that they kept such a great resource buried in a basement for fuckin’ decades. I’m glad now that it is starting to get the space and recognition it deserves.

Wait… This question was about me and Nix Comics. Like we said, I started working on Nix in 2010. My idea was to make the kind of comics that would sell well in record stores in addition to comic shops. The old saw is true: you write and publish about the stuff you know. There was also a certain amount of math to it, too: There were, I think, 3 comic shops in town at the time and 8 record shops. I knew the people at record shops but didn’t really know the comic shop folks at the time.

Digging down on that a little, I’ve always focused on music themed comics…. Whether that connection is something obvious like stories about bands and record stores, doing biographical material or just based on the artist also being a musician. That has led to a lot of different genres, artistic styles and book formats, so I don’t know how successful I’ve been in communicating that to readers. Sometimes I feel like no one else gets it and sometimes I feel like people get it and are just quietly nodding until I shut the fuck up.

Hawkins Teaser

ZL – I was doing a bit of research on you and was very impressed by your commitment from the very start to have open books, particularly for the sake of the artists working with you, so they understood what had been achieved. As well as ensuring everyone was paid as fairly as you could.

Has that worked out positively for you, or not made any real kind of impact?

KE Well, I think that the answer to that has more to do with anecdotal experiences leading up to my deciding to pay artists. I guess first up, I am a recovering Stan Lee True Believer. I bit hard on the Stan mythos as a kid and it wasn’t until I was in my 30s that I really read up on him as a subject and was forced to examine the reality of the person behind the myth. I still idolize the mythic figure in ways, but I want to be a better person as an actual collaborator, editor, and publisher. Same goes for Bill Gaines and Jim Warren…. I’d like to take the good from their careers and improve on the bad.

Along those lines, right before I started Nix Comics I had read Eric Davidson’s “We Never Learn” about 90s punk and garage. There’s a great part where Danny Kroha from the Gories relates about he had the most respect for Tim Warren from Crypt Records of all the record label folks because Warren always sent a sales report with a check every year. Kroha admitted that he sometimes doubted the accuracy of the numbers, but that Warren was the only label/distro that even bothered with regular reporting.

For more musical context, Nix Comics was also formed right on the heels of the Dead Kennedys’ royalty lawsuit. Not that I was ever a huge fan of the band, but I ended up losing a lot of respect for everyone involved in that mess.  Like, how on earth do these self-identified leftists end up fighting about royalties? It didn’t help that in addition to actual court, they tried the matter in the court of public opinion in the opening days of social media connectivity.

All that said, the experience that most fixed my point of view on all that was a personal one. Bear with me, because I’m going to tell a story without mentioning any names because it involves people I like on all ends and I don’t know the whole actual truth… But there’s a guy I know who worked at a local record store and is in a garage rock band of note. Not like Mudhoney level famous or anything, but beloved by a lot of people who are into such things. This fella and I were talking record store business when a specific distro came up, and my friend melted down. Like a full-on fist waving and red-faced vein-popping out of his forehead screaming meltdown.

He ranted on about how the distro in question was a bunch of crooks who owe his band money. I know the distro folks in question, and while I don’t doubt that they may have owed my friend money, I don’t think they are nefarious.  I do think they are capable of fucking up and not communicating well about it. I think all parties concerned are capable of blowing up and ending an argument before its resolved, creating a feud.  Anyways, I hated suddenly being in the middle of a fight like that and can only imagine how much I’d hate being actually a participant in the fight. Pretty much I want to avoid ever having somebody blast me like that, and the only way I can think of is to be as transparent and forthcoming as possible.

So… you know… Some altruism and some being chicken-shit was involved in setting those policies.

Has it had an impact? Maybe, but I think that’s not the right word for it. It’s bought me a lot of leeway with artists as they always know where I’m coming from. Maybe a little too much leeway as I still owe Rick Brooks a couple hundred bucks for his work in Nix Western #4. Similar, I feel like I owe Andy Bennett some extra money for Jenny Mae ‘N Jerry Wick because the page count went up on him between start and finish of the project. I don’t think and wouldn’t expect those guys to give me any leeway on all if I didn’t have open books and a history of making good.  I feel like I’m in a little bit of abuse of that goodwill at the moment and am working on making it right.

NCQ0819

ZL – This interview came about partly because of I follow you thanx to the mentions on Comics Reporter, but specifically because I picked up on your post about breaking even, and I wondered if you’d met with any increased interest because of that post? Has there been any kind of feedback at all really, or just some tumble weed and me going, ‘Oo, oo, that’s really interesting!’ because I’m nosy like that?

KE I do that kind of essay periodically and do get feedback and interest on them, mostly from people who are interested in the nuts and bolts of the industry. You’d have to ask him to be sure, but I think that kind of material is part of why Tom posts about me on Comics Reporter.

I guess the column I did for the Outhouse for a year or two had some fans. I look back on those writings, though, and kind of hate their tone… They read like I’m trying to “establish myself as an expert.” Maybe I was trying to do that, but nowadays I don’t like the idea of trying to turn experience into social currency.

I do keep beating head up against the notion that sharing information about my finances and how much money I pay to artists is a “big” selling point. It’s not. There are a few people for who that is true, but by in large, hardly anyone cares.

I also get a lot of fellow creator-types saying, “wow that’s really brave of you,” which is weird to me. I don’t understand what’s so scary about it. Like is it a big secret that making small press comics isn’t a moneymaking effort? Is money so personal that I’m breaking taboo by talking about it? Like revealing how the magic trick is done or wrestling match is choreographed or something? I dunno.

 

ZL – In my experience, money is always a risk area of conversation, I don’t tend to care about it, but then in my first few weeks at current job, I mentioned my pay rate around a colleague who’d been there longer, was more experienced and more senior and earning, it turns out, thousands less than me. They got quite personally upset and that shook me. I mean if they’d just been mad at work, I’d have felt vindicated, but that was personal for them, so it was really ‘urgh, why didn’t I shut up!’

I think it’s the same in most fields. Maybe, in the arts, it’s almost like having to admit you’re not a REAL artist if you can’t pay your way, you’re a hobbyist or something? I’m going off track and casting wild aspersions here.

Back to tack, I mentioned the reasons for why I follow you, because I’m always intrigued to know the causality of relationships, what led to what led to what etc. I wonder if part of what you’re trying to do is to create a space where work you can admire can start to flourish, where people can see it has a place to exist? Essentially, trying to create a place that suits you and then attract others to it. Or are you making stuff because you can’t stop yourself?

KE Yes to both.

