Dravn to Succeed: Dave Elliott on A1, DRAVN and the lure of the anthology comic

Dave Elliott has more than 25 years of experience working in every aspect of the comic book industry from writer and artist to editor and publisher, and his latest project, the return of A1, is about to be launched, in partnership with Titan Comics. 

Dave created Sharky and Maximum Force and has worked on diverse titles such as A1, Deadline, Viz Comic, Heavy Metal magazine, Penthouse Comix, 2000AD, Justice League of America, Transformers, GI Joe and Doctor Who. He recently worked with the band Fall Out Boy, and with NASCAR/MMI to create and brand new intellectual properties which he cites as examples of new media integration for a more immersive entertainment experience.

In 2006, Dave co-founded Radical Studios, and, as both the co-publisher and Editor-In-Chief, was integral to the development and launch of Radical’s premiere comic book titles several of which have now begun development as film properties including Hercules (Starring Dwayne Johnson, directed by Brett Ratner and to be released by MGM), Freedom Formula (New Regency), Schrapnel, Caliber, Hotwire, Last Days of American Crime and Oblivion (starring Tom Cruise, directed by Joe Kosinski and released by Universal).

He's currently relaunching his company Atomeka, started with his partner Garry Leach, as an imprint of Titan Books. Atomeka’s titles include A1, Weirding Willows, and Monster Massacre, followed by Odyssey. 

downthetubes: The return of A1. Why now, after what, how many years?

Dave: I've been asked a few times over the years to bring it back but with the rise of creator owned material I really didn't see the point at the time. When Garry and myself started A1, doing creator owned material was pretty rare.  Most British creators never had the chance or the opportunity to do anything.

Then I did several projects with [US publisher] Image Comics. The approach seemed noble, giving creators all the rights and they'd just take a cut off the top. Seemed reasonable. But I saw many creators who were doing four to six issue mini-series that came out of it in debt. Their trade money already spent in paying back Image their piece of the pie. Creators quite naturally want to get their ideas out there. To seed them and hopefully get the chance to tell their story someday.

So what if you didn't need to do a six issue series? What if you could do a series of shorter stories where you wouldn't have to quit your day job? I'm offering some people the chance to do that.  To lay the ground work by seeding their ideas so when they do take the time out to do that four to six issue mini-series, the audience has had a taste for it. The creator has had a chance to get feedback and refine his (or her) ideas.

The upcoming A1 annual

downthetubes: What's the appeal of the anthology format for you - you seem to get drawn back with it, what with guest editing Heavy Metal and more?

Dave: Anthologies offer the chance for experimentation and exploration.  It's a tougher discipline as you have to tell a story in three to 12 pages, build a little character and hopefully see if the idea floats for you and the audience to want to see more. Text stories, art galleries, even articles shouldn't be off the table as well.

downthetubes:The anthology is a tough market, particularly in the United States - despite A1's amazing success in the past. Are you a glutton for punishment or one of life's optimists?
Dave: I think that needs clarification. The big A1 anthology, which will be out in October, will be more Mass Market. (The comic will just be the Direct Sales Market).

Anthologies in the comic book Direct Sales Market don't do that well. I think it is primarily down to motive for doing one.  is it just to get a bunch of characters that no one really cares much about into print to keep the copyright going? 

Now the mass market tends to react the other way. Every magazine available in the mass market is an anthology. TIME, People, Entertainment Weekly, National Geographic, Sports Illustrated, MAD, Heavy Metal and every bloody newspaper on the planet. The Direct Sales market has been programmed to function differently to the mass market. 

Can you imagine asking the mass market reader to have all their articles and reviews serialized over weeks or months? Recipes where you only get one or two of the ingredients per magazine? Publishing would die overnight. So why do comics do it?
The big A1 anthology, which will be out in October, will be more Mass Market. (The comic will just be the Direct Sales Market).

downthetubes: Do you have a long term "game plan" for the title beyond the initial stories?

Dave: By now, people will see I am launching A1 in two different formats with different content. First to be released will be the A1 six issue mini-series for Direct Sale. This format is to seed three projects that will be expanded upon next year with a series of graphic novels based off the properties.


This series is so people can take a test drive. I'm considering doing 6 issues a year of this so we can potentially launch two or three series a year.

The second A1, for the m,ass market, is kind of more like the old - self contained volumes, but bigger, more pages and even more experimental. Also I want to bring back some of the fun into comics (even if its only for those putting these books together).

Then there is Monster Massacre, the naughty little brother to A1. I think of it as the bastard step child of Heavy Metal and 2000AD. Very Sci-Fi and Fantasy led, but I don't want people thinking of it as a boys only comic. I've always been a big proponent of tough female characters who don't need to get raped to be kick-ass.

I'm working on a fantasy love story at the moment with Dave Wilkins. He may not quite think of it in those terms but that's where its core is going to be. Think about Lady Hawke with a twist.

So the game plan is to keep A1 and Monster Massacre going as ongoing series, each building up to hopefully a critical mass where the creators involved can see a respectable trickle of royalties coming in if they stick with it.

I am planning a third anthology that will be aimed at a more general audience that I hope to launch either late 2014 or early 2015.

downthetubes: You're writing some of these new stories, has it been good to get back to that side of the comics business after being "editor in chief" on several projects?

Dave: Hell, yes! Garry and myself started A1 so we could both do our own creator owned work and after the first issue we both had to take a back seat as the publishing stuff got in the way.  This time I am very much in the mix creatively and I hope to get Garry back in the mix when he gets a break. Wearing both hats certainly makes me a lot happier.

downthetubes: You're also working on DRAVN for Heavy Metal Magazine. Can you tell us a bit more about that?

Dave: Heavy Metal Issue 262 is on sale now and serves as a great intro into the world of DRAVN. It's a big, rich, and complex story that will take at least three big graphic novels to tell.  It's sci-fi, fantasy, action/adventure, thriller, drama, all wrapped up in one big concept.  The creator is Jesse Negron, who is no stranger to working on big concepts (Google him on IMDB). What I bring to the table is partly my editor's hat and partly my writer hat. I love developing characters and their motivations. Jesse has this amazing story and I'm like the junction master on a train line, making sure the train stays on track and that the track is solid.

As it will be such a big undertaking I've agreed to co-write the graphic novels with Jesse.  We'll be working on these for the next few years.

downthetubes: From reading online interviews you seem to be pitching that as a concept that could reach a much wider audience than those who read, say HM or 2000AD?

Dave: I'd say both those audiences are perfect for DRAVN but it would also be perfect for readers of Harry Potter and the Hunger Games. I liken it to Star Wars in many respects: it 's a huge universe and timeline that we're going to be entering. The best way to do that is chose one character and come in through their point of view and expand out naturally, discovering the world with them.

downthetubes: Do you think that publishers are doing enough to try and secure the next generation of comic readers?

