Alternative Press Fair Interview. January 2009.
Questions asked by Joe Harrod.
First set of answers by Jimi Gherkin. Second set by Richard Cowdry. Third by Peter Lally, then back to Jimi again.
See Spoonfed
London for a summarized version.
comicandzines.wordpress.com . www.bedsitjournal.com
. lovetheline.blogspot.com
JIMI GHERKIN:
THE FAIR
How long has the fair been going?
Well, I organized an event in july 2008 which was the start
of what weíre currently doing now. I felt that there should be more events and
had been to some small things here and there, notably a comics event in a pub
in brighton called the Gladstone, I thought that if a pub could host a comic
event then one could be pretty much organized anywhere. Just to finish this
off, I had a lot of help with that event in organizing it, producing flyers
and even flyering it too! Peter Lally (Bedsit Journal- a fantastic comic!),
Rich Cowdry, Al Maceachern, Gareth Brookes, Scott Smith, Chloe McCormack. Some
of those guys are now part of the team, really we're just starting out.
Whatís the format?
We want to embrace everything that the small press scene has
to offer from comics and zines to book arts and radical literature and this
event will be us trying to showcase as much of the work available as possible.
We'll have around 26 tables in total, a few of those will be communal tables
or tables organized by collectives or distributors or even we have a couple
of tables of students showing off their stuff. those tables will have a number
of titles or artists each, maybe ten or more in some cases. The rest of the
tables are separated into thirds, and each artist will have a third each. There
could be up to eighty artists there we reckon! But it won't be all buying and
selling, a lot of what this is about is raising awareness of what is happening
at the moment in the scene to help budding artists, writers and zine creators
to feel empowered to have a go, it's really hard getting your stuff out there
and seen in the mainstream, but in the small press it's just a case of doing
it! Even people out there who aren't interested in being an artist or whatever
have something to say and in the small press they can say it and people will
read it and that's a great feeling! We're also incorporating the performance
element into it as well, so it has more of a festival vibe rather than a convention
deal. The performance element is also really important for some of the more
wordy zines out there; in a comic you can flick through quite quickly and get
an idea of what itís about but with a zine which relies on it's writing that
can be difficult, so a zine reading can be a really good way for the writer
to connect with a possible audience and give them a flavour of what they do.
What kind of reading material do people present at the Fair?
Anything from comics and zines to small press publishers, book
arts, and radical literature and poetry books. Comics can cover a range of styles
from autobiographical stuff and observational humour to satire and such, and
zines can go from horror/skate/punk to vegan recipes to feminist self defence
zines. We have a small press publisher making film criticism books, and Active
Distribution will be there with their massive catalogue of Radical literature
covering socialism, anarchism pamphlets, books on alternative lifestyles, and
punk. Handmade and Bound will be running a table of book arts.
How many people turn up?
We're hoping for a really good turn out, we allocated most of
our tables by November pretty much and I'm still getting emails today from people
I've never met asking for a table space, so there won't be a shortage of creative
types, and we're trying to get the word out to as many people outside the scene
as possible to make it a really exciting event.
Whoís the best guest youíve had?
We're not really into hyping up on big names, if people want
to meet some big comics artists or something there are events for them all over.
But we have some great artists involved, check out the links at the end of the
article.
Is it about hanging out? Or manic collecting?
I don't think that we represent the manic collector really,
some people will come who are really supportive of the scene and will go around
picking up a whole bunch of stuff which is great (follow their lead!) but mostly
itís about meeting some really interesting people who are doing some really
cool work and seeing how it's done, hopefully people will think "I can
do that!" Artists are there to sell their stuff but this isn't the only
reason we go to events- we get to see how people react to our work and swaps
are always a big part of it. Man Iíve got boxes of stuff I've made from swapping
my own comics I've produced!
Will I end up spending all my money on weird comics again?
We hope so!
Thereís a party afterwards, right?
Yes, an open mic night I think mirrors the kind of freedom present
in self publishing... so, we're having one! This will be followed by a great
singer called Trent Miller.
Cool, how much does it cost? ;)
It's totally FREE!