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ZL – What are your feelings about the lack of honesty about numbers in comics in general – were you surprised by your numbers when they started coming in, or were you clued in early to sales and sales barriers within comics?

KE Is there dishonesty or just a deafening silence amongst the people involved? I guess that would be lies of omission, but I don’t feel like anyone out there is being particularly deceptive about the financial realities of making comics.

Going back to an earlier answer, an expectant Hyde was surprised and dismayed by sales numbers and the ever-pragmatic Jekyll wasn’t.

ZL – You make a fair point there, that’s a mis-characterisation, maybe it’s more accurate to say what are your feelings about the lack of a wider discussion about financial realities.

I’m guessing there will be many that haven’t read your article, so could you briefly describe where your sales are in terms of break even, just a sort of, ‘this many titles made money, this many titles are within 1-20 of making money, this many have a loooong way to go’?

KE Sorry for a bad interview answer here: They should just go read the essay! Or at least lookit the graph that answers your question!

Read here

ZL – That’s more than fair I think. It’s a good article, I enjoyed it very much.

Getting back to the start of Nix Comics, I’m interested to know how you decided on your initial numbers, was it based on a marketplace assessment, segmented by a target audience, more of a finger in the air, or the more hopeful, well if I sell this amount it’ll cover all the costs and it doesn’t seem that unreasonable to expect these sales figures?

KE For the first couple of years a lot of it was pretty much dictated by where the price breaks were on print runs. Since I had aspirations of getting distribution in year one, I had to print quantities that would get me to the point where selling at 40% of cover price made sense. While I was working hard to get my books in stores sans-distributor I was shooting for whatever print run quantity made sense to sell at 50% of cover. I guess I’m still at that point, but I have cut back my wholesale activities a lot because it’s a lot of work with crappy margins. I’d rather make the sale myself at cover price than sell a copy for half that only to see it slaving away on a forgotten shelf in some store. That shit is debilitating.

In terms of artist pay the quarterly has maintained a store rate as opposed to a page rate. It started as $150 for a short (1-3 pages) and $300 for a feature (4-8 pages). I offer a little more for features now. This kept things in the range where I could look at wholesale distribution as a viable option. I also wanted it to incentivize shorter submissions, which was a punk rock thing; viewing each issue as a compilation record, I wanted lots of short rippers and fewer drippy ballads. I don’t remember how I arrived at those specific rates.

 

ZL – It sounds like you were considering breaking even on sales. Would you say that’s what drove you at the start, were you considering this in terms of your own ongoing business concerns or were you aimed more at driving sales or attention to the creator(s) and their published work?

KE Clearly breaking even isn’t a prerequisite for me moving on to something else! I mean, ideally one project would pay for the next, but that’s just not the reality. Almost all of my decision drivers in that sense are whether or not I want to see the thing happen. More often than not the motivation for wanting the thing to happen is that I think the creators involved deserve an audience or that their work deserves “life.”

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ZL – I also wonder after what expectations you set yourself at first and how realistic those sales or rather, your measures for sales, were in the end. I just wonder how much energy over time has been linked to your expectations not being met by reality and what emotional effect that had upon you?

KE Shit. I’m always disappointed by sales. I’m in love with what I put out and don’t understand why it’s so damn hard to sell. There might be a step on the ladder where I’m satisfied with sales, but I ain’t hit it yet.

I don’t stress about it like some artists and publishers, because it’s not life or death for me, but I definitely feel it.

 

ZL – This is a tricky one to slip in, but, I wonder after how much emotion and anxiety you expected to be involved in the process and whether you were prepared for how much there actually was?

I particularly wonder after the amount of guilt involved in publishing, around having your own expectations for success and having to reconcile that with reality and having to deal with other creators’ own sense of worth and expectations of what makes that work worthwhile?

KE Well, I’m here to tell you that the anxiety of no-one-buying-my comic is NOWHERE near the anxiety level of starting and failing at a brick and mortar retail business. I would spend days alone in a shop sweating over how I was going to pay two rents, two electric bills, two phone bills, etc. There were days when I was hoping just one comic or record would sell so I could go buy some eggs for the week. I think that experience for me definitely tamps down any angst I might feel about comics. If a Nix Comic flops, I’m out some dough and I have to decide what to do with the boxes of unsold material, but I’m not sitting alone in a room sweating about how will I be able to pay for one of my two rents. Or worse, hoping for just one sale so I can buy some beans and rice on the way home.

I do struggle with my expectations versus the reality of things, but I find guilt to be one of those angsty emotions. Frustration that I can’t reach more people? Yes, definitely. Anguish that even in a group of noted weirdos, I’m still the weird kid out? Yeah, that too. I guess that on occasion I feel envy of peers who have some success. That in turn leads to guilt over having such shitty thoughts… But that’s not guilt about my lack of success.

ZL – Did you even consider emotions and their impact on you going into the process and did it rear itself as an issue more as you went on?

KE Yeah, I suppose I did. I’ve always hung out with artist types and was vicariously familiar with the ups and downs of an artistic career. Thanks to that I feel like I can avoid most of the emotional pitfalls of the process.

 

ZL – Moving away from commercial matters to more community related things, you’re now in something of a comics heartland I believe. I certainly know that I first heard of you from The Comic Reporter site and Tom Spurgeon mentioning you when he’d moved to Columbus and started working on CXC.

Have you seen anything of a change in the area relating to the new festival and the Billy Ireland library opening?

KE Well, they are big public resources and as such they are what people in the comics community make of them. Some members of the community embrace the Billy and CXC, making the most of their presence, and others don’t.

The Billy Ireland doesn’t have any specifically local bent to its programs, so I have a hard time saying that the institution has made changes to the local comics community. It’s just not part of their mission. The Billy did hire Caitlin McGurk who has been a tremendous friend and supporter of local artists since her first day on the job, so that’s pretty impactful.

I know that CXC has the desire to enhance the local community, but it’s not really their main focus. It’s a cool show: having a cool show in town is good for the community and they’ve been really good to me personally. I think there are some little things they could do here and there to help the local community, like hire a local artist to do a promo poster.

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ZL – Is there a sense of change within your comics community, or does it feel like that’s a million miles away from where you are?

KE I don’t know. I can’t speak for the Columbus comics community. It’s a pretty eclectic group with different needs and points of view. I’ll say this: It’s grown a lot. When I started it was pretty easy to go out and meet everybody who makes comics in Columbus. Now I only know a fraction of the crowd and more kids are starting up every day.

 

ZL – Thinking about the wider community, are you finding that the nature of the area itself is changing, are rents increasing for example? Does this make you concerned about how viable the lifestyle you can currently achieve is going to remain?