Dave: I think they're trying as best they know how. While some people may not like licensed books, doing TV and Film tie-ins bring a new audience in.  As long as the quality can be kept high I think this is good for the market.

I forget how spoilt I was growing up. I had artists like Frank Bellamy, Ron Embleton, Jesus Belasco, Mike Noble, Brian Lewis, John M. Burns, drawing comics for me to read. Syd Jordan on Jeff Hawke, Horak on James Bond, Jim Holdaway on Modesty Blaise. But I always have to remind myself, this is a different time with different tastes.

I think we are all guilty of pissing in our own bathwater and not doing enough to bring in a younger audience.  I'd love to do another VIZ kids comic again. The special I did while I was at John Brown Publishing did really well.  We need some more books like that.

downthetubes: Are you working with Titan on comics with a wider audience, too?
Dave: That's the main reason I'm doing this. Titan have great reach beyond just comic book stores and the books I am doing are focused on as wide a market as possible. I want to get comics back in the hands of lapsed readers, new readers, in an accessible form.  People who like multiple genres. That's a lot of people and we plan on tracking them down.

downthetubes: What one piece of advice do you most offer aspiring comic creators?
Dave: Don't do it.

I'm serious! This can be a shitty industry to work in. Hollywood's mentality is spreading into comics. Chewing creators up and spitting them out once they've lost their flavor.

But if you're stupid enough to ignore that advice, then I'd suggest focusing on your own stuff. Work on your own stuff and get it right.  If you're an artist learn to draw everything!  Google will get you an image of it quick enough but you have to make it convincing.

Start a DeviantART account!!! The community is wonderful for giving you feedback.  Post your own stories everywhere. DeviantART, Facebook, set your own website with your own comic on it and post your own stories. Tweet and Facebook links as often as you can.  Find some friendly creators that will retweet to their fans.

Be persistent.

• Dave is easily accessible on both Facebook and DeviantART or follow him on Twiter via: DeevElliott or ATOMEKA_Press

• Titan Comics is at: http://titan-comics.com

Prisoners of Time: An Interview with artist Gary Erskine

IDW's yearlong celebration of Doctor Who’s 50th anniversary Prisoners of Time features the work of many British creators, with Phillip Bond providing art on Issue 5, on sale soon. Issue 4, the Fourth Doctor issue, was drawn by Gary Erskine, with assist from Mike Collins.

Put on your scarves and munch on some jelly babies, as we talk to Gary about his work on the fan-favourite Fourth Doctor...

downthetubes: Prisoners of Time is, I believe, the first time you have drawn an official Doctor Who strip - although you were commissioned to draw some illustrations of the Fourth Doctor for Doctor Who Magazine some 20 years ago. Is he your favourite Doctor?

Gary Erskine: Technically my first Doctor was Jon Pertwee with [Sarah Jane Smith] and Planet of the Spiders but my first vivid memory was the end of that particular episode and his regeneration into Tom Baker. He made for an astounding debut and was crazy as Hell. Leela proved a very memorable companion too and their episodes remain my favourite part of childhood television.

downthetubes: Can you tell us which companions feature in the story?

Gary: My episode of Prisoners of Time features Leela [in her classic leather outfit] She was always a favourite companion and I was fortunate to meet Louise Jameson in Edinburgh around the early 1980s when she was filming The Omega Factor at Edinburgh Zoo. I was twelve years old at the time and on a school trip and she was very sweet. I had such a crush on her too and could barely speak.

downthetubes: How do you approach the thorny issue of 'capturing likeness' - always an issue with licensed series based on real actors?

Gary: I have worked on a number of comic book licenses before and the likeness capture always proves a tricky area. The main area we had to concentrate on was the balance between Tom Baker's quirky and individual appearance and the delicate beauty of Louise Jameson. Not always an easy task and there was a lot of BBC approval edits and changes over the course of producing the book. It goes with the territory of working with licenses and actor/agent approval but we were very pleased with the end result.

downthetubes: Were there any particular aspect to working on this story that proved a particular challenge (and why?)

Gary: Not really. I love Doctor Who and any opportunity to work with the characters was welcome. The Judoon make an appearance and they have proved a new favourite alien species for the series. Leela's interaction with them is particularly memorable but saying anything more would be a spoiler.

downthetubes: you've also drawn another great British SF hero, Dan Dare - are there any other British heroes you'd like to tackle given the chance?

Gary: I remember an old Sydney Jordan story called Lance MacLane which was serialised daily in the Daily Record in Scotland for years in the late 1970s to 80s. It followed on from his work on Jeff Hawke and had a European sci-fi vibe to it and I really enjoyed following it. Several artists worked on the series and would change almost daily but the stories were fun and entertaining. I would probably wish to reboot that character somehow if the opportunity arose.

downthetubes: Why do you think Doctor Who has proven such an enduring success over the past 50 years - in print as well as on TV?

Gary: Doctor Who works because it is good wholesome sci-fi with clever story-telling featuring likeable characters. It is a combination that has proved (nearly) timeless.

Everyone seems to have an affection for a particular Doctor but very much like James Bond, the overall legacy remains strong and the audience will always be there for the show (in whatever form it takes). I look forward to more.

dowthetubes: Would you like to draw a longer Doctor Who series, given chance, and which minsters would you like to feature?

Gary: Sylvester McCoy's portrayal of the Doctor always intrigued me and Ace proved herself to be a feisty companion. I would hope to work with them at some point but a longer return to Tom Baker (with either or both Leela and Sarah Jane Smith) would be a sweet opportunity. I might pester my editor Denton Tipton and the writers Scott and David Tipton later this year and see what we can come up with?

I have a wee idea of a story that could work quite well. I can say no more at the moment.

downthetubes: You have your own 'franchise' you're working on right now, The Roller Grrrls - can you tell us what that's about and your plans?

The Roller Grrrls project is something my colleague Anna Malady and I have been working on for over 18 months now by building up an audience and trust with the roller derby community to create an on-going serial featuring the girls in a local league.

Part soap opera, part sporting comic, Roller Grrrls actually references an earlier comic legacy of British comics such as Tiger, Champion, Action and other boys comics where sporting scenarios and characters were the popular focus, which featured football stories and strips like Roy of the Rovers, Hot Shot Hamish and Billy's Boots. Elsewhere there was Formula 1, wrestling, boxing, speedway and many other sporting stories. Even Action  and 2000AD gave a nod to the reading audience's interest in sport with the Harlem Heroes, Speedball and Inferno stories.

Girls comics too would feature sporting activities like hockey or netball and we are hopefully echoing that previous trend and pushing it to a new audience [both comic and roller derby fans] with Roller Grrrls. Granted, some of the themes we will be tackling involve more mature themes but the spirit of the earlier comics is still there.

