Briefly, Strangehaven is the story of a man who crashes his car in deepest rural England, and wakes up to find himself in a small village called Strangehaven. From there on, strange things happen. Very strange things. Not only does Strangehaven have a compelling and nicely convoluted storyline, with all sorts of odd and interesting characters, but Gary Spencer Millidge’s art is beautiful too, being a gorgeous photo-realistic depiction of the people, their lives, and the village they live in. If you’re wondering where you heard Gary’s name before, you probably heard it as the author of 2011’s Alan Moore: Storyteller, or of 2009’s Comic Book Design: The Essential Guide to Creating Great Comics and Graphic Novels, both of which come recommended. Since I started reading Strangehaven myself, I’m corresponded with, met, and got to know Gary, the creator of the book, so I thought I’d take the opportunity to ask him a few questions about it…
Pádraig Ó Méalóid: for those arriving late to the party, gave you give us a brief, bullet-point synopsis of what Strangehaven is about?
Gary Spencer Millidge: Not really. This is the one question every interviewer used to start with when I first started self-publishing Strangehaven in 1995, and I used to hate it with a passion. Partly because I didn’t know how to answer it. I didn’t know what Strangehaven was about for a couple of years, and giving a brief synopsis of the plot would, I felt, reveal too much about it. I also hated repeating myself in every interview, and I used to churn out the same, “Strangehaven is a village on the edge of Dartmoor in the rural south-west of England, blah, blah, blah” until I realised I could actually answer the question any way I damn pleased.
I originally called it a surreal soap opera, but I think that turned out to be off-base, and it might be better to describe it as a magical reality mystery, or something. I wanted to reflect real life rather than clichéd and predictable soap opera plotting even if many of my characters were tongue-in-cheek archetypes.
As for what it’s actually about, I’d say it’s about the perception of reality, but that sounds terribly pompous and dull.
PÓM: There are three previous volumes of Strangehaven – is this storyline going to be the fourth and final one?
GSM: The short answer is yes. There is a twinge of regret and uncertainty when I say that, but that probably is the case, if only for the sake of my long-suffering readers.
I was very much inspired by Dave Sim and Gerhard’s Cerebus, which for those that don’t know, was self-published monthly for 300 issues. I always loved the ongoing serial aspect of the comic book, but even by the late 1990s, this was changing. Trade paperback collections were beginning to emerge as a viable business model, and it was hard to convince new readers to join the party at issue 11 or whatever. Paperback collections were the answer to a degree, but the difficulty then was keeping all the books in print. There was no print-on-demand, and for a self-publisher to have to print at least 1000 copies at a time pretty much absorbed any profit the endeavour was making.
Not only that, but new readers invariably had to be pointed towards the first book, which for obvious reasons contained some of the weakest material (certainly art-wise). So at what became the halfway point, I decided a four volume series would be symmetrically and structurally pleasing.
PÓM: Have you known from the start how it’s all going to end?
GSM: There wasn’t ever meant to be an end. I wasn’t sure how the first issue was going to end when I started, to be honest. The first issue alone was more comics pages than I had ever drawn in my life before, put together. As I say, it was intended to be an ongoing, open-ended series. I figured that there could be collected editions by character arc – e.g. a Megaron and Chippy one, and Alex and Janey one and so on. I had imagined Strangehaven as a sort of anthology of different stories set in the same village, at the same time.
But pretty soon, the characters had increasingly become such large parts of each other’s story arcs that I abandoned this idea. Strangehaven was never meant to be built around a single plot. What I ended up with was numerous plotlines and characters that entangled themselves so intricately that I couldn’t pick them apart; which satisfied my perverse desire to be unconventional, but made Strangehaven a hard sell to foreign publishers and film producers and the like.
PÓM: Is it rude of me to ask how long it’s going to take to get to the end of volume four, if you’re doing sixteen pages every two months? Call me cynical, but I’m just wondering how long it’ll be before I can sit down and read the entire things through, in actual book form…
GSM: Most episodes will be a tad shorter than that, about 13-14 pages. Essentially, it’s about half an old Strangehaven issue’s worth per Meanwhile… issue. Twelve episodes in all. Assuming that Meanwhile… maintains its intended bimonthly basis, it’ll take two years before the last episode’s published.
How soon after that any collection is published is dependent on a couple of factors; there are contractual considerations and so on, and of course, that’s all dependent on everything going smoothly, which, looking back over the previous twenty years, isn’t a given.
PÓM: Have you given any thought to re-releasing the first three volumes of Strangehaven, or are they still readily available?
GSM: They are, and have always been, in print, and theoretically available to order from comic stores, book shops and the usual Internet retail outlets, as well as directly from my own website, or from Top Shelf in the USA.
I say theoretically because there have been various distribution hiccups, one in particular that led to Amazon claiming volume three was out of print and only ‘available from these sellers’ for a couple of years, one of which was testing the waters by offering copies at £150 each. And it’s an incredibly difficult task to get Amazon to change factual errors, especially when going through a third party distributor.
PÓM: Do you have any misgivings about this new work being in colour, seeing as the work up to now was in good old black & white?
GSM: Well no, I wouldn’t say ‘misgivings’ exactly. Certainly when I originally signed up to producing new episodes for Meanwhile… I was expecting to do them in monochrome. John the publisher had floated the idea of colour in the early stages of negotiation, but I had dismissed it out of hand. I thought it would add an unnecessary additional stage to production and cause a potential conundrum for any future collected editions. And I am possibly correct about both those things.
But as plans for the anthology developed, it became apparent that John would be very keen to see these new episodes in colour, and after thinking about it, I thought it may be worth adding that string to my bow, especially as the cost of the colour printing wouldn’t be coming out of my pocket. I thought it might also possibly broaden the appeal of the series.