KE Yeah, like everywhere, rents are going up. Both residential and commercial. It’s driving out both a diversity of people and a diversity of businesses. That means fewer places to sell DIY type products combined with less money in everyone’s pockets. I am constantly ruminating over the increasing difficulty of day to day survival and what that means for art. This city right now is a lot different than the one I moved to 30 years ago and the changes are not “artistic lifestyle friendly.”

 

ZL – I seem to be hitting with some pretty heavy questions, sorry! I guess, particularly for someone based in the UK, the whole financial situation and publishing situation in America seems hard all round, especially when you’re having to think about medical bills or insurance as well!!

I’m going to lighten up a bit in a minute, I promise!

But not just yet!!!!

Tell us about your experience with running Kickstarter campaigns. You seem to have had your ups and downs with some failing to meet their target, but your most recent was pretty ambitious and ended up successfully. Have you picked that apart for yourself as to what may have made the difference?

lascaux titleKE If you’ll permit me to continue to beat the metaphor to death, the two campaigns that failed were run by Hyde and the others were Jekyll operations.

For the 2013 “Big Ask” I was asking for $25K and figured I could get around 300 people to subscribe. There were plenty of people who I considered my peers getting that kind of action at the time. Turns out that they were my artistic peers, but in terms of having an active network of fans I wasn’t even close to them. I don’t remember if I thought I could actually make it or if I was just swinging for the fences. Either way, I whiffed.

The mistake I made for the 2014 campaign was that I knew I was asking for a fairly large chunk, but I figured people would step up for the two artists I was focusing on. Darren Merinuk has done posters and record sleeves on the cheap for literally 100s of bands. Bob Ray Starker has played a million live shows with and contributed on dozens of records for local bands without ever getting paid. I mentally multiplied those “100s” and ”dozens” of bands by number of band members and figured that there were more than enough people out there who owed Darren and Bob a little something and that I would make goal easy. Turns out all of those fuckers are ingrates. Still mad. Fuckin’ fuckface fuckers.

 

ZL – Are you finding it easier to get purchases now that Kickstarter has become something more central to the comics production cycle? Or has this hurt you, with the money and attention getting spread thinner now?

KE For me personally? Kickstarter has been nothing but good. It’s a tool I understand, and my results have steadily gotten better over time. For the comic community as a whole, I do worry that it leads to overcrowding in the field since anyone who wants to make a comic book now can. That relationship between supply and demand is a real tricky thing.

 

ZL – Do you feel like this is a good way to sell and market your comics, along with convention attendance, or are you yearning, actively searching even, for a better way to get comics out there and making you money and getting you eyes on the work?

KE Ideally people would just go to my mail order site and I could skip the third parties and middle men. It really annoys me that that doesn’t seem to be a viable thing.

ZL – Yeah, I wonder if site like Kickstarter have had an effect on audience expectation, maybe now they expect to find everything in one place, at their convenience. I remember being in love with the idea of subscriptions as a (lazy) kid and as an adult, I sort of feel like a subscription model should be able to work, but, anecdotally, I’ve got the feeling that it’s dead on the vine now as an approach. Unless you’re big enough to get a Patreon running…

I’m veering off subject again! I’ll lighten up on the heavy finance stuff and try for some controversy instead!!

This is probably a horrible question, but not too bad as you write most of your stories yourself, so I’m going to ask it anyway!

What title that you published is:

Your personal favorite?

The work you’re most proud to have published?

More commercially, what was the greatest income made for a creator?

KE Funny story: I’m horrible at picking favorite anythings. I know I have them, but they don’t often bubble up when people ask me. Like recently someone asked me who my favorite actor is, and I couldn’t come up with a specific one. I went home and told my wife Kate about it and she just shook her head and told me that Vincent Price is clearly my favorite actor. She’s right of course. Unfortunately, for the purpose of this interview, I’m going to avoid embarrassing myself by asking her what my favorite Nix Comic is.

Right now, the book I’m most proud of releasing is Kent Grosswiler’s Beauty Found in Darkness. An illustrated book of urban haiku is about as far as I could push the envelope of “rock n roll comic” as I can imagine.

 

It was definitely a return to form of using artists peripheral to comics… Kent is an artistic polymath (Poet, painter, drummer) but not a comics guy. The illustrators on the book, Rob W. Jones and Alli MacGregor are fine artists, but also aren’t comic book people. It was really rewarding to work with all of them. Before that I think I was most proud of Nix Comics Quarterly #2. It’s not my “best” by far, but it was proof to myself that comics wasn’t just a one off for me. With issue #2 I knew that I could spend the rest of my life making comics if I want.

I don’t know for sure which artist I’ve paid the most money to. That’s a good question and probably worthy of some research and a personal blog post! It’s almost gotta be Andy Bennett since he has done two full lengths, a zine and a couple of features for Nix Comics Quarterly.
ZL – What is it you feel being published by Nix comics has brought to the creators that worked with you that they couldn’t have found for themselves?

KE Forgive me, but I’m not going to project on my collaborators that way. It’s got to be different for every one of them. If I can make more work for you, I’d be interested in hearing their answers if you are willing to ask them! (Hah!)

I know that there a few people who had never had their comics published by someone else before Nix. It’s a pretty cool feeling to have done that for someone.

eddie squid rise title

 

 

ZL – What is the best outcome you’ve seen for a creator or work that you published?

KE Three of the contributors to Nix Comics Quarterly #8 ended up winning Eisners last year! (John Jennings, Tillie Walden and Gideon Kendall) I can take exactly zero credit for that, but I’m so proud of them and happy that the world recognizes their talent and hard work as much as I do.

 

 

 

ZL – What do you think your company’s legacy has been in the market place and in creators lives so far?

That’s a slightly loaded question I know! But, I think this is one of those issues of appreciation.

If you sit back and reflect upon that, how does it make you feel about your efforts? Do you sit back and think about that?

KE Y’know, I always joke about selling the rights to my epitaph. “For $1000 bucks you can write whatever you want on my tombstone.” Or whatever. The joke comes from an honest, if somewhat morbid, place: I’m not going to care what’s scrawled on a rock after I’m dead. In a lot of ways, I feel the same way about my comics legacy. Such a thing is always written by other people and I don’t have a lot of control over it, so let it be what it will be.

That’s not to say I don’t celebrate my successes or ruminate over my failures as they happen. Each comic I put out is its own triumph. I’m not sure that I care that much about who or how much they are celebrated after I’ve stopped. Recognition for my efforts now would be nice. Same for being called out on my failings, I suppose, in the spirit of letting me know what I’m doing wrong so I can feel bad now and course correct.