I am also working up Incendiary.US which is an apocalyptic road movie (The Driving Dead?) and a horror western called Zachariah Gunn: Dakota, with colleague Dominic Regan, which references Once Upon A Time In The West and Hellboy. Both are to follow later this year after the Roller Grrrls launch in July. Stay tuned and follow them all on Facebook!

downthetubes: Above anything else, what one piece of advice would you offer aspiring comic artists?

Gary: Work hard.

• Gary Erskine's official web site is at: http://garyerskine.blogspot.co.uk/

• Print editions of the IDW Doctor Who titles are not officially on sale in the UK but you can purchase the digital editions

• Buy Doctor Who: Prisoners of Time #4 for iPad, iPhone and iPod Touch

Comic Creator Interview: David Hine on adapting "The Man Who Laughs"

David Hine

David Hine has had an illustrious career in comics, both as artist and writer, working on a diverse range of comics since his debut in the 1980s on titles such as Crisis.

He's currently finishing the first arc of Storm Dogs, from Image, co-created with artist Doug Braithwaite and writing Cowboys and Insects for his old buddy Shaky Kane, for digital anthology Aces Weekly. Work-for-hire projects include The Darkness for Top Cow and an arc of Crossed for Avatar.

downthetubes caught up with David on the release of the stunning graphic novel adaption of Victor Hugo's The Man Who Laughed, drawn by Mark Stafford and published by SelfMadeHero...

downthethetubes: You've worked in comics since the 1980s, firstly for Crisis but also Marvel UK, more recently for Marvel and DC Comics, as well as worked on a number of "indie" projects like Strange Embrace and The Bulletproof Coffin. Do you miss the days of British publishers originating more comics?

David Hine: There certainly were a lot more opportunities for freelancers back in the eighties and there was never any shortage of work, though I rarely felt that I was really creating the comics I wanted to do. What we didn’t have much of back then was the opportunity to create full-length graphic novels and in that respect things are healthier now.

downthetubes: One of your latest projects is The Man Who Laughs, an adaptation of Victor Hugo's novel for Eisner Award-nominated publisher SelfMadeHero. How did that project come about?

David: I had written a story for the DC comic Batman and Robin, set in Paris and featuring a French version of the Joker. I knew the story about the creation of the Joker being inspired by a movie poster of the 1929 film of The Man Who Laughs starring Conrad Veidt, and in my story a mad artist disfigures his own child as an homage to Victor Hugo. It occurred to me that I knew very little about the original novel, so I tracked down the English version on the Project Gutenberg site and read it at the gym on my Kindle.

Gywnplaine hears the screams of the drowning Comprachios.
From The Man Who Laughed by Mark Stafford

I don’t know if it was the rush of blood to the head, but I found myself inspired by the story. There were so many scenes that I knew would make fantastic sequences in a comic book. I found myself visualizing pages in my head – the scene where the Comprachicos sink beneath the waves while praying for their souls, Gwynplaine struggling barefoot through the snow, the descent into the depths of Southwark Jail, the confrontation with the massed ranks of the aristocracy in the House of Lords.

I’ve never felt compelled to adapt an existing work before, but this story seemed to be crying out to be made into a comic.

Southwark Jail, as visualized for The Man Who Laughed by Mark Stafford

downthetubes: How do you approach adapting a novel like this? The structure of the original is very different to yours and Mark's adaptation...

David: There were a number of problems with the original novel. It isn’t one of Victor Hugo’s most popular and that’s because it is bogged down in an obsessive catalogue of the titles and possessions of the most powerful aristocratic families and the workings of English law. Hugo clearly had done a lot of research and he was determined to cram it all in there. The narrative structure is also non-linear in a way that actually works against the dramatic effect. I know that’s a bit presumptuous of me, but I couldn’t help feeling he could have done with a good editor.

Gwynplaine and company arrive in London.
Art from The Man Who Laughed by Mark Stafford

The great thing about adapting a book to another medium, especially when the author is long dead and there are no copyright issues, is that you really can cut and rearrange as much as you want. It’s a massive tome, over 200,000 words, so clearly a lot of material had to be cut to reduce it to a manageable 160 pages of comics.

Art from The Man Who Laughed by Mark Stafford

I read the book cover to cover three times. The first time was a straight reading. The second time, I had a hard copy of the book and went through marking the passages that had to be there, and eliminating the parts that were clearly extraneous to the story. There were a couple of nice scenes that could have stayed in, but in the end they reduced the impact of other scenes or upset the pacing of the story. Gwynplaine’s half brother, the illegitimate Lord David Dirry-Moir has an ambiguous role at the end, which is fascinating, but to include it would have ruined the pace of the final scenes, so I was a bit ruthless with him, I’m afraid.

I then re-arranged the order of events. Hugo skipped back and forth in time in ways that sometimes worked against the plot development. Too many spoilers in the early chapters!

Finally, once I knew the scenes that were going to go in there, I re-read those scenes up to a half-dozen times to absorb their atmosphere. After I’d completed an outline of the graphic novel, I re-read the book again from cover-to-cover to make sure I hadn’t missed anything vital.

downthetubes: What's the most difficult aspect of such adaptations? Do you think that it's easier for you to script such work, given your skill as an artist as well as a writer?

David: The most difficult decision was the language. The book was published in 1869 and set in the early 18th Century. Victor Hugo’s language was that of the 19th Century, so it was already a modernization and there was a temptation to update it further. In the end I chose to keep Hugo’s voice and that’s where all the re-reading came in useful. I often used Hugo’s actual words when appropriate but I felt confident enough that even where I was inventing scenes or dialogue, I had absorbed enough of the feel of his writing to keep it consistent and hopefully it reads seamlessly.

Art from The Man Who Laughed by Mark Stafford

downthetubes: There are some superb and startling images in The Man Who Laughs that condense almost entire chapters in the original - Gwynplaine's horrifying encounter with the hanged man, for example is told in just two panels. Do you decide that kind of thing as a writer or was it a matter of joint discussion?

David: The form of the novel is perfect for getting into the heads of the characters and that internal voice is where there is often a problem with adaptation. In Hugo’s case, he was a very visual writer. Discussing scenes with Mark, we soon realised we were both imagining things in a similar way. The internalised emotions are a little more difficult but when you’re working with Mark the problems are solved very easily.

Some of the most powerful scenes are wordless. I have experience as an artist so I always break down a script into thumbnails, roughing out the pages and panels to make sure they are working. I didn’t give Mark those thumbnails because that would be imposing too much of my vision, but I knew that structurally it would all work. Then I gave Mark as much information as I could on what was going through the characters’ heads and when appropriate, cutting and pasting some of the key passages from Hugo as well. The script ran to over 45,000 words in the end, so there was a lot for Mark to wade through.