RICHARD COWDRY:
INDY PUBLISHING
What kind of publications shy away from the mainstream, or find themselves outside
it?
- Publications starting out with no financial backing. They have no
choice but to self-publish, then figure out how to distribute.
- Stuff that's just too weird, extreme, experimental.... or produced by people
with mental problems (which doesn't mean it won't be good). The idea of
outsider art has become kind of trendy, and has a big influence on contemporary
illustration, but genuine outsider art and perspectives still shake things up.
- Stuff that's really bad, and unpublishable for that reason. There's some pretty
rotten stuff out there, but then the mainstream is full of hacked out, boring,
unreadable work too.
- Magazines full of up and coming artists and writers. People who don't yet
have a publisher or regular gig, but want to get their work out there can go
DIY, and make their own publication. The self imposed deadline of contributing
to or making a publication gives writers and artists a reason to produce work,
hopefully improve their skills, find their voice, and maybe even get some feedback.
The hope is that they'll eventually be picked up by a "real" publisher.
- Most people in indy and alternative comics start out out on the small press
scene. In the UK especially, where there are few publishers, the small press
is where most of the interesting comics are being made.
Are there mediums and messages that are actually better suited to outsider
status?
That depends. After the underground comix explosion of the 60's, alternative
comics became a medium that involved total freedom for the artist. The fact
they were so far outside the mainstream, so hidden, so free from editorial interference
meant that a lot of incredibly personal, individual work was created. Now that
comics have moved nearer to the mainstream, there seems to be less of this kind
of work. On the other hand, people can't always stick at their art when there's
no money in it, and it's actually a drain on them financially which is often
the case with comics. Being part of the mainstream means the potential for bigger
sales, which means the artist can devote more time to making work.
Many artists began their life as outsiders. I think it's a good place to start
as it gives you a different perspective, and eventually society might catch
up. As Quentin Crisp said : "In an expanding universe, time is on
the side of the outsider". On the other hand, some work will never be accepted
- if it's too raw or negative, or uncomfortably honest and direct, not cute
or pretty enough.
What are the production values of typical work presented at the Fair?
The complete range, from very slick totally professional looking art books
and graphic novels, to limited edition, hand made art books and photocopied
comics and zines.
Production values have generally increased as printing has become cheaper.
Are stapled-together photocopies acceptable?
Yes, as long as the work that's been photocopied is good - that's what really matters. There are slickly printed magazines out there, with lot's of ££ behind them that have less readable content than a photocopied zine with a cover price of £1. "Mysteriarch" by Yurt Baron, for example, is a zine with really great writing.
Can I learn about publishing processes at the Fair?
Of course, just talk to the exhibitors. That's what it's all about - we're trying to create the most open, friendly event we can.
Where are the best places to do cheap print runs?
Your place of employment. Otherwise, there are companies now offering affordably low print runs of digitally printed books.
What are the most effective distribution channels or do most indie publishers
simply flyer people?
Flyering might be one of the less effective ways to get the word out. The
internet is the most effective tool these days.... myspace, facebook, various
other networking sites like like We Make Zines,
There are a couple of review sites, then there's mail order, and personally
taking your magazine or book to shops and fairs. More and more shops are welcoming
comics and zines, from galleries in Shoreditch to record shops like Rough Trade.
Distribution is a big problem though. You want to spend your free time making
art, not distributing your work. It's notoriously difficult to get into Borders.
The hope is that someone will come up with a creative solution to the problem
of distribution.
Is the internet represented at the Fair?
Yes, in so far as most of the people who are exhibiting will have a web presence
of some kind. A few zines probably have an online version as well as the printed
one, and some of the cartoonists will be selling book collections of strips
that originally appeared onlne.
Can you recommend good software or sites for web publishing?
I use 34sp.com for my sites bedsitjournal.com and absurdart.com, but if you
want to publish online, you may as well use wordpress, blogspot or one of the
free blog hosting sites. I have a blog (lovetheline.blogspot.com)
devoted to comics, cartooning, and cartoon art, and managing and updating it
really couldn't be easier.
Is the Fair more about learning, networking or drinking?
Hopefully the first two more than the last, but there will be a bar.
