But BWS didn't quit comics for the counter tops of the 24-7 stores. So why does Adastra ply the pizza trade? "The plumbing thing didn't work out," he replies. But why plumbing, of all things for a blue-blood to do? The artist is candid and direct, "She may be a princess, mate, but she's not some totally hoitytoity stuck-up Owsyerfather." There is no direct American-English interpretation available.

And what of the invitations she is writing? Invitations to what? And who was that person on the telephone? Are such details also evidence of the art/artist synergy? "I don't know about that phone call, but the invites are for the going away party that starts at the end of the book." But wasn't that party held in 1997, six years in the past? "Held, no," he deliberates, "but created, yes. The Party isn't a reprint; if it's not published it doesn't enter the reality of continuity. Things are weird like that in comics. If you're confused give a thought to how the cast and crew feel about it."

The artist concludes with the crosscurrent theme of this book, "When I said I'd quit the field if STORYTELLER tanked, I genuinely meant it.

  But I didn't foresee how the original publisher (OP) would fail to vigorously promote it.  It was a brand-new thing-- never seen before. It required powerful marketing to make it break through.

If it had, we'd've all seen new vistas for comics opening up - the comics market might be better
off for it today. But, if the OP had pushed it and yet it failed to catch on, I'd've known that my kind of comics have no place on this planet. Sure, I would have walked away. You'd've never seen or heard from me again. Unless, of course, you were in my neighborhood picking up beer and pretzels on a midnight run."