That scene with the hanged man, for instance, included the original description giving every detail of the canvas the corpse was wrapped in, the snails that had trailed across it, much of which we decided to leave out. We probably talked more about that full-page spread than most other pages. It’s a powerful image that mirror’s Gwynplaine’s own suffering. In the end that single image sums up several hundred words of script.

Mark has a genius for depicting very complex and often conflicting emotional information with his drawing and I don’t think there are many artists who could match what he has done with this book. I gave him the near-impossible task of drawing a character with a face that is fixed in a permanent horrifying rictus, and then asking him to convey every emotional nuance imaginable.

At the start I think Mark was reluctant to draw the facial disfigurement as extreme as I wanted. There’s a recent French film that draws back from showing the sheer horror of that physical abuse and it undermines the whole story. Hugo leaves no doubt how awful the mutilation was. Gwynplaine had to be utterly repulsive in order to make the nobility of the character shine so clearly. That was a hell of a challenge for Mark, and he rose to it with his usual aplomb. By forcing the reader to look at the horror of his face, you find that after a while you are seeing past it. The acting is all in the body language and the upper face, particularly the eyes. You see through the fright mask to the sympathetic character that lies beneath.

downthetubes: You've worked for both small and large comic publishers on both commercial and, I assume, more personal projects. Does your work on series like X-Men, for example, afford you the opportunity to work on (perhaps) smaller stories like The Darkness?

The cover of The Darkness #112
by Stjepan Sejic

David: When I began writing for a living in 2004 I was exceptionally lucky to start with X-Men and other well-know characters. I’ve written Daredevil, Spider-Man, the Inhumans, Batman, Green Lantern, all kinds of iconic characters. I even had a run on Will Eisner’s The Spirit for DC, which was actually the most gratifying work-for-hire I had done. I could imagine writing Batman, but I never in my wildest dreams thought I would be allowed to write my all-time favourite character.

Now I have made it clear that I no longer want to work on the bigger corporate characters of Marvel and DC. There are too many issues. However, working on those books has made it a lot easier to find publishers for my more personal work and even on work-for-hire I’m given a lot of free rein by the guys at Top Cow and Avatar.

I guess I’ve gone about this ass backwards. Most people seem to do the smaller books with the aim of reaching the heady heights of working for the Big Two and that turned out to be the reverse of my career path. It’s still tough to make a living from the creator-owned work, but it’s so much more creatively satisfying. What the DC and Marvel work did was to get my name out there a bit and also helped me to develop my craft.

Working to insane deadlines really is also a great way to focus the mind, and even the frustrating editorial “directing” does push you to find a way to tell a decent story against the odds. I’ll always be grateful to the guys like Joe Quesada and Mike Marts who gave me those openings at Marvel and DC. I know I often slag off the Big Two but I have a lot of respect for many of the individuals who work at both companies. And kudos to the creators like Kieron Gillen, Jamie McKelvie, Si Spurrier, Frazer Irving, Grant Morrison, Frank Quitely and many more, who somehow manage to rise above.

downthetubes: What's your next project and when does it launch?

David: Storm Dogs is the big one at the moment. The fifth issue has gone to press and the last part of the first arc is being drawn right now by co-creator Doug Braithwaite. This is my first serious attempt at science fiction since my Mambo series for 2000AD back in the 1990’s.

Then there is a second arc of Night Of The Living Dead for Avatar and I’ve just written the first part of my second arc of Crossed for the same publisher.

I’m also working up to the death of Jackie Estacado and The Darkness. Talking of iconic characters, I’m getting to kill off this one! It’s a strangely positive project to be working on and I think the mini-series ‘Darkness Falls’ that follows the end of the monthly series could be one of the defining episodes in the history of The Darkness.

Bulletproof Coffin
© David Hine & Shaky Kane

downthtetubes: You're also working on a number of digital projects and you and Shaky Kane have constructed a very different version of Bulletproof Coffin in its digital form. Are you excited by the opportunities and challenges of this new comic storytelling medium?

David: That’s an interesting development. When we did the cut-up issue of The Bulletproof Coffin it was the realisation of a concept I had running around my head for the best part of 20 years. I had wanted to write a story as a set of cards, with a single image on each card, which would be sold in a pack and would be shuffled and read at random. I’m fascinated by the way we perceive ‘story’, attempting to impose a narrative structure on even the most random of elements. Initially the idea was to present a story in pieces and find the ‘correct’ structure. So that was the theory, but I never got around do doing it.

Issue 4 of The Bulletproof Coffin: Disinterred was the closest I got. That was a collection of 84 images, some of them related, but mostly created as a stream of consciousness with a deliberately random approach. That culminated with sitting in a pub with print-outs of those 84 images and having everyone round the table re-arrange them at random. The order we ended with was the order in which they were printed.

The next stage would have been to create a digital version, which would create pages in random sequence, but I just assumed that would need some amazingly complex piece of software to achieve, so we never did it. We did encourage people to ‘cut and paste’ their own digital versions of the comic and a number of people posted PDFs of their re-arrangements. Then we heard from this guy called Inigo Saenz who contacted me to ask if he could post his version.

When I saw it I freaked. The pages were genuinely random and you could go on clicking for new pages indefinitely. This really was the Endless Coffin, just as I imagined it. Inigo asked me if I could think of any improvement and I very flippantly suggested weird music and animated psychedelic gifs, which he duly added. It’s quite a trip and you can see it here: http://84.fanthoman.com

I love the way our readers have become involved in the creative process. In a sense the reader or viewer is always a part of that process. No one ever reads the same book as someone else, or sees the same movie or hears the same music, but with the Coffin, the involvement has become more proactive. I love it and in many ways The Bulletproof Coffin has become the most important piece of work I’ve been involved with. I hope Shaky feels the same.

And by the way, we promise not to sue anyone who recreates that fourth issue of The Bulletproof Coffin: Disinterred in any way, shape or form. It’s all yours to mess with in any way you want, provided you make the result available for free.

Cowboys and Insects © David Hine & Shaky Kane

We are now working on Cowboys and Insects, which is a whole other kind of science-fiction that draws on 1950’s B-movies for inspiration. It will make its appearance in June on David Lloyd’s digital site Aces Weekly. It’s a natural outlet for Shaky’s work. Now you can see his art the way it was meant to be. Shaky tells me he’s been taking the opportunity to turn the brightness on the colour up to eleven.

downthetubes: Above anything else, what one piece of advice would you offer aspiring comic creators?

David: I spend too much time telling people to work on their craft. That is important of course, but there is too much highly crafted, efficiently sterile work out there. Be original. Look at everything, soak up everything, from every medium, every genre, let it percolate in your head and then turn off the personal censor and let it all out.