THE COMICS & ZINES SPHERE
The UK's published comic sphere is excessively influenced by the USA and superhero
comics, wheras Europe or Japan have more eclectic scenes. Are sales targets
the enemy of off-key comics?
Well, the USA might be the biggest influence, but there's a huge influence
from Japanese comics too. Just look at the graphic novel shelves in Borders
- half of it's manga. Actually I'm not convinced that Europe and Japan do have
such great comic scenes. Ok, it's fascinating that all these comics get published
over there, and that the art form is so accepted and celebrated by the culture,
but I suspect that the edgier stuff, the stuff I'd like, is still marginalised.
A few years ago, I won an award from a Swiss comics festival, and was flown
over to collect it. I was fascinated that the festival was so well funded, catering
for hundreds of guests, but while wondering around the stalls I couldn't find
much work that really grabbed me. Maybe I'm just too used to the exaggerated,
in your face, Jack Kirby style of comics, or the angry, antisocial alternative
stuff, but the Swiss and French comics seemed very conservative. And most manga
I've seen looks like it's aimed at children.
It's just really a shame that the US and UK comic industries are so dominated
by superheroes and sci fi, to the extent where "alternative" means
NOT superheroes (or robots, ninjas, vampires, aliens, etc).... isn't that ludicrous?
It's not that all those comics are so bad, certainly no worse than the majority
of what's on TV or in the cinema, but the suspension of disbelief they require
makes me wonder how anyone beyond their teens can seriously read and collect
them. Myself, and most of the people whose work I like, simply aren't pursuing
the traditional comics reading audience at all, we're looking for a new audience.
Is publishing outsider material necessarily a loss-making labour of love?
Yes, currently it is, but if some form of distribution could be established, this material could attract an audience big enough sustain the publication and produce a small profit. In the 60's during the underground comix boom in the USA, comics could expect sales of at least 20,000. This was because those artists and publishers had their own distribution network through headshops and poster outlets. These days distribution is a big headache, but I'm sure there's an audience out there if we could connect with them. When my own comic "The Bedsit Journal" gets a fair chance, it does sell. If it's in a shop which gets a good flow of customers, and it's placed on the shelves with regular comics and graphic novels, rather than shoved in a box behind a dozen other small press comics, then it does OK.
What or who represents the future of UK comics and zines?
At the moment it's impossible to say. I'm no expert on zines, but the shape
of the comics scene will depend on 1) distribution 2) whatever the books are
that new and existing publishers decide to put out, and 3) the artists themselves
- the current people sticking at it, and the new people that come along.
Comics need a higher profile than they have now. They need more voices in the
media, so that there's a healthy mix of views and opinions. Cartoonists need
to be on Newsnight and The Culture Show. There needs to be more education, because
so few people really know about the medium. It's great that in the art colleges
more tutors are now accepting of students producing comics as coursework. More
art teachers who know about comics will make a big difference!
I think the last few years have been something of a lost period in comics. Most
of the good work being done was by the same people who doing the good work 20,
30, even 40 years ago .... but things have picked up recently, and comics
could go literally anywhere now; there's such a melting pot of styles and influences.
It's exciting.
Myself and a couple of like minded others are trying to create a healthy, interesting,
alternative comic scene here in the UK, involving comics I'd actually want to
read myself, and would have attracted me when I first began seriously looking
at the art form. If the people doing interesting work now manage to keep going
- Gareth Brookes, Ellen Lindner, Hannah Glickstein, Scott Smith, Bird, Peter
Lally, Jimi Gherkin, Karoline Rerrie, Steve Tillotson, Ralph Kidson, Jeremy
Dennis, and a few others (and of course I haven't seen everything out there),
and if more people come along, and if some of these people actually benefit
by the current interest in publishing graphic novels, then things could really
take off. I'm also hoping that the publishing houses that have their own graphic
novel departments, will put out work with a little more passion behind it.
Which writers have most influenced you?
In comics : George Herriman, E.C.Segar, John Stanley, R.Crumb, Peter Bagge,
and the anonymous cartoonists of the Tijuana Bibles.
In literature : Bukowski, Céline, Gogol.
In cinema : Keaton, Chaplin, Fleischer Brothers, Almodovar.