 

ZL – Do you have plans to do anything differently in the future? I’m thinking, for example, of whether large magazines and large crowdfunding campaigns are going to remain viable, have you considered the success of companies like Oily comics and how they published comics through a subscription model, with regular publications and small page counts to keep it cheap and build momentum. Let’s face it, The End Of The Fucking World was published monthly with only eight photocopied pages and it’s done pretty well for itself. There are other publishers adopting this model, skip out on the big social media platforms. Have you considered that as an option?

KE I do have plans to do some things differently.

For one thing, I am going to make some format changes, which are a response to being sick of those break-even numbers. I’m sick of trying to get “there” five bucks at a time.  I need to make more stuff in the $10+ cover price range. One Idea I’m seriously toying with is doing my horror anthology comic as a 12×12 book with an optional LP compilation “de-luxe” version. It’s a pretty natural step, given that in my mind the comic anthology format is a clear parallel to compilation albums.

I’m thinking of doing a quarterly zine that is available for download as well as in print. Ideally It would be more ad revenue driven than sales revenue driven. I need to get on the hog with looking for sponsors for that.

Oily comics mini-comics was a really cool service, but I suspect the reason it’s no longer a thing is that it was a lot to keep in line. I love the idea of taking a classic zine club swap format and turning it into distribution, but there are so many moving parts involved in that and I don’t know if that machine bears up under the pressure of having paying third parties. (I also attribute the success of The End of the Fucking World more to Chuck’s talent and hard work than I do to the format it was released in.)

ZL – Yeah, I should have been clearer in saying that it did no harm to it putting it out in small chunks, but it seems to have made it easier in terms of ‘getting it done and getting it out there’.

 

ZL – Another question I’m wondering is whether digital would, in your opinion, have a place within your sales plans now, and what platforms would you consider if it does?

KE I am down for some digital zines, but not super keen on doing digital comics. I don’t personally consume comics that way and that prevents me from wrapping my head around how to make them. I’m not even happy with the way my books look in PDF form when I send them out for reviews… The page turns don’t work the same way!

elvis c

ZL – What are your sales venues in general?

KE Crowd funding, shows/events, my website, ebay and discogs. There are a few comic, record and bookstores that carry Nix Comics.

ZL – What are your most successful route to sales?

KE Crowfunding. Hands down. Lowest cost to entry and the biggest gains. It’s become the default marketplace for self-publishers and micro-presses.

 

ZL – Do you deal with any distributors for your work and do you have any insights on managing those relationships?

KE Not right now. Well… Bela Koe-Krompecher distributes his contributor copies of his books as part of the Anyway Records catalog with Revolver and sometimes Matador, so I suppose I do have distribution through his efforts.

I’m not sure that distribution is worth seeking out unless I can sell a few thousand copies. For that I would have to up my marketing budget significantly and the margins are so shitty even at that economy of scale to begin with. Maybe down the road if things grow, I’ll feel different.

 

ZL – What is an average sales lifetime for a work, as in, are all sales front loaded up to publication date or do you continuing making sales over an extended period of months or even years and how do you manage to generate those sales?

KE Average lifetime? I don’t know. Another good idea for a blog post! If we’re talking “lifetime” I guess that I would have declare some of them “dead” and I’m not sure that I’m willing to do that while the boxes are still sitting in my basement. They’re just comatose and may comeback, right? RIGHT!!??

The usual lifetime is that there’s a big burst of sales upon release and then a pretty dramatic drop off. Sales at that next level down tend to be steady for a year or so and then drop off again to almost nothing after that year. The only exceptions to that to date have been Nix Comics Quarterly #1, because when you meet new customers they normally want to start at the beginning and Jim Shephard: Negotiate Nothing which kept selling OK for a couple years thanks to Jim’s cult hero status. It has since settled down to the levels of other backstock.

I usually try to push backstock when something new is coming out, because it’s when I’m most likely to have fresh eyes on Nix as a whole. That’s my main strategy. I also try to bring copies of everything-but-everything with me when I’m at shows, because you never know who is going to want what. For stores that carry Nix books I try to rotate stock in and out. Chances are a book is new to someone!

I would welcome a good way to clear out backstock. I keep threatening to throw a small press/tiny record label “Box sale” where people like me vend backstock out of boxes of comics, records, CDs, et. all. at a deep discount.

 

ZL – Do you do that normally, engineer interest in older works with sales or packing them into bundles?

KE Yeah! At shows I usually offer the first four issues of Nix Comics Quarterly for $10, which is basically the wholesale rate. I usually sell at least a couple of those packs per show.

 

ZL – On a practical level, what happens to any stock still left over, is it propping up someone’s bed or hidden away in a storage facility somewhere costing extra money to store?

KE I have a decent sized house with a big basement and tiny home office, so no problem on the storage front. I do worry a little about dampness creeping in to the boxes in the basement (All issues 1-4 of the Quarterly) and would like to accelerate sales on those somehow.

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ZL – Thinking about the future, what do you think is the future for idiosyncratic comics of the kind that Nix comics publish, self-publishing, web comics, digital platforms or something else?

KE I have no idea. That’s serious crystal ball stuff, there.

The lefty in me hopes that print stays a viable option because it has the most potential for subversive use in the digital age. “They” can easily track and hack you on-line but try to hack this pamphlet I left in the men’s room of the Dubuque Greyhound station, jerk! (Not that I’ve ever been to Dubuque. You can’t prove that I have…)

Artistically speaking, I hope that short stories come back into vogue… I like my comic stories like I like my songs: Fast, loud and short! The whole sprawling epic thing that is in vogue across most genres really bores the piss outta me.

ZL – Yeah, definitely me as well, I don’t know why people like it. The whole idea of sitting down and watching some intricately plotted epic series where I have to keep everything fresh in my mind to understand what’s going on… I just want to switch off and relax, that’s harder effort than my job. How is that entertainment?

 

ZL – So, thinking again about community and particularly as you area publisher, so have to do some keeping your eye out for talent, which three creators would you recommend people search out if they are fans of Nix comics?

