I will always be eternally grateful to Dave Gibbons for suggesting Bryan Talbot as artist on Teknophage. If anyone was born to do steampunk, it was Bryan. Hell, he pretty much invented the genre in comics with his Luther Arkwright opus. Bryan was the very sharp leading edge of a whole generation of incredibly talented U.K. writers and artists who would take American publishing by storm in what became known as “The British Invasion”. On one hand he was a cultural anarchist with roots in the underground. On the other he was a consummate professional who could keep a regular series on schedule and under budget without any side dramas.
We showed Bryan what we’d worked up and he liked it enough to join the party. When his first pages started coming in I was grinning from ear to ear. Bryan hadn’t been intimidated by my script with its overwhelmingly long panel descriptions. In fact he seemed to take perverse delight in bringing in every last crazy detail I larded them with. More importantly he caught the tone I was shooting for: Grand Guignol by way of Looney Tunes.
This, of course, was so far away from a normal Neil Gaiman comic that readers must have thought Neil had little to do with Teknophage. I’m here to tell you the opposite is true. Neil was hands on story editor for every one of my scripts; making terrific suggestions and egging us on as we gleefully skewered what was then an emerging corporate culture. He challenged me to add more dimension to my characters; especially the human leads, Rob Nichols and Claudia Cassidy. He shared subtle tricks he’d developed in his own writing such as: “Imagine some life altering event that happened to your character but don’t share it with the reader.”
Bryan breathed life into Rob and Claudia, the facial expressions he gave them always reflecting whatever internal emotions they were feeling in a given situation. Rob and Claudia’s first scene together, when they meet cute over a string and tin can “telephone”, is a master class in staging by Bryan.