Who are your favourite publishers represented at the Fair?
Off the top of my head.... Gareth Brookes , Whores Of Mensa , Nurse
Pussy, Bedsit Journal, Ethel Sparrowhawk, Bird, Skinny Bill.
Name your favourite comics
Popeye (the original strip by EC Segar), Little Lulu, Zap Comix, and anything
by Robert Crumb or Kim Deitch, Love and Rockets, Maus. I think recent issues
of both the European anthology, Stripburger, and the US anthology, Mome, have
been very strong.
PETER LALLY :
INDY PUBLISHING
What kind of publications shy away from the mainstream, or find themselves
outside it?
Unsuccessful ones. Commerically unsuccessful - but the reason for that
is often not knowing people who can give you a leg-up (ie you're not from a
rich background), an unwillingness to play the game (stemming from some sense
of personal dignity), non-commercial focus (e.g. I'm not doing this just to
make money), etc. If you're saying something against the bulk of people's
views then that is likely to make it harder to sell. I think any
sense of wanting to honestly express yourself can find you at odds with the
system, and this fair is an opportunity for such folk (but not exclusively them)
to display their art in an enjoyable, well-publicised and well-attended event.
You could also say that some element of indy publishing is vanity publishing.
Are there mediums and messages that are actually better suited to outsider status?
Well serious outsider messages, what media have been used to relay them in the
past? Pamphlets (their speedy nature), Books (to fully express views).
Not really films, comics, zines, handmade art books - ideas are not expounded,
it's more the side effect of what they show (e.g the look, the subjects, etc.),
and the implicit ideas behind these. The sort of messages suited to outsiderdom
are on unfashionable, or taboo topics. For instance criticism of the church
at one point in Britain was a dangerous thing to do - now it is commonplace
- in fact you'd be more likely to get stick for going to Church. If you
criticised the right for people to divorce, or anything that the liberal agenda
in the UK holds dear, you'd get in trouble - these are the new taboos.
Instead of based on right or wrong, a lot of these taboos are a question of
a fashion, not sincere belief. Whereas child slavery, child brides and
child workers were previously legal, and the loudmouths could go on about it,
now the idea of marrying a child and having sex with it is likely to get your
burnt out of your house/home/quarters/box. So now you hear loudmouths
going on about that. I think what it shows is human nature hasn't changed
- the loudmouths are the insincere ones - and that the majority of people don't
go by right or wrong - they simply follow the herd. And you always have
independent thinkers who go against this, and they are attracted to taboo issues,
due to the hypocrisy of labelling one issue taboo to society, yet other things
of equal magnitude being promoted by society.
What are the production values of typical work presented at the Fair?
Very good, and seems to be increasingly good - partly I'd say due to improvements
in technology. More awareness of design. However there is maybe
less craftsmanship than before.
Are stapled-together photocopies acceptable?
Yes, it's your own thing - do what you want - write it on your own body
if you wish. The final test is always, is the work any good. Other
than saying it's for self-published work, we haven't put limits - as Jimi aptly
put it, we want to reflect the scene, not reflect ourselves. There is
a limit to the space in any event, and ours is no different. We have had
to turn people down for table space, not because of quality, but because
the table space was gone. However we have a general table for people to
leave their work, and for a small fee it is sold on their behalf, with the money
and unsold work returned to them at the end of the day. We want to give
everyone a chance, as we know how that feels.
Can I learn about publishing processes at the Fair?
Yes, and the best way is by talking to other exhibitors there. If you're
anyway embarassed just ask Jimi, Rich or myself - not that we're the experts,
but we'll tell you what we know. You find out about self-publishing at
events when you talk to people - we do too. That side of a Fair can
be rewarding and beneficial to a self-publishing artist.
Where are the best places to do cheap print runs?
Everyone seems to me to have a 'deal'. My take on it is, if you're not
choosing to handmake, which is an increasingly popular thing to do - as evidenced
by the success of events like HandmadeandBound - is that you start with a photocopier,
either sneakily at work, or at a local print shop, or community centre.