• Thanks to David for his time. You can keep up to date with latest news on David's work on his blog and find links to his work in print at Waitingfortrade.com or on davidhine.tumblr or @hinedavid (Twitter)

•  Mark Stafford's Hocus Baloney (blog)

Prisoners of Time: An Interview with artist Mike Collins

British comic creators are heavily involved in US publisher IDW's Doctor Who at 50 celebrations for their 'Prisoners of Time' maxi series, which launched  in January with a First Doctor story drawn by Simon Fraser and continued with a Second Doctor story drawn by Lee Sullivan.

'Prisoners of Time' will feature every incarnation of the Doctor, as well as a long list of villains, some new, some old.

downthetubes caught up with Issue Three's artist Mike Collins, whose both written and drawn several Doctor Who tales down the years

Entering the industry in the mid 1980s, smuggled in under Alan Moore's beard, he drew Alan's Dourdevil - Man Without A Sense of Humour strip for Marvel UK. After that he worked as writer/co-artist on a short-lived Spider-Man UK strip, then moved onto various licensed properties (pretty much all there was at the time): Transformers, He-Man, Action Force, Thundercats, Zoids and oh so many more.

It was here he began his long-running connection with Doctor Who, as occasional writer on the Doctor Who Magazine strip, writing adventures featuring the Sixth and Seventh Doctors (and later drawing Sylvester McCoy while I was editing the title).

Branching out to 2000AD, Mike drew Slaine and Judge Dredd. He was one of the artists press-ganged in the Second DC Wave, working on various of their superhero and fantasy books - Flash, Teen Titans, Dragonlance, Spelljammer amongst them. At the same time he served as artist on the Judge Dredd newspaper strip for the Daily Star.

A brief dalliance at Marvel had him working on Sub Mariner and the X-Men (drawing the first appearance of Gambit), returning to DC to write and draw Peter Cannon: Thunderbolt, then Star Trek, Babylon 5 and various JLA titles, and solo hero books including Wonder Woman, Batman and Superman.

In the last decade he's worked on a series of Norse Noir albums for the Norwegian market Varg Veum, took over the long running Panini Doctor Who Magazine comic strip when the TV series returned, and co-created American Gothic with Ian Edginton for 2000AD.

He's storyboarded for various pre-school TV shows, amongst them: Grandpa in My Pocket, Claude, Hana's Helpline, Igam Ogam and Horrid Henry. Definitely not for pre-school, he also boarded on the recent Warhammer 40k CGI movie. He's also boarded adverts for Colmans, Coca Cola, amongst others.

Outside of comics, he's illustrated for various magazines and newspapers, and runs workshops for schools and libraries using comics, primarily for the Read A Million Words In Wales campaign.

Mike's pencils and colour for his cover for Doctor Who: Prisoners of Time #3

downthetubes: Prisoners of Time is far from your first Doctor Who project but I gather you have a particular fondness for the Third Doctor's era of the show?


Mike Collins: Pertwee was 'my' Doctor - as a little un, I was terrified by the odd snippets I saw of the show (I remember an episode of The Krotons that I caught, maybe round a friends house, but got traumatized by it). I was a bit of a wimp as a kid. When Pertwee took over I was 8, 9... old enough to cope with the scary stuff! So for me, Pertwee was the Doctor.
 Just like the comics you read at 11 are the best ever, whoever is the Doctor at that age is best. (Though if I'm dispassionate about it, Matt Smith is absolutely the best Doctor ever.)

Watching back to back old stories, it's obvious that some of them were better than others, inevitably but Holy Crow, they're so slow! It's the starkest testament to the way we've become inured to rapid cuts and compressed storytelling: you probably get as much plot in a modern 40/45 minute episode as a four part plot back then!

When the Pertwee stories are good though, they're really good: there's a level of sophistication in the plotting and themes that sailed far over my pre-teen sensibilities. When you get past the not-even-Chewits Godzilla ad stop motion SFX, Invasion of the Dinosaurs plays like a cross between a Troy Kennedy-Martin thriller and - in one subplot- a JG Ballard 13 To Arcturus riff. Amazing for a family TV show.

downthetubes: Can you tell us which companions feature in the story?

Mike: The Brig, Liz Shaw and Sarah-Jane. If the Tiptons could have shoehorned Jo Grant and Sergeant Benton in there, I'd've had a full house.

downthetubes: Is there an old TV Monster in this part of the story?

Mike: They're new monsters but fit in exactly with the feel of the best Pertwee stories, as they address ecological and political issues. I can say no more!

downthetubes: How do you approach the thorny issue of 'capturing likeness' - always an issue with licensed series based on real actors?

Mike: Likenesses have been - I hope- one of my strengths over the years. I develop a shorthand for the characters so that if they don't look exactly like the actors, they should look how you think the actors look - it's a bit of a trick - I discovered on the Panini strip that getting screen grabs off episodes is great but the actors mid-scene hardly ever look like themselves.

downthetubes: Were there any particular aspect to working on this story that proved a particular challenge (and why?)

Mike: I had a clear idea in my head when I started this that it should feel like a 70s strip, that aspects of the storytelling and page design should be authentic to the period. I slipped in a couple of TV Century 21 panel designs to add to the ambiance.

downthetubes: You've both drawn and written Doctor Who - do you have a specific approach to tackling adventures for the franchise?

Mike: I always refer to the brief at Panini: always conceive adventures that TV couldn't afford to stage!

A digression: I've written and drawn Star Trek properties for Marvel and DC. I realized that for DC I was creating Trek stories in comics form but for Marvel, it was a Marvel story that just happened to be about Star Trek... does that make sense to anyone besides me?

downthetubes: Which Doctor Who story you've worked on has been your favourite to date?

Mike: Not dismissing anything I did after, there have been some amazing stories but my favourite Who comic strip I've drawn is The Cruel Sea, written by Rob Shearman, still his only comic script I think. He used the format and genres of comics in a way I've never seen anyone within the industry approach... brilliantly barmy.

In terms of things I've written, episode 2 of The Futurists is probably the tightest scripts I've ever done, and the jokes actually work, also, I ended with the villains proclaiming 'Now WE are the Lords of Time!' which could've be the corniest payoffs but I seemed to get away with it. I could've written a dozen episodes around the Welsh versions of Asterix I'd accidentally created there.

downthetubes: Why do you think Doctor Who has proven such an enduring success over the past 50 years - in print as well as on TV?

Mike: Go anywhere, do anything. Be decent, save lives, right wrongs. It's a concept that reinvents itself every story, every new location.

downthetubes: What's your next project and when is it on sale?

Mike: Currently running in the Judge Dredd Megazine is a three parter featuring Hondo City being besieged by Zombie Samurai. Written by Robbie Morrison, inked by Cliff Robinson and coloured by Len O'Grady, all doing stand-out work it's up there with the art I'm most proud of in my career. And it has ZOMBIE SAMURAI fer gawds sake!