KE Oh man. I’m gonna tap out on this question. Too many people deserving of a nod and I don’t want to apply any sort of hierarchy to them. How about this, here are my three favorite ways to find new creators that I admire:

  • Follow zines, blogs and sites dedicated to uncovering new and old comics of all sorts. Some of my go tos are Almost Normal Comics, Poopsheet Foundation, anything Comics Reporter marks as OTBP, Your Chicken Enemy, Robyn Chapman’s Tiny Report, the review section of Razorcake Magazine… It doesn’t hurt to pick up old zines for their review sections, for that matter. Roctober had a great one.
  • Invest in anthology reading and take the time to look up the artists you find in them. It’s the cheapest way to get exposed to a lot of artists. It absolutely perplexes me that they don’t sell better for this very reason.
  • Look for publications by artists who you discover through their art in non-comics publications. (or other work like posters or record sleeves) You can kind of tell when a graphic artist has the chops to do narrative work, and chances are that if they have the skills, they’ve acted on them.

Hope that’s not too big a cop out.

ZL – Well, it’s just told anyone who wants to work with you how to get discovered by you.
ZL – How about we move onto fantasy futureland? Given unlimited time, budget and resources what 3 projects would you deliver so that you could retire proud?

KE Wow. Unlimited time budget and resources? We’re not talking about individual comics or publications at that point!

  • A Nix Comics Music festival. Put a bunch of comic/poster artists in a spotlight at the same time a bunch of the bands that inspire Nix play.
  • Open a Nix Comics brick and mortar flagship store. Something like Quimbys meets Amoeba Records.
  • Hire a full-time art and writing staff, giving them a salary, health insurance, vacation time and a chunk of the IP on anything they create.

 

ZL – Finally, what can we expect from you in the next 6 months?

KE At the moment I’m in the last days of my kickstarter crowdfunding two publications:

“Kenttucky Pussy” is a comic book by Sexton Ming and JT Dockery. The text elements are all poems by Sexton and inspire the visual narration by JT, so I’m really excited by this.  I’ve wanted to work with JT since I met him at the Small Press and Alternative Comics Expo (SPACE) a buncha years back and I have been a fan of Sexton Ming ever since his role as the bionically enhanced and thoroughly evil Queen Victoria in Pervirella. (THAT movie is everything that the cyber punk genre failed to be!) “Kentucky Pussy” has everything that I would expect from a pairing of these two great artists: Lush imagery, outsider lamentations and proper use vulgarity. It’s weird to me that within two years I’ll have put out two poetry centered books. Never considered myself a “poetry guy.”

Print

The second book is a collection of Sketchbook art by me! For the past few years I have been drawing picture sleeves for 7” records in my sketchbooks. I cut them out and pair them with the record that inspired them; selling them at comic shows and record fairs. It’s a good fun way to take a lonely 7” and turn it into a unique part of someone’s collection. People have been asking me for a book version of it for a while… Hopefully they were for real about wanting one!

Kickstarter campaign

I also just overspent at a local comic sale, so I expect that I’ll write a zine about comic collecting in the same vein as my “Tales from the Crate” record collecting zine. I gotta recoup that money somehow!

ZL – I’d like to thank you for taking the time to talk to us and for giving such honest answers. I hope you enjoyed the process!

KE Thanks! I did! A very in depth and unique interview.

 

The Short List – Nick Prolix

KICKSTARTING NOW

twitter                   instagram                  start here on the web

ZL – I’m really interested to know the influences for your comic?

NP – I call it a slice-of-life in as much as the characters and their stories are imagined if not directly from real life, then from lives that could plausibly have been real. Will Eisner prefaced A Contract With God by saying that the book contained “stories drawn from the endless flow of happenings characteristic of city life. Some are true. Some could be true.”

Issue 4 detail page 7
Issue 4 detail of page 7

I would say exactly the same for Slang Pictorial. I’ve taken characters, incidents, stories and sayings from my own life and the lives of my parents, recollections of friends and relatives, events recounted in memoirs, plots borrowed from TV narratives and the best lines stolen from the pulpiest paperbacks and mixed them all up in a hodgepodge to such a degree now that I’d be hard pressed to be able to tell you what was true and what was just plausibly, possibly true-ish in the sense that Eisner identified.

In terms of specific formal, thematic and structural influences I’d point to Film and Television as being very central to my thinking, as befits my coming from an academic Film Studies background. Take a love of the French New Wave, mix it with a deep admiration for the ambition of Anthony Newley’s criminally under-rated creative endeavours such as The Small World of Sammy Lee and The Strange World of Gurney Slade, chuck in as much Sam Selvon and Colin MacInnes as you can read plus the long-form narrative ambitions and character-driven genre storytelling of contemporary TV like Fargo and The Deuce and I’d say you’ve got a good sense of the kinds of art that feeds my drive to keep making The Sheep And The Wolves

The Sheep and The Wolves
The Sheep and The Wolves

ZL – Do you remember the first time?

Iron Man 150
Cover – Iron Man 150 Copyright Marvel Comics

NP – For comics it would be Iron Man #150, the special double-sized issue in which Tony Stark and Dr Doom find themselves thrown back in time to the court of King Arthur. It had fantastic John Romita Jr visuals and a done-in-one story featuring sorcery and pseudo-science and an army of undead zombie knights that I read and re-read hundreds of times. I found the comic in a pile of my primary school teacher’s rainy-day comic books and so had no idea of continuity or who the characters were beyond what I’d seen in cartoons, but I was absolutely hooked and have been an Iron Man mark ever since.

 

 

 

ZL – Your cartooning style is very reminiscent of classic Belgian cartooning styles. Is the style influenced by the retro nature of the content, or is the content influenced by your retro style of drawing?

NP – I have a very binary brain and so as a child I was a Marvel reader which meant I didn’t read DC and I was an Asterix fan and so avoided Tintin. I loved the energy and dynamism of Uderzo’s art and the knockabout humour of Goscinny’s writing and compared to that Herge’s clean lines were always too clean, his characters too buttoned-up and the worlds he created too rigid, rule-bound and well-ruled in terms of everything being about straight-lines whereas Asterix was all curves and swooshes, architecture bending and straining to contain the lolloping limbs of these bonkers characters. I loved the historical aspect of the stories being a big ancient history buff, but I also remember wishing that Goscinny and Uderzo would do stories set in more modern times, with gangsters and spies and detectives, etc. I had no idea that there existed a slew of artists and writers working in the magazines Spirou, Pilote and Heroic that were doing just that sort of stuff, Franquin with Spirou and Fantasio, Maurice Tillieux with Gil Jourdan, Francois Walthery and Natacha, even Peyo and Benny Breakiron. I only discovered this side of the Franco-Belgian bookshelf when I came back to comics about six years ago and ever since I’ve just been steeping myself ever deeper into this stuff.

Issue 3 detail page 4
Issue 3 detail of page 4

 

ZL – You are gifted the opportunity to set up a new museum showcasing all 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?