Often when the people in charge of these copiers get to know you they start
to give you reductions. Then up from that you have digital printing -
the quality not as good as lithograph, but the ability to do small runs, say
of a 100, and have them bound into book form if you wish, for a low fee, makes
it very attractive. Above that you have lithographic printing - but you
need a decent print run to make that worthwhile (more like 500 or so).
What are the most effective distribution channels or do most indie publishers simply flyer people?
Independent. Independent Shops, Independent Galleries, Independent
Fairs, Independent Distros, Independent Events. But don't be shy to try
proper distributors if you can make it. Or how about setting up
some indy distribution network with your friends?
Is the internet represented at the Fair?
Well nearly all the exhibiting artists will have a web presence.
As for people who produce work and exhibit it online (e.g. web comics) - well
they'll only be be exhibiting at the Fair if they have chosen to put some of
their work in a paper format. We're not about having a few computers set
up, with visitors travelling to attend, only to sit down in front of a screen
and talk to no one, with the bogus idea that this is somehow more relevent.
No, this event is about people, talking to people, a sense of community, not
virtual bullshit (see note above about what is fashionable and what is not).
Can you recommend good software or sites for web publishing?
I'm sorry, I don't know the answer to that - if no one knows lets find out so
that those people get some good info. There's some guy on the comics scene
who did a comica about on-line comics - he'd know all those answers.
Is the Fair more about learning, networking or drinking?
I think for exhibitors and visitors the main one of those three would
be learning, whether consciously or subconciously. I think exhibitors
can learn by seeing what others have produced, and how they promote their work.
They learn about what it is like to sell their work, get the public's reaction
to it, and see what sort of work sells well. They also learn from talking
to people, and they see the reality of running an event and what it's like.
At the Fair will be a couple of tables of Degree Art Students, so this will
hopefully be good experience for them in all these ways. Visitors too
will, I believe, be pleasantly suprised by the amount of interesting work being
produced, and the diversity (zines, comics, film criticism, handmade books,
etc). Networking had many negative connotations for me, business speak,
with the ideas that underlie it, gaining deep entry to the arts, but to put
it nicer, people will be meeting other people who might so happen to be useful
to them, etc. As for the drinking, well that's more of an unconcious thing
- the hall is adjoined by a quiet bar, with tables and chairs, so people can
have a drink if they want. Well it's Britain, innit! Get 'em
down you, you fat b'std..............
THE COMICS & ZINES SPHERE
The UK's published comic sphere is excessively influenced by the USA and superhero
comics, wheras Europe or Japan have more eclectic scenes. Are sales targets
the enemy of off-key comics?
I don't know if it's true to say the the UK is excessively influenced by USA
& Superhero comics. I don't know the figures, but are the only comics
Britain produces at a profit Viz, 2000AD and Beano? With Viz and Beano
you have that British tradition, even if the work is just a constant rehash
of that previous work. And Japan's responsible for all that Manga rubbish,
so not sure how eclectic that is. If you attend a UK indy comic convention
you will, within 10 minutes, hear the words "2000AD" and "Alan
Moore" - so that's the British influence on the British. If you said
to me that the UK Indy Comics scene was too influenced by "2000AD"
I'd agree. But I guess you're right in that most comics shops survive
on Super Hero sales, so I'd imagine the non indy guys, the majority of comics
buyers, are more influenced by Super Hero.
As for Sales, well if Sales were good, then people could make a living doing
comics, rather than have to stop due to financial pressure. I don't think
making money is wrong - I don't think money is intrincially evil - it's a tool
with good aspects (facilitates buisness) and bad aspects (dehumanises transactions).
I think all the indy comics writers I met did it mainly for the love of doing
it, not for financial reward. As things currently stand, you will normally
make a financial loss.
Is publishing outsider material necessarily a loss-making labour of love?
I don't think it has to be a loss maker - it needs an audience willing to pay
for it. Doesn't need to be the majority of the population, just a sufficient
number of buyers. You want good quality work, good publicity, good distribution,
etc., etc. When we're talking profit/loss making, we're talking looking
at it from a business angle. With good buisness brains behind it I think
a success could be made. But the lack of decent money I think keeps the
money people away from the scene. I'd say if money was to be made a lot
of the current artists would be pushed out of the way by ambitious, unscrupulous
people who'd knock a commercial comic together, quickly, just to cash in.