Other than that, I'm back storyboarding for telly right now, on the new season of pre-school fave Igam Ogam... Upcoming for comics, I'm drawing an utterly brilliant Dredd for the Megazine written by old mate Ian Edginton which harks back to Dredd's roots through the darker lens of today. And is very, very funny.

downthetubes: Above anything else, what one piece of advice would you offer aspiring comic artists?

Mike: Draw every day, draw everything. I've sketchbooks full of drawings of foreign walls, plug sockets, window frames. Be aware of the world around you and infuse your work with a plausibility even if you're drawing a 40 foot tall jellyfish in a time vortex full of ruined worlds. Make the reader believe those panel borders aren't ruled lines around your pictures but window frames into worlds that-if you could push through and look around- extend to infinity.

• Doctor Who: Prisoners of Time #3 written by Scott and David Tipton with art by Mike Collins is on sale from 27th March from IDW Publishing.

• Mike Collins Official web site

• Read our interview with Simon Fraser, who drew Prisoners of Time #1

• Read our interview with Lee Sullivan, who drew Prisoners of Time #2
 
• More about IDW's Doctor Who range on the official web site

• Read an interview with David and Scott Tipton about the maxi series on Comic Book Resources  

10 Questions: Comics Writer Benjamin Read

Benjamin Read writes comics and makes films. He wrote the True Grit and Super 8 comic adaptations, and also wrote and produced the films Warhouse and 500 Miles North. He is also one of the founder members of the Improper Books comics collective, and is fuelled principally by tea and whimsy. 

Porcelain, which has gained huge acclaim and has already been selected to be added to the National Art Library's comic archive, is his debut book with Chris Wildgoose, but they have several others in the works via the Improper Books imprint.

downthetubes: Porcelain is Improper Books first title - how did you come up with the concept and how long did it take to develop?

Benjamin: For the one and only time ever in my creative life, it was a dream. I woke up from a feverish night with the girl, the walled garden, an elderly wizard and the strange creations that kept him safe all clear in my head. It was a total gift. Granted there was a fair bit of legwork consequent to that, and it took me months of back and forth with Chris to realise the character concepts, but essentially, it was all a dream. Sometimes you get a free pass, I guess.

downthetubes: Are you working in a traditional way to create your books - script, art, colour, letters, or is there more of a concept stage, discussing the plot, storyboarding etc given your film backgrounds?

Benjamin: Big old concept stage. Until our beloved editor, Matt Gibbs, put his foot down, my scripts were scratchy guidelines, more like film scripts, and Chris and I would spend hours on the phone hashing stuff out. I’ve come to realise that this is extremely lazy on my part (and adds weeks to the process) and now write horribly long-winded Alan Moore-style prose scripts, in a bid to answer all the questions before they’re asked.

We still have a significant design stage built-in though - story is exclusively my domain (tyrant that I am), but we then go into the separate stages of designs, thumbs, pencils, inks, colours & lettering. I think the highly polished look of our work can be accounted for by our minute attention to detail. The willingness to do this ongoing process of editing definitely comes from my background in film.

downthetubes: The characters you've come up have such clear characters - did you work up guides to each before the project began in earnest or did they grow as the story unfolded?

Benjamin: If you mean visually then, as referenced above, yup, big old design stage. Chris is a genius when it comes to ‘acting’ character through his designs and art, so it’s like having real people to play with on the page. (I am blessed)

downthetubes: What's the reaction been to Porcelain? Are you pleased?

Benjamin: Utterly brilliant. Ecstatic. I’m honestly gobsmacked (and very grateful) at how people have taken it to heart. People whose work I’ve admired for years have said very nice things about it and, perhaps more excitingly, members of the book-buying public have picked it up and given it the most lovely reviews. We couldn’t be more pleased.

downthetubes: As a new publisher, what has been the biggest hurdle you've had to face getting your first book "out there" in front of potential readers?

Benjamin: Ha! Where to start? Indie publishing as a whole is not innocent of complication (but then nothing worthwhile is, I’ve learned). I’ve got a background in publishing and, despite this, the complexities of pre-press, and the difficulties of distribution have not been the simplest of things to deal with.

Gawd help anybody who goes into that with no experience at all. Publishers earn their money, at every stage of the process, and we shouldn’t forget that.

I think you need to start with the highest quality book you can make, then approach its marketing and distribution as professionally as possible and accept that it’ll be bloody hard work whatever.

downthetubes: What's your next project and when does it launch?

Benjamin: Chris and I have the first instalment of our silent, sci-fi/fantasy epic, Butterfly Gate, coming out in the summer, then the first episode of our fairy tale book, Briar, in the autumn. In the meanwhile, I’m doing a piece called Frost Fair with the brilliant Alice Duke. It’s a gothic love story and I’m very excited about that.

I’m also working with Laura Trinder on our all-ages postman-to-the-supernatural book, Night Post. Also forthcoming from Improper Books is the lovely humorous fantasy from Matt Gibbs and Bevis Musson, Knight & Dragon, and Matt’s medieval whodunit, Aelfwin & Mildryd.

downthetubes: You've assembled a great team of creators - how many titles are you planning to publish each year, given the perceived wisdom from book distributors is that six titles a year is about the maximum for a smaller operation to properly promote to readers and sellers?

Benjamin: We’ll be doing a number of episodic books that come out in standalone single volumes - Briar and Butterfly Gate are both good examples of that - each will run to a couple of instalments a year, done as 48 page books. That plus the odd OGN should put us around the six titles mark.

We have no plans to swamp the market or stretch ourselves to breaking point either - we all have other projects on, and Improper is meant to represent the work of our collective, not be a machine churning out ‘content’.

downthetubes: Do you think this kind of project would be possible without the editorial management, marketing and distribution possibilities afforded by the Internet?

Benjamin: Simply not a prayer. Internet and indies go together like me and whisky. Skype alone keeps us in business on a daily basis, and Twitter has arguably given us the bulk of our audience. The Internet is the great equaliser - soapbox, shopfront and salon.

downthetubes: Above anything else, what one piece of advice would you offer aspiring comic artists?

Benjamin: I would simply say to draw, keep drawing and keep putting the work up and out, and making your own stuff. Once you’re good enough (and you’ll know when that is) then shout about it.

The crowd finds good stuff, you just need to get good enough first.

• Benjamin Read online at www.benjaminread.co.uk or follow him on twitter: @Bookpirate

• More about Improper Books at: www.improperbooks.com

Interview: Bringing Comics to the Classroom

Digital comics are pushing boundaries on many fronts, but one British company is pushing them into the classroom, aiming to harness the timeless appeal of comics to create a uniquely engaging learning tool. 

The first Comics in the Classroom projects utilize the art of Adam Humphries, one of the project's core team, Amy Pearson, Dave Webb and Italian Marvel Comics artist Giancarlo Carcuzzo, who is also currently working on ROK Comics upcoming audio comic, Master Merlini, and WarWorldz for STRIP Magazine.

