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¦ Dave Evans
Ed Berridge
continues his interviews with some of the luminaries of the Small Press scene...
Dave Evans’
first comics work appeared in Graphic Nonsense in the 1980’s
and he was probably pretty old even then. His first self-published title was the
anthology Top Snazz Comix. Since then, his work has appeared
in the likes of Solar Wind, Sunny for Girls,
Tales of the Contrary, Big War Comic, Dogbreath,
The End is Nigh, and an almost infinite number of other publications.
He has also self-published his own Whistler comic (a spin-off
from 2000AD’s Strontium Dog) and edited the newspaper strip anthology Lost
Property. He is currently one of the legions of editors at work on FutureQuake.
How did you
first become aware of the 'Small Press' or 'Indie' scene?
Waay back in the
late '80's I worked in a comic shop for a while(Odyssey 7 of Manchester) and I
was involved with a small press title called 'Graphic nonsense' which lasted for
three issues, I did some really shoddy drawing for them but it was fun to do.
Following on from that I saw an ad in Comics International (IIRC, I'm not sure
if it was there or maybe Speakeasy). It was asking for strips for a small press
title called Angel Dust Funnies that was being put together by a chapnamed Andy
Nixon. I submitted a six page strip and he liked it. That lasted for 4-5 issues
before going the way of all things.
I carried on with
the strips and, when I'd finished the tale, I printed it up myself on work's photocopier
and I've still got almost every copy printed. I'd moved cities during the time
and lost contact with a lot of the folks I knew in the comics at the time.
What led you
to try and make a comic book of your own? Was it easy producing an anthology entirely
written and illustrated by yourself? Weren't you worried about getting sued by
20th Century Fox?
After the initial
strips I did for ADF finished I was struck by a couple of ideas as to how I could
expand upon the story and take it beyond the conclusion that I had written. The
ideas snowballed and Top Snazz Comics was born. I did six issues over the course
of about 3 years and the seventh issue is all plotted and thumbnailed. That was
where the Mighty Yammer first appeared too. As for Fox, I figured that the likelihood
of someone from the company seeing the story was remote to say the least (I think
I only sold about 20 copies of any issue) The ALIEN is such a great concept to
use, but the story I did was poor.
How did you
chance upon FutureQuake? This was a project that was passed on to you, so how
did you make it your own?
FQ isn't mine.
I'm just looking after it. I first heard of it just before issue 2 was launched,
and Art Wyatt was kind enough to send me a copy of the first issue to read. I
contributed to issue 3, and after that issue I was contacted by James Mackay who
was in discussions with Art Wyatt about taking over the title due to Art leaving
the country. It all snowballed from there, really. James (to the best of my knowledge)
asked me to help as he knew I had put small press comics together, so I was able
to do the 'physical bit' of actually getting the pages assembled and printed in
the right order. After that we just made it up as we went along- and we still
are.
How different
do you find being an editor from being an artist?
It is totally different.
As an editor I am always looking for what the art can bring to the story, and
if the artist's style 'works' on the strip. I think that I've been really lucky
to have some of the most amazing non-pro artists prepared to work for FutureQuake
and I can only hope that when these guys break the big time they are still prepared
to throw a page our way!
As an artist, the
company I'm keeping is forcing me to raise my game dramatically. I was always
aware that I'm not going to be many writers first pick, but compared to the talents
in FutureQuake 4 and beyond I've got to prove I deserve to be printed.
Do you have
any particular favourite stories or creators that you've worked with?
On FQ? The injuries
of Mr Indestructible from issue 4 is my fave. I didn't really know what to expect
from Julia Bax after seeing the samples on her website; but the pages when they
arrived just blew my socks off.
As for creators,
those that I've worked with so far have all been complete professionals. I've
had no-one getting in touch complaining about anything I've done to their work
and even the professionals I've been in contact with have all been very courteous.
FutureQuake
is an anthology comic that features a wide variety of different stories and creators.
Do you think this format makes it difficult to sell to a public used to American
style comic books?
Hmmm, not really
sure. For me the pleasure comes from actually putting out something I want to
read. I've read 2000AD since I was 9 years old and it is the only comic I read
still. The first issue of FQ that I was involved with sold more than we originally
planned, which to me makes it a success. Anything else is gravy.
Do you ever
find that producing your own comics can be something of a thankless task?
Yes, no doubt.
Everybody I know in the small press has other jobs that they do to pay for what
is a hobby. The hours that I put into a page of strip work are in no way paid
for. I create comics because I feel passionate about it. There is almost nothing
to compare with finishing a page and know that at that time it is the finest thing
I can do. When others can then skim-read it in a minute can be something of a
kick in the teeth, however.
What do you
enjoy most about producing your own comics?
For me the most
enjoyable part of the comic strip process is the first run through with a biro
and a bit of scrap paper. Working out where everything needs to be on a page and
seeing the pen make the story come alive is so satisfying. After that it is a
process of refining the scribbles into something that other people can relate
to.
How did you
go about selling your comic, and how do you get people to notice it now?
For the last three
years I've been a memeber of the 2000adonline.co.uk
messageboard. I have to say that if it wasn't for that 'hive' I wouldn't be drawing
strips now. The sense of community fostered by that (and other) messageboards
is invaluable as a marketing tool. The prime selling opportunities for FQ are
still those that centre around the big comic events that provide a table to sell
on. This is why FQ is still only twice a year- though that may change at some
point.
How do you see
the comics scene in general today, both nationally and internationally?
To be blunt, the
comics scene is knackered. It is almost dead. I go into the supermarket and what
comics can I find? Almost none, maybe a few toy spin-off titles and licenced properties.
Newsagents are better, but even they are only stocking a fraction of what titles
used to be published. I'm hopeful of an improvement, as the Panini Marvel
titles seem to be stable in the market, but I doubt that UK comics will ever be
as great as they were back in the '70's.
How
do you see the Small Press scene today, in comparison with when you started out?
My experience of
the small press scene is relatively recent. I only began attending conventions
again last year, and I am amazed at the wealth of material out there. Some of
the creators working today are wasted on the small press. People like Ed Traquino
should be working professionally.
What's next
for FutureQuake, and do you have any plans to try your hand at anything else?
Next for FQ: Well,
assuming issue 5 works how we have planned it, then issue six (spring 2006) will
be all horror, and after that, who knows? I've found it wise not to plan too far
ahead as you never know what finely crafted thought might just disintegrate before
your eyes...
FutureQuake
#4 is available for £4 + 76p P&P from www.futurequake.co.uk
(which also contains the first two issues as free downloads), or by contacting
futurequake.comic@gmail.com.
Lost Property #1 is available for £2 + 33p P&P from
whistlerstrip@gmail.com.
FutureQuake #5 and Lost Property 2: Revenge of the Strip will go on sale at the
Brighton comic Expo 19th-20th November 2005.
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