What or who represents the future of UK comics and zines?
I can't speak for Zines. For comics I think I've heard this several
times over the years - it's more about getting a good scene going than who's
the next big thing. There hasn't been a big thing (financially) for years.
I think my mate Richard Cowdry is the best UK artist on the scene, and if the
scene was better he'd already have been a big thing, and we'd have more coming
along. I think this is a time for basic spadework, to build up the scene.
Which writers have most influenced you?
Raymond Chandler, Joss Whedon (Buffy), the Carry-On Team, Baudelaire,
Bukowski, Bod.
Who are your favourite publishers represented at the Fair?
Honestly, ourselves - The Bedsit Journal - www.bedsitjournal.com. After
6pm the Open Mic is on, and we have musically self-published, the Singing Sensation
of the Nation, Trent Miller and the Skeleton Jive - he's very good - have a
listen: www.myspace.com/skeletonjive
Name your favourite comics
I dislike most comics, but I like the format. I like Robert Crumb, Steve
Ditko 'Spiderman', Jack Kirby 'Thor'. There's a woman called Alex Levin
who edits a small-press comic called Jones, who I think is very talented - her
strips are really good.
JIMI GHERKIN:
INDY PUBLISHING
What kind of publications shy away from the mainstream, or find themselves outside it?
I think that with the zines and radical press, people just don't
believe in the world that the mainstream media represents, thus they don't want
to have anything to do with it. Some of these guys are trying to tell an alternative
view of the world they inhabit, this certainly doesn't follow the status quo
the mainstream media isn't an option. Other than that there would be stuff that
may be too harsh for the mainstream palette or stuff that tackles subjects outside
the sphere of the popular consciousness.
Are there mediums and messages that are actually better suited to outsider status?
For sure, some stuff just looks better off a photocopier! Cut
and paste zines etc, Iíve never seen a Xeroxed mainstream magazine! Some comics
too go for a darker, more gritty look that wouldn't work in a slick glossy mag.
As for messages, I've touched on that above but I don't believe they're more
suited to outsider culture, it'd be great if more people could take a look at
the different points of view out there, some people are happy to take most of
their information from the mainstream media ‚ teevee, radio, newspapers etc.
The internet has allowed for a lot more information exchange which is great.
If outsider status means being heard by less people then I don't know anyone
who'd feel they were better suited to that, I mean what's the point in putting
pen to paper unless someone's going to read it? when I was a kid I wrote a diary,
I got kind of frustrated so used to read it to my friends on sleepovers! Man,
some of them got pissed off about what I said about their mum's etc! but I just
wanted people to know how I felt, and I think that's what anyone who does a
zine or comic or whatever wants.
What are the production values of typical work presented at the Fair?
The range is great and I've covered some this already, the point
is that nothing is typical of the scene but that it all exists outside the mainstream.
Are stapled-together photocopies acceptable?
Absolutely, some of this kind of stuff works better than others
like anything but there are some great zines that people are producing out of
their bedrooms, or a photocopier at their work or whatever and the long armed
stapler is the creators friend!
Can I learn about publishing processes at the Fair?
Definitely, just ask someone I'm sure theyíll be happy to chat
with you about how they do what they do, thatís part of the atmosphere, the
people with their stuff are there to promote themselves as well as the scene
and I for one will be doing whatever I can to encourage newcomers, because I
felt so great when I finished my first comic, and that's a great thing to share!
Where are the best places to do cheap print runs?
Well I'm not going to start to advertise here! Some people use
on demand printers online, these can be found easily and will produce small
print runs as they are ordered. This isn't the cheapest way, there are other
online printers that can do bigger print runs that'll work out cheaper. Personally,
I looked around my local copy shops and got some quotes, then haggled and eventually
got a great deal and great quality job from a local guy who runs a small place
that used to be his dad's business. We even sat around having a few beers and
trading mp3's while he built the job for me! This was a great process, really
personal, something you can't get with sending your work off somewhere. Also,
though you find some photocopiers in the large stationary suppliers might not
have a counter or that their counter prints a report that you take to the till
and obviously if you are clever you can get really cheap stuff done (best to
do small runs though!) Then there's the good ol' work photocopier, school, college
wherever. Some comics guys also pick up cheap laser printers and reconditioned
toners and just do them at home.
