word bold), a decision to keep two sentences in one balloon or split them apart, a change in font or size or balloon shape, where you position the sound in relation to the character all these things work to amplify the effect of the dialogue, the art and the interactions of characters with the story and each other.
Geek Syndicate
or change if you could? PM: I wanted to keep the colours close to the original designs in the previous book, but what I also wanted to do is add a little something of a personal touch to the eyes, such as Morley has like yellow-orange eyes and the others having either purple or a weird green shade. Normal coloured eyes are boring. We see those every day, so that’s my personal touch. Something I would have wanted to change if I could is make Morley’s shirt black. I don’t know why, but towards the end I wanted a different coloured shirt, but that me. Haha! Working in Comics GS: It could be considered that ‘small press’ equates to low production values; a lesser cousin to the financial giants of DC and Marvel. How do you challenge these preconceptions in readers? Is there a class system in comics, or is good work recognised by everyone in the industry? CD: To be honest, I’m not certain those distinctions really serve a useful purpose any more. Certainly, you’d be hard pressed to tell the difference these days between a high-end graphic novel and a small press book just from their physical production values. There’s an old rule among magicians that you never busk in the foyer of another performer’s gig. I think the main responsibility of those us working in independent comics right now is to prove that what we’re doing is more than clumsy mimicry.
GH: I think good work should be recognised by the whole industry. Whether it is or not is another matter. PM: I am a little new to the industry to make a comment on this, really. I don’t think there’s a class system. I don’t think the more money you throw at a project, the better the book will be. I think, if you care enough for the book and give it your all, that’s what is important, really. NW: I think “the industry” is really a meaningless term now. Comics are part of publishing, which, although vast in its own right in terms of content, form and media, is in itself only a part of art or entertainment. When there are so many kinds of publishers putting out “material containing sequential art” of one form or another, in so many genres and for so many purposes, the idea of a “mainstream” that consists of one particular format, from one particular culture, sold to one particular audience starts to fall apart. You don’t have to look very far outside of the comic shop door to find the audience for, and response to, comics in the wider world is much more varied. Just take a look at the new British Comics Awards for some amazing examples of different kinds of work. GS: What do you personally get from working on small scale, creator-owned books as opposed to big-money, highly recognisable franchises? Would you be attracted to the proposition if the Big Two came knocking, or are you living the dream already?
I have been lettering Cy for such a long time now, that it is very rare for me to find that the practicalities of what he wants to express are not possible. Sometimes, as part of the collaborative process of comics making, you might be struck with a different idea of how to visually express something in the script once you see the possibilities afforded by the art on the page. At that point I will then discuss any ideas with Cy and might show some ideas in a couple of different ways to illustrate how they could work and decide together what works best. I have also been extremely lucky in working with Graeme and Pete because both artists are extremely sensitive to the spacing, shape, movement and timing. GS: In a medium that can often feel like it’s cloning clones of characters and creatures, you guys have pulled together something that feels vibrant and fresh. Stephen Downey’s monster designs were truly inspired, and you have added to the ranks of ‘Players’ with the likes of Headrush, Papercut and Nemesister. What part of the creative process gets you most excited? What are you most proud of in Cancertown 2 and what would yourevisit, expand
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