knobs in front of me. I still like the concept though, (art students in space) but I don't think it ever realized its full potential, we were too busy getting spaced with the local art students. Like many at Deadline , you were being recruited increasingly for work at Fleetway and DC/Vertigo. Meanwhile, all the momentum at Deadline was dissipating, with many of the core creators there openly cynical about the direction of the magazine within their strips. How do you feel about that period now? Again I was still really young, early 20s, and Deadline didn't pay well at all, so when DC/Vertigo came along, offering much bigger page rates it was a no-brainer. But more than just the money, I was getting to work with Peter Milligan, who I was a massive fan of, and still am. So, by the mid-'90s, off into the worlds of TV and film, working for visionaries like Steve Barron, Jim Henson and Ridley Scott. Again, that must have been another tremendous learning curve. How did that period affect your drawing and storytelling chops? I'm glad I went down that route, the intention was to end up directing myself, and I did manage to do a bit of that (not much). But the byproduct of trying to become a director via storyboarding meant I was doing a lot of drawing and a lot of story telling, but without an audience to be conscious o f... or having to worry about my "style." I