The Directors of Comics in the Classroom are old friends, growing up in the same area of Birmingham, attended the same school etc and haven't been able to shake each other loose yet.

James Ball, 36, is currently the Head of History at the Wordsley School in Stourbridge, West Midlands. A History graduate, he trained and worked as a journalist before entering education and co-authored four highly successful text books for Oxford University Press.

Adam Humphries, 39, has spent nearly two decades in graphic design, including five years as a Senior Designer at McCann's advertising agency. He recently went freelance in order to devote more time to CitC.

With those distinct skill sets and backgrounds, the division of labour broadly falls into James taking care of “words” and Adam taking charge of “pictures” and all things visual.

Art by Giancarlo Caracuzzo

downthetubes: What is the concept behind Comics in the Classroom and how did it come about?

Comics in the Classroom: The idea behind CitC is to harness the timeless appeal of comics to create a uniquely engaging learning tool. Our titles differ from traditional comics in that, before each page of the comic is accessed, the user reads or listens to around 250 words of prose. Each word is highlighted as it is spoken in order to boost literacy and accessibly and the events that are depicted in the comic are broadly outlined.

Armed with their new knowledge, the user moves on to the comic - but a comic with blank narrator's boxes and speech bubbles. Once these bubbles are tapped, the user is confronted with three possible entries. Drawing on what they have just learned, they identify the correct entry, swipe to the next panel and eventually the next page. CitC is essentially a formative assessment, not that the user will realise this, and by correctly filling all of the bubbles and “unlocking” the comic, they are not only learning, they are demonstrating their understanding to their teacher or parent.

The idea for the App came from the classroom itself and from James Ball's attempts to engage some very challenging Year 10 boys in the study of Mary Shelley's Frankenstein. Furnished with a comic version of the novel from a friend, he colour-photocopied it and tippexed out all of the bubbles. He then read Shelley's novel with the class and set the youngsters the task of generating the text for the comic. It was an instant and roaring success.

Convinced that the concept had wider applications, he approached Adam about the idea of creating historical comics with blank bubbles. Adam immediately saw the potential - particularly with the new possibilities offered by the iPad - and we got to work.

Art by Dave Webb

downthetubes: Are your releases iBooks or Apps (so people know where to look) and what has been released so far?

CitC: Comics in the Classroom will be in the App Store. The App is free to download and features three free demos. Each title is priced at £1.99 and can be purchased through in App purchasing. Our three launch titles are The Archduke and the Black Hand Gang, The Dambusters and The Murder of Thomas Becket. We plan to add to our title list rapidly and regularly and, in various states of completion, we have The Attack on Pearl Harbor, Jack the Ripper, Rasputin, Billy the Kid, 1066, The Gunpowder Plot, Joan of Arc and The Battle of Trafalgar in the pipe-line.

Art by Wynn Ryder

downthetubes: The titles are currently available for iPad – are you planning to export them to other platforms, such as Android?

CitC: Absolutely. We are initially launching exclusively on the iPad and iPad Mini but plan to expand onto other platforms such as Android, Web App and Mac App as soon as possible.

downthetubes: What is your target audience? Is it teachers or student or both?

CitC: Definitely both. We intend to market directly to schools as so many are investing in tablets and we believe this App can do so much to enrich the learning that takes place in the classroom. This will also expose the legions of iPad owning youngsters to Comics in the Classroom whose parents, who have often bought their offspring tablets because of the educational benefits they offer, are bound to be interested in an App that both excites and educates their kids. And it will be the kids who decide whether we are successful or not. It doesn't matter who we target if the App doesn't captivate and inspire the youngsters to learn about history.

Working on Jack the Ripper

downthetubes: You have a range of creators involved, including Giancarlo Caracuzzo. Are you looking for more creators or do you prefer to look for artists whose style you like yourself?

CitC: We're always on the look out for new illustrators - and want to try and include as broad a range of styles as possible. It does ultimately come down to our personal preference but we want to avoid developing any kind of house style.

Art by Amy Pearson

downthetubes: How long does it take to create one of your comics projects, from plotting through to release?

CitC: It's hard to put an exact timescale on the entire creative process as there are so many variables. It starts with us discussing and selecting possible figures or events and, with so many to choose from, it's not always easy to reach a decision. Once we have settled on a subject, James gets reading and researching and starts putting the prose together.

This always provides a challenge as the entire story has to fit into 1,000 words and be snappy and dramatic enough to maintain the reader's interest between the comic pages. Once complete, we independently break it down a comic and then come together to compare results.

When we have agreed on every panel, Adam puts together a rough story board, James writes the copy for the comic and the title is assigned to an illustrator. After we sign off pencils and we get the inks (always a joyous experience), Adam gets to work creating the mastheads and textures and choosing a colour palette for the colourist. Then begins the more prosaic process of recording and mixing the audio and putting the artwork into the app itself.

As you can see, there are quite a few stages to the process and we always have several titles on the go at once. Although several elements are fairly arduous and things don't always run as smoothly as we'd like, it is always an immensely satisfying and enjoyable experience.

downthetubes: Do you have any plans to collect the strips into print form?

CitC: Not in the short term. The nature of the App, with its interactive and educational element, means that a printed version would give the game away. That said, it would be lovely to see the art work all together in a book

downthetubes: You've mentioned you have Oliver Frey, the man behind the amazing covers of the 1980s computer magazines Crash and Zzap64 , working with you on a new title. Can you tell us more about that at this point?

CitC: We were both enormous fans of Oliver's work when we were Sinclair Spectrum owning teens - it did so much to bridge the gap between the very basic 8-bit graphics and the scenarios they were meant to depict. We were certain he could do the same for historical figures and, after buying Roger Kean's book on his work, we discovered he had a love of history. We looked him up on the internet (www.oliverfreyart.com) and he immediately grasped the concept and jumped at the chance to draw Joan of Arc for us. We're very excited about this - both because of the quality of his work and because it's Oliver Frey!

downthetubes: Producing apps is time consuming in itself but what is working best for you in terms of marketing them, given the huge number of digital products aimed at children on the iTunes store (18,000 children books alone for the UK market - and counting?)

CitC: At the time of writing this, we are really only just embarking on our marketing campaign as all of our time has been taken up getting the App itself built. With so much out there it can be hard to make yourself heard, but we're confident our history and educational angle - combined with the standard of the artwork - will set us apart. If you have a look at what education Apps are in the store for History, there is hardly a wealth of choices - and certainly nothing that utilises the iPad's capabilities in the way Comics in the Classroom does.