Issue 2 detail page 20
Issue 2 detail of page 20

NP – I’d say First is going to be Dan Clowes, certainly not my earliest cartooning memory but very much someone whose work defined my return to comics in the early 2000s. I read Ghost World, David Boring and Ice Haven in pretty quick succession and each one seemed to progressively build on and transform what came before it. These were revelatory comics for me, both formally and thematically, in terms of what comics could be and say and how the interlinked craft of comics-making; of inking, hand-lettering and book and page design; all served to strengthen the kind of storytelling being showcased.

Formative is probably Franquin, a cartoonist I feel an affinity towards both in terms of his wonderful art style as well as, less positively, his psychology; but I am always trying to emulate and incorporate his character designs and world-building as well as to try and keep pushing myself to adopt new styles and techniques, adapting them hopefully into my repertoire in productive ways.

Now is definitely Gus Arriola, a cartoonist who doesn’t get enough love or column-inches, but his Gordo strip is very much everything I strive to make Slang Pictorial, expressive and animated cartooning in a character-driven soap-opera set within a fully-realised and jazz-infused world that’s just the epitome of hip, mid-century modern comics.

 

 

ZL – You are currently Kickstarting and you’re offering a package collecting all previous issues as well as the current 4th issue of Slang Pictorial. I like the way that the whole of the work is being made available as a tier, by the way! How was it to have successfully achieved your funding within 90 minutes?

NP – It’s always amazing when you hit that target and you can breathe a huge sigh of relief knowing that the project is going to get funded. Slang Pictorial #3 hit its target in under 12 hours and that was huge for me as it was my first ever time on Kickstarter and I really had no idea how it was going to go. I won’t say with #4 I was specifically trying to hit that 90 minute target but I did do a lot of work before hand in an effort to try and beat that previous result. So I set up a pre-launch mailing list, did a lot of Instagram and Twitter promotion to start hyping up the launch as well as offering a couple of Early Bird only rewards for backers who pledged on the first day. The point of doing all of that was to try and get us over the line as quickly as possible, but the fact that the project funded as quickly as it did is ultimately all down to the fantastic folks that jumped on board and did such a great job sharing and spreading the word.

Issue 1 page 23
Issue 1 page 23

In terms of the logistics of this Kickstarter, the funding will go towards printing issue #4 as well as reprinting some more of issue #3, issues #1 and #2 were reprinted as part of the previous campaign. I always try and budget the funding ask to cover printing enough copies of the comics to fulfil the backer rewards and leave me enough stock to cover convention sales for the following year. After issue #5, which I hope to launch at the end of this year, I am going to have to think about perhaps a trade collection of the first five, as I can see that after a certain point, new readers might like to engage with the work in a nice chunk, however I am very much committed to maintaining the serial form of the single issues. The challenge is working out a balance between what to keep exclusively for the individual issues and what to put in the trades by way of back matter, etc.

 

 

 

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2019

Review – Slang Pictorial 1-4 – Nick Prolix

KICKSTARTING NOW

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I like this series, it’s got a real charm to it. Bouncy, friendly and likeable and going down into depth on the characters. The characters are likeable and engaging. You’re not seeing great story arcs, you’re seeing the quotidian increment of people’s daily lives. Bad decisions, poor choices, changing attitudes. It layers them into the storyline, rather than laying them out in front of you. I guess that’s why I class this as a friendly comic to read. It’s not shouting at you about itself, it’s putting itself out there for you to hang out with and find out about.

I’m a huge fan of the book ‘Georgie Girl’. This is a descendant of that. It’s a descendant of those New English Library books with painted people draped on each other lustily and fags hanging from their lips. This is Kitchen Sink Drama. This is also cheeky Brit comics by the like of Hunt Emerson. It’s also low life story telling about wideboys. Not the Crays, not dangerous or evil, just cheap and desperate and showy and trashy.

This is the 60’s swinging London as lived by the poor in all its genre glory. All the characters you’d expect, or the class and cultural meters are fed in. There’s not a trick missed. This is 60’s kitchen sink drama, this is ‘Angry Young Man’ world, gladly lacking the entitlement and white male hero complex I see in those other works.

I probably need to pick that apart!

Stories can be about SOMETHING and they usually foreground those things as the main character, they ‘DEAL WITH’ depravation, personal disenfranchisement and everything that happens, happens to drive that point home.

Stories can be about SOMEONE and there’s your protagonist flexing their character muscles whilst others throw shade and reflection upon them but do little else.

This story is very much about SOMEWHERE and SOMEWHEN. This is 60’s Soho.

Issue 1 - first story page of sheep and the wolves

It’s seen through the lens of genre. Maybe genres? But it’s very clear that the milieu is the character. There are interesting people, there are fine twisty little plots, there are even big themes. None of those is the purpose of this comic. This is telling you about the lives lived and the environment that bred those lives. This is telling you the history, the changes but it’s dealing with it through the experiences of lives lived. That’s the key to this comic and what I like about it. It gives you a story, then it fleshes that story out with shades of past and future, with the view of the other people involved. Turn around, turn back, look at it again. What I like about issue 4 is how it goes back in time to things that have happened but it’s not plugging a hole in your knowledge, that flashback is somehow a linear part of the way the story makes sense.

I’m not sure that’s a clear point, so I want to re-iterate this thought. There is something in issue 4 that happens before the events in the previous 3 issues. Now, although that happens to be a travel back in linear time, it’s a linear movement forward in storytelling and character depth. That’s something as I’ve thought about this work that just seems amazing. Lord know if that’s planned. But I’m not concerned by what the Lord knows, I’m concerned with how it all works together. That’s truly a very impressive writing feat to achieve, to write backwards in time and make it feel like you’re moving the story forwards linearly.

Issue 4 really is that issue where the things click as well. I’m glad I got to read it as a series as it builds well when read together, issue 4 hits the stride of the main story threads, pulling the disparate little bits back in to one story. I’m glad I got to read it as a series with issue 4 as it lays any concerns I had to bed. What concerns?

There was a feeling of likeable characters and likeable work being made here, but it hadn’t made me feel it would hit an emotional depth. I felt like I could gladly indulge my like of the genre, spot the tropes being picked off. Carrying on my long running desire to talk about things no one knows much about, it had all the niceness of DC Comics ‘’Mazing Man’. Now I love to sit down with that and enjoy the beautiful cartooning and the fun little comic stories, but that comic is no great piece of work, it’s just a very nice piece of work. That also feels like it’s ambition as well, so it feels alright to meet it on that level.