But it has been difficult to settle upon a technique that I could implement fairly quickly and yet keep the familiar look and feel of Strangehaven. I’m still finishing the art in grey wash tones, the same method with which the previous volume was produced, and adding colour digitally at a later stage. I’m fairly happy with the way it looks on the SEQUENTIAL digital edition, but the printed version of the first issue has turned out a little dark and desaturated. That’s something I’m looking to correct for future episodes. Not that anyone’s commented upon it anyway.
PÓM: Seeing as you were saying that you originally intended this to be ongoing, are there any plans for further Strangehaven stories, after you’ve finished up this initial storyline. Hope springs eternal, etc!
GSM: I’m not sure if anyone will be hoping for more Strangehaven once I finish this fourth volume; it may be the last thing anyone wants. From a personal point of view, after working on this behemoth for twenty years, and trying to get the damn thing resurrected for so long, it would certainly be refreshing to work on something different. I have enough ideas for comics already to keep me busy for the rest of my days, and I’m starting to feel a little restricted by the format I initially devised all that time ago.
You can never say never of course, and I suppose, there’s always the possibility of a ‘twenty-eight years later’ story emerging at some point, but let me finish this damn volume four first, okay?
PÓM: What sort of ideas for comics, do tell?
GSM: Maybe it would be advisable for me to attempt something a little less ambitious than an open-ended ongoing series with a cast of thousands, maybe a self-contained graphic novel to start off with. Obviously I don’t want to say too much about any potential ideas as it’ll be a while before I’d be able to start any serious work on anything new; plans are always shifting and morphing, and I don’t want to get anyone excited about something that may or may not happen.
But I will say I have a couple of well-developed projects that I’ve been fiddling around with for as long as I’ve been doing Strangehaven. In fact one pre-dates Strangehaven; after my Dad unexpectedly died in the late 1980s I wanted to do a memoir in comic book form celebrating his life and I even started work on it, but I soon realised that I didn’t have the chops at that time. So that’s always been on the back burner.
There’s also a globe-spanning Hitchcockian mystery/thriller and a time travel/moral paradox story that I’d like to get done, although I wouldn’t necessarily choose to draw either of those. I have come to the conclusion over recent years that I’m not likely to live long enough to draw all the comics I want to draw and working with a high quality artist would be a good compromise. That would probably mean that I’d need to get a publisher involved, so those projects are a few steps away from happening.
I’ve also become intrigued with the atheist/deist/theist debate and how that relates to current scientific theories about the creation of the universe and quantum mechanics and so on and I think I have a pretty strong idea for a vehicle that could explore that a little bit. That’s not all by any means, but you get the idea.
PÓM: One of my brothers lives on a small island off the south-west coast of Ireland, which has a population of 124, more than half of whom are non-natives, originally not only from various parts of Ireland, but from Germany, Scotland, Canada and elsewhere, so it seems to have that same sort of geographic gravity as Strangehaven does, although possibly not as inescapable. Are we ever going to get any sort of explanation for that?
GSM: That sounds like an interesting island to live, or even visit. Does your brother have any explanation for the diverse nature of the immigrants to his island? Is there one or sixty different explanations? As far as Strangehaven’s concerned, I think it’s pretty well established that it does have an apparent ‘geographic gravity’ as you’ve characterised it, or at least some of the inhabitants seem to think so. Whether it’s relevant to the central themes of the series (if there are any) may or may not be explored in future episodes.
But it is essentially the backbone of the series; it enables me to have a disparate cast with substantially different back stories to explore. At the highest of high altitude maps, Strangehaven is a simply a place full of weird people with their own views on the world.
PÓM: Does it not do your head in having to wrote Adam Douglas’s dialogue? [A character who claims that he’s from another planet – PÓM]
GSM: I’d say no, not really. It’s hardly Hob’s Hog*. You come up with the character, and his speech patterns, and if it’s difficult to write, then that’s part of the challenge of being a writer. It’s probably easier for me than it is for the reader as I know what he is supposed to sound like. Adam’s character is defined well enough in my head to let him ramble on while I merely transcribe what he’s saying.
I have to admit that I introduced Adam as a bit of a novelty, but I immediately became aware that he was a hugely popular character and as a result has become an increasingly important cast member.
Ronnie did say in one issue that she thought he was from Düsseldorf which suggests a Teutonic accent. But some astute readers may wonder why his distinctive use of grammar isn’t entirely consistent – is it because of the writer’s lack of skill, or is Adam not being entirely honest about his origins?
PÓM: I believe that the publication date for Meanwhile… #1 is a bit complicated. What can you tell me?
GSM: For a definitive answer, you would have to ask my publisher, Soaring Penguin Press. They’re essentially a book and graphic novel publisher, and they tend to have different publication dates for the UK and the US. Obviously the direct comics market is a bit different in that periodicals tend to get published simultaneously worldwide. There are some contractual concerns regarding dates which may have complicated things as well, and two British comics festivals – The Lakes and Thought Bubble – were close enough together in the calendar this autumn to make it an irresistible time to launch the anthology in the UK. So it’s been available in the UK at selected outlets since October, but will be getting its full international direct market distribution as from February. (Meanwhile… #1 is listed in the December issue of Diamond Comics’ Previews and can be ordered from your favourite comics retailer from that point. It’s also available on the SEQUENTIAL digital platform as well.)
GSM: Well thank you for wading through all that drivel that I’ve supplied in lieu of proper answers to your respectful and pertinent questions. Let’s hope it entertains someone somewhere who’s lost their internet connection and only has this one page to read. And as far as the ‘other’ interview is going, well let’s resolve to have a race to see who finishes first.
[*Obligatory obscure Alan Moore reference.]