There is currently a big shift in technology in education, with things moving away from the teacher operated interactive whiteboard to pupil operated devices - and this shift is getting plenty of column inches. We are working with a PR agency to get Comics in the Classroom in front of the myriad of App reviewers - whether they be in the education, tech or parent sector or appear in print or online. We believe we represent something genuinely new and innovative in an area where the software has failed to keep pace with the capabilities of the hardware. That's got to grab some attention!  

downthetubes: What one piece of advice above all else would you give an aspiring comic creator seeing to break into the industry?

CitC: This is a tricky one for us to answer as we're probably coming at this from a different angle to most people entering the comic industry. I suppose the best advice we can give is to back your own judgment and give it a go. The only way you can be certain it will fail is by not trying in the first place - and it's amazing what you learn along the way.

• Find out more about Comics in the Classroom at www.comicsintheclassroom.co.uk

• Download the free Comics in the Classroom app from iTunes

Prisoners of Time: An Interview with artist Lee Sullivan

(Updated 25/2/13): British comic creators will be heavily involved in US publisher IDW's Doctor Who at 50 celebrations for their 'Prisoners of Time' maxi series, which launched  last month with a First Doctor story drawn by Simon Fraser.

'Prisoners of Time' will feature every incarnation of the Doctor, as well as a long list of villains, including the Ice Warriors in Issue 2 and the Zarbi.

downthetubes caught up with Issue Two's artist Lee Sullivan, who has a long-standing connection with Doctor Who dating back to the 25th anniversary comic story Planet of the Dead for Doctor Who Magazine, which featured every Doctor to date. His Daleks are considered second to none by most Who comic fans, but Ice Warriors featured in the Radio Times Doctor Who strip he drew.

downthetubes: What have you been up to recently as an artist?

Lee Sullivan: Nothing in comics. Mainly, I've been working in educational publications for people like HarperCollins, although I have drawn a mini Eleventh Doctor comic-strip for the forthcoming Royal Mail stamps release, which will be included in the premium package, and will be providing Who art for a forthcoming BBC Worldwide Celebratory something-or-other. I'm also providing illustrations for Dan Freeman's Minister of Chance SF audio drama.

downthetubes: How did you gain the commission to draw the second issue of 'Prisoners of Time?

Lee: I'd been in contact with commissioning editor Denton J Tipton for a while, and he finally found something he thought would suit. I am apparently a 'contemporary' Second Doctor comics artist, which I think decoded means 'last surviving' artist who has drawn Troughton (in 'Land of the Blind' for Doctor Who Magazine back in 1995).

Panels from 'Land of the Blind' from Doctor Who Magazine #224

downthetubes: This isn't your first Doctor Who project by any means but it does, I think, mark a return to the character for you after a long absence?

Lee: The last strip I drew for Panini was 'Children of the Revolution' in 2002, but since then I've produced art for the BBC webcast Shada in 2003 and the Ninth Doctor drawings for the BBC's website to tie in with 'The Empty Child' and 'The Doctor Dances' episodes. Then, between 2006 - 9, I drew all but one of the Tenth Doctor strips for Fabbri's 'Battles in Time' Magazine. Subsequently I provided line art for Fabbri's 'Doctor Who DVD Files' from 2009 till 2012 which were converted into digital paintings by artist Tom Connell. Also, last year I provided a digital painting for the current Who Annual. So, hardly any Who involvement at all!

downthetubes: IDW are keeping their cards close to their chest about the story, but can you tell us which villains feature in the story?

Lee: Iccccce Warriorrrrsssss.

downthetubes: Are they a monster you enjoy drawing?
Lee: Yes, though they aren't exactly masters of emoting, facially. You can give them a little body language, but even that's limited. I have actually shown them running in this one, which may be a first.

downthetubes: You're well known and highly regarded for you work on DWM's Dalek strips. What's the secret to drawing them?

Lee: Attention to detail, really, for my style of work. I tried to get all the subtle angles and shapes right, but if you look at TV Century 21 Dalek artist Ron Turner's stuff they are all over the place, but none the worse for that! I've been experimenting with Turner-style Daleks recently for a possible future project . . .

downthetubes: A project like this inevitably attracts comments over likenesses, do you find that limiting given the freedom you have on other projects?
Lee: Likenesses are always a problem because the closer you get to them in terms of photographic reference, the less likely they will fit with the drawings that don't use photo reference.

This time around, I was able to use screen grabs from 'The Krotons' which opened up a lot more (consistent) reference opportunities, but even so, it's always a bit of a nightmare. I suppose I've worked on so many projects that require likenesses one way or another that I don't really notice the difference any more!

I met my long-time comics hero Mike Noble a few months ago and looking again at his marvellous work was reminded how important dynamics and body-language are to storytelling, so I've tried harder than ever to get the character's body-language and gestures right. It's also forced me to sharpen my clothing-folds technique. He really was (and remains) an absolutely consummate artist.

downthetubes: Will you be doing more Doctor Who projects for IDW after this one?
Lee: I suppose it depends on how well the guys there like what I've done! I'd certainly like to, they're a nice bunch. I've offered to continue to lend an older & British 'ear' with regards to dialogue for the rest of the series, as it's so hard for the US writers to get the odd nuances of British actors - especially from the past - so verbal anachronisms turn up, which is ironic considering we're dealing with a time-traveller, but they do.

downthetubes: Has the way you draw comics changed since you first drew Doctor Who and if so, what's the biggest change?
Lee: Without doubt, the digital revolution. Not just in terms of sending artwork (we used to use the post or Federal Express and hope for the best) but in producing the art. I now work with Manga Studio and Photoshop, and use a tremendous piece of kit - a Wacom Cintiq 24" HD graphics tablet, which means you draw or paint directly on the screen with a stylus. For years now I've edited my scanned artwork in Photoshop and now with Manga it's possible to do the whole thing digitally, should you wish to. Thumbnails, roughs, reference, finished pencils, finished art and maybe colour all in the one file. When time is very tight, it's an amazing advantage.

downthetubes: 50 years of Doctor Who - what do you think is the key ingredient that's given it such longevity?

Lee: A very simple but amazingly flexible format: interesting guy solves mysteries with his pals at any time and in any place.

downthetubes: What's your next project?

Lee: I have no idea. Though there are some projects indicated in my previous answers. Offers, please :)

downthetubes: Above anything else, what one piece of advice would you offer aspiring comic artists?

Lee:  Think again.

To expand: Don't think you'll get rich or have a normal 9-5 daytime job (unless you're way more disciplined than me) and do expect a bumpy ride. But if it's what you do best, then I suppose you're doomed :)

• Read our interview with Simon Fraser, who drew Prisoners of Time #1

• Doctor Who: Prisoners of Time #2 written by Scott and David Tipton with art by Lee Sullivan is on sale from 30th January from IDW Publishing.
 
• More about IDW's Doctor Who range on the official web site

• Lee Sullivan's Official web site

• Read an interview with David and Scott Tipton about the maxi series on Comic Book Resources