Issue 2 - Dancing girls at the club
Issue 2 – Dancing girls at the club

This comic really doesn’t feel like it wants to be met at that level, because this has a feeling of something more about it. Aside from anything else, there’s the environment and how well put together it is. There’s the effort to make characters that clearly have depths to reveal as well. The concern I had in those first 3 issue is that these great characters wouldn’t have space to breathe in a story that leans into its genre trappings and delivers small sized chunks of story.

Issue 4 dropped then like a sugared pill. Relief followed by that sense of something finally getting deep and taking itself seriously in a way that is totally deserved. Clever structure, characters revealing depths, not UNEXPECTED depths, the soap opera version of depth. Totally understandable and believable levels of character that we just hadn’t seen yet.

I really want to see how this goes and I really want to own a big thick book where I can experience this in one sitting. In some ways, this is like Cerebus, it works really nicely as bits, but it hits home when it’s there in a big lump to experience.

What’s true of Slang Pictorial as it is of Cerebus, is that it’s damn good at drawing its world. This is consistently great cartooning. It’s very personal in style at this moment, oddly enough, considering how much it draws on the language of comics cartooning. It follows a lineage from classic Belgian cartoonists in the 50’s/ 60’s, think ‘Lucky Luke’ and ‘Asterix’. It leans into British Jazz great Hunt Emerson. Yet it has its own distinct design sense. It builds a consistent and detailed and believable world in its pages and it’s the kind of world you drop into and don’t notice the detail and skill shown on those pages. It’s not interested in showing you how well thought out and consistent it is, it’s is there to make this story grounded, to give you the in to the world you’re looking at. It just digs in and delivers story telling chops again and again.

Issue 3 - cartooning chops on great show
Issue 3 – cartooning chops on great show

Little marks changing the look of a character instantly to ‘woken up and feeling rough’ by slashing in some well-placed lines on their face.

You don’t have to think about this art, it does the hand holding and hard thinking for you to get that story told. But it does it with panache and style; clever, but gracefully so.

This is a damn fine comic series and a lot more clever than it would have you believe.

The Short List – Tim Bird

NEW COMIC – Asleep In The Back

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GA4-2-2-copy
Grey Area – publishe by Avery Hill

ZL – Why and when did you start making comics and how many comics have you made?

TB – As a kid I was always drawing – little cartoons of my friends and family, doodles, comic strips. My friend came up with a character called Pseudoboy and I drew some comics about him, but it never occurred to me to publish them or show them to people outside my friendship group. It wasn’t until I visited Thought Bubble in 2010 that I realised there was such a large community of comic book creators self-publishing their work and I wanted to get involved! I started doing diary comics that I shared online and began a series called Grey Area, which was published by Avery Hill Publishing. There were four issues of Grey Area, and I self-published a few short comics before I made my first graphic novel, The Great North Wood, which was also published by Avery Hill Publishing last year.

I’ve also made lots of other short comics for various anthologies like Dirty Rotten Comics, Over The Line and Off Life.

 

ZL – Do you remember the first time?

TB – I vividly remember my dad reading Tintin comics to me when I was very young, explaining how speech bubbles and thought bubbles worked, and how you followed the story by moving from one panel to the next. One image in particular stayed with me – a

TinTin
Tintin – Rascar Capac

character called Rascar Capac breaking through a window to throw a crystal ball full of poison at Tintin. It was terrifying to me when I was young, but I would dare myself to look at it and try and draw it.

 

 

 

 

 

ZL – I currently own only one of your comics, but really treasure it, ‘Rock & Pop‘. What impressed me was the way you took many short anecdotes and wound them into such an emotive narrative. How did you work how what would be in the story and how to pull it together?

Rock & Pop
Rock & Pop – Great little comic

TB – Rock & Pop started as a webcomic. The idea was to draw and post online one comic a week about a song that had inspired me or that I felt related to an important moment in my life. I started with songs that had felt important to me as a child (like Belinda Carlisle!) and continued through being a teenager, moving to London, meeting my wife, and having kids. The narrative all comes from my life, being interested in music. Just growing up really. People really responded to the webcomic, so collecting them for a print edition seemed like the right thing to do. Since self-publishing it, I’ve asked other people to send me comics based on their own responses to songs important to them, and have been posting them online – various-artists.co.uk (I’m always looking for new contributors for this!)

 

Various Artists
Various Artists – Tim’s music anthology website – Always seeking contributors

 

ZL – You’ve recently had your first graphic novel published, ‘The Great North Wood‘. I know you’ve published smaller works prior to that. What was the main difference between the two experiences?

TB – I tried to be more disciplined when I was writing the Great North Wood, making sure I had all the pages fully planned before I started drawing. With my shorter comics I often start drawing without really knowing where the story will end up, but with this longer project I thought I’d run into problems if I tried to do that. I spent a lot of time doing research for the book – studying the history of the area that the book’s about, and reading about folklore associated with forests and woodlands.   15    I think the fact that it’s a longer a piece of work, and took longer to create, means I invested more into it emotionally, and feel really attached to it. A lot of my comics are about a feeling of connection with a specific place, and spending so long writing about south-east London for this book has increased my bond with the area. I’ve recently finished a short comic called Asleep In The Back, and it’s been nice to feel a bit less involved with a piece of work – to put it down and move on.

 

 

 

 

 

 

 

 

ZL – Which one creator you love seeing do you feel the world knows too little about, and what would you like to tell us about them?

TB – I don’t know about in comics – there’s so much good work being made right now that I don’t think I can pick just one creator to tell you about! In music though, I’m always surprised Debsey Wykes isn’t more well known. She sang backing vocals for Saint Etienne and has fronted two bands – Dolly Mixture and Birdie. They’re both great!

 

 

 

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2019

The Short List – Shuffleplay comics

Disclosure – I should let you all know that I have worked with Shuffleplay Comics on a number of contributor copy only zines and am currently working with Shuffleplay on a project currently slated to publish in June.

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ZL – Your work often uses songs as inspiration, what is it about interpretting these works that appeals to you?

SPC – I would visualise stories and ideas behind song lyrics when I listen to music. It’s been a natural habit since my teens, but back then, I didn’t have the technical skills to implement my ideas. Now that I’m somewhat technically trained to make music videos, I just go at it every time I feel compelled to.

New Order - Regret

ZL – Do you remember the first time?

SPC – Oh wow, I can’t even remember. One of my all-time favourite illustrators is Tomer Hanuka and this picture has always stood out to me.

Tomer Hanuka
Tomer Hanuka

ZL – Given an unlimited budget and all the time in the world, what would be the project you’d make to be remembered by?