What are the most effective distribution channels or do most indie publishers simply flyer people?
Itís tough, a lot of the shops in London that used to sell small
press stuff are running down that side of their business, some have even dropped
it altogether, also, this shop thing involves a lot of footwork, and the feeling
that your book is sitting at the back of a dusty self somewhere is a bit of
a drag. There are tons of distros these days, often theyíre like big swapping
networks but there are some larger ones that have websites where you can purchase
stuff. As well, some of the guys who used to work at comic shops have now gone
on to start there own distros or publishers such as blank slate or samu. I think
that events are a really great way of getting stuff out there and meeting people,
they're a lot of work, but they're much more fun than walking round the streets
with a box of comics in the rain asking the shops to stock it.
Is the internet represented at the Fair?
A lot of comics artists are doing web comix now, some are doing
comic blogs where they update it with recent work, news etc.
Is the Fair more about learning, networking or drinking?
Well said pete! Mine's a kronenburg!
THE COMICS & ZINES SPHERE
The UKís published comic sphere is excessively influenced by the USA and superhero comics, wheras Europe or Japan have more eclectic scenes. Are sales targets the enemy of off-key comics?
I wouldn't say that we are heavily influenced by superhero stuff
over here, sure that's the stuff that will sell because in our culture comics
are seen as something which are for children. But we have a rich history in
comics coming from popular humour and political/ social satire and moving in
more modern times to some great alternative stuff. I think 2000ad has become
a kind of parody of itself but at one time there were some cool artists there
who were doing stuff for deadline magazine (a great magazine which carried tank
girl strips and british alternative stuff alongside some greatÝ alternative
american stuff) Thereís a great book by Roger Sabin called comics, comix and
graphic novels which documents (if not rather briefly) the history of comics,
the cool thing is he always starts with british comics then looks at the overseas
stuff.
Is publishing outsider material necessarily a loss-making labour of love?
People don't get into it to make money that's for sure, unless
theyíre crazy! I liked what peter said about unscrupulous people trying to cash
in on a new scene that's thriving and I think guys like that will move out of
the scene quickly. Ultimately, they're involved to make a name for themselves
and get a job on some big magazine or somethingÖ Oh, back to the question! Well,
we're all artists y'know, we gotta pay the rent like everyone else, but in the
end money is the last thing on my mind personallyÖ I can't talk for anyone else,
but for me, I get ideas for strips or whatever and looking around at people
behave there is no shortage of material! And I feel I have to get it out, like
I said before, whatís the point of getting it out if only you are going to read
it yourself?
What or who represents the future of UK comics and zines?
I think the future of the scene, or rather I hope that in the
future of the scene things are more open and inclusive and that people feel
they can just start doing something and get a spot somewhere to sell it. There
are loads of events, ours of course! But there's the fantastic Zine Symposium
where anyone can get there stuff out on their communal table, the brighton zine
fest, independents day in Ireland last year looked really good, UK web and mini
comix thing. I hope the future will be more events and more networks as well
as more awareness in the populace that this is going on so that people feel
they can do it too, there are a lot of passive observers what we're saying is
that you've got a voice and a point of view and there are millions of people
out there so there have gotta be some that will dig what you've got to say!
Why leave it to the pros! What do they know?!
Which writers have most influenced you?
Who are your favourite publishers represented at the Fair?
There's so much great stuff but some of my favourites are ‚
paunch by Scott Jason Smith ( http://scottjasonsmith.
Name your favourite comics
Dan clowes' eightball was something that really influenced me
as I was getting disillusioned with more mainstream stuff when I was younger,
I love the artwork of Charlie Burns, Johnny ryanís Angry Youth Comix cracks
me up! Robert Crumb, but especially the crumb/ pekar team up stuff and Weirdo
magazine is a fantastic representation of what was going on after the 60's/
70's... again, there's so much!
Also, check out http://comicandzines.