“It was said that at one time with work that you were doing with other people, like The Studio years, the Gorblimey Press years, that you were at the forefront of a revolution of change in comics.” He nods but corrects me, “Gorblimey and The Studio weren’t comics, but our backgrounds were, so there was a prestige for comics by association.”

“Then in the eighties there was a new revolution and that was Alan Moore and Frank Miller, etc. It’s all for grown ups again, that kind of thing. So these revolutions keep happening supposedly but not really happening. You said earlier that maybe comics has been something of a waste of your life. Do you feel you’re not reaching the people out there? Not moving the revolution forward?”

“Yeah, absolutely, if I had a chance to reach, to do...” he stares off wistfully.STORYTELLER was it, you know? It doesn’t get much better for me than STORYTELLER, despite its faults. I had such faith, I still do, I had such faith in that book that it could help change what we know, as to how comic books are perceived by the public. But we come back to the suits and a certain unmentionable publisher whose name shall not pass my lips again...” he leans into the recorder, “but his real name is Mike and his address and phone number are... And so there you have an example of management encumbering another chance to break the chains. I’m not saying that he did it deliberately, he was just too goddamned thick to see what he had in front of him. Even though I sat down with him and told him what he now had, what he was getting from me with STORYTELLER.”

The cover of BWS: STORYTELLER #5 1997