JR_08

 

SPC – I don’t have very long-termed projects nor do I want to be remembered. If 

I have unlimited time and budget though, I’ll probably hire people to build a huge sci-fi theme park. I’ll hire actors to play the roles of citizens in this made-up world. Everyone will have to wear space suits/dumb futuristic costumes just for the lulz. Only myself, my family and friends will have access to this place, muahahaha.

 

ZL – You’ve created a lot of high quality zines by now, which of these makes you most proud and why?

SFP – Hmm, probably Ghosting. The content’s kind of cringy now that I look back at it, but I’m amazed that I managed to stick to it for three months.

 

 

ZL – Which one creator you love seeing do you feel the world knows too little about, and what would you like to tell us about them?

SFPAdrian Tomine. He is already really well-known, but I’d always recommend his work, “Killing and Dying“.

 

 

 

previous post – The Short List – Livor Mortis Zine

all art copyright and trademark it's respective owners. content copyright iestyn pettigrew 2019

The Short List – Livor Mortis Zine

Disclosure – I should let you all know that I am currently at work on a collaborative zine with Livor Mortis Zine, release date TBC, and that I once won a competition for issue 3 of LMZ (a set of three beautiful zines).

IMG_7746

Livor Mortis Zine                                                                       stphnrttly

ZL – Why paper and not blogs?

LMZ – Being born in the mid-1980’s, I feel that I owe a lot to analogue in all formats; from VHS to vinyl, practical effects over CGI etc. Even though I use computers daily and understand the great advantages of digital outlets, however, I feel that a physical item is a lot nicer and more human. I specifically started LMZ based on glue, paper, scalpel etc and felt I should keep digital creation to a minimum. We can rely on paper a lot more as digital/technology is a lot more harmful towards us both physically and mentally.

With physical copies of a zine, you can distribute and interact outside, away from a computer. I am sure that most of the population like to touch what they can see, and I feel that adds greatly to the experience. Having physical copies on paper has led to opportunities I would have missed out on if I were to be blog based, like selling zines on a face-to-face basis.

This started with great assistance from Books Peckham (site & instagram) and DIY Space For London (DSFL site & instagram).

Their next zine fair is 17 thMarch 2019 @ 96-108 Ormside St, SE15 1TF.

Anyone that is interested in zines and DIY self-publishing should definitely visit.

One of my favourite zines of recent times was picked up (traded) at a previous zine fair at DSFL. It’s by Olga Writes Things and is titled ‘Body Hair: A Love/Hate Story’. Reading this really made me question how brainwashed our culture is by media. I would suggest reading this zine especially if you are open minded and not a sexist. I also appreciate how personal it is too, I doubt many people would be so direct and honest

 

ZL – Do you remember the first time?

LMZ – The first time I can remember really loving an artistic creation was probably as a 4/5 year old, whilst watching both ‘Ghostbusters’ the film and animated series. However, years later, the 2001 album ‘Mediocre Generica‘ by Leftover Crack really shaped me as a person and actually impacted my life for the better! It opened my eyes and ears to many different genres and styles of music. Before listening to that album, I was strictly into punk music and was quite ignorant and stubborn to entertain anything else.0045778043361.png.925x925_q90The album contains elements of ska, reggae, black metal, death metal and of course punk. It was definitely a great tool for mind expansion and propelled me violently into a world of mixing genres and breaking rules. Plus the lyrical content was perfect for my mentality as a teen; no pop-punk focused girl/boy relation dramas, just real talk and political anger. Without hearing this album, I do wonder if I would have ever spent 10 years running independent death metal record labels and if I would have stayed on a straight path and mixed with healthy society focused individuals. I do not really know many other bands that mix many alternative styles so well! Apart from the pre-fix of ‘Leftover Crack’, which is the band ‘Choking Victim’.
I can still listen to the album today and get wild enjoyment from it. ‘Mediocre Generica’ is not my favourite album, but it is totally an important release in terms of who I am today. I am sure LMZ carries some connection to the crack rock steady beat, away from the ‘INDK’ lyrics inside the front cover of issue 4.

 

ZL – Given an unlimited budget and all the time in the world, what would be the project you’d make to be remembered by?

LMZ – I literally had this conversation just the other day with a film maker friend of mine, we even started a script to be prepared for the day an unlimited budget comes our way! I won’t give away too much in terms of the overall direction, but the aim would be to focus on making a story to make people more aware and involved in stopping child abuse. I am sure I am not the only person who questions why the rich and powerful are always connected to extreme child abuse?! I know it is a nasty and emotionally destroying subject to even comprehend, but it is a vast problem all over the world.  If I could be involved in anything that would expose and shutdown child abusers and sex traffickers in general, I would be very happy. The budget would go on practical special FX (ideally Tom Savini ❤️) and getting really strong and respected actors/actresses involved so people would take notice.

Away from that, I would really like to be involved and remembered for something that would get Tony Blair and George Bush Jr executed for war crimes.
As the budget is unlimited, any leftover would be used to buy and delete Facebook.

 

 

ZL – Your images come from all around the world, where is your favourite place in the world you’ve never visited?

LMZ – Asia, especially the Far East! I would really like to go there and I am sure that I would never leave. In my head, it seems so alien compared to the world I live in, I’m sure it would feel like home. The level of excitement and fear is through the roof!
My passionate feelings towards the continent originated from Eastern cinema and anime. I remember watching films like ‘Urotsukidoji’ and ‘Hausu’ at a young age and being so impressed after getting tired of the typical Hollywood/Western film formula. The imagination and creativity out in the East is so rich, there is even a Japanese horror sub-genre which focuses on cat horror alone.
Another part of Asia I would like to experience is Bali, Indonesia. There is an annual festival that takes places there called ‘Nyepi’ aka ‘Day of Silence’.

nyepi

I do not think Google search results justify this festival, so take a look at the Instagram account @ogohogoh_bali

 

ZL – What single creation [book, zine, film, group, place, whatever!!] would you settle down with and just chill?

LMZ – I really chill with audio commentaries attached to cult Italian films such as Lucio Fulci’s ‘Gates Of Hell’ trilogy or any of Dario Argento’s early works for example. Last night I bulk listened to three commentaries on the early US slasher ‘The Burning’.

7e914caa5b54d29e1ae345243fc074a72f67c7b1r1-1024-800v2_hq

I find it really fascinating to hear all the behind-the-scenes details relating to the production of the final product. It is nice to be able to just listen to something, rather than watch. I guess I should check out some more podcasts!