422:
481:. Gravett and Stanbury retained complete editorial control over the contents and direction of the magazine (despite some pressure from Titan). Despite a 60% sell-through on predominantly London-based newsstands, Titan were reluctant to push for wider national distribution and after two years and ten issues, they parted company. A third, more ambitious, incarnation was planned but failed to find a backer, and
975:...Paul, with his longtime partner Peter Stanbury, was running the small press anthology Fast Fiction, the Fast Fiction stand at the bimonthly Westminster Comics Marts where the small press books were sold, and launching Escape - an excellent European-style professional comics magazine whose book-publishing arm led directly to the careers of
33:
388:
of between 56 and 84 pages in length with black and white interiors and colour covers. The covers were wrap-around and, for the first five issues, hand-separated by
Stanbury until full-process colour became viable. The smaller size was chosen to physically differentiate it from other comics around at
497:
Peter
Stanbury and I are reviving Escape as an independent publishing house early next year. We're envisaging presenting both some of the former Escape artists from the original incarnation, and new artists who have emerged since or are emerging now. A number of projects are hatching including the
404:
While the contents of each issue followed a pattern of running homegrown talent alongside features on comics from around the world (with an emphasis on
European BD and American "art comics") the roster of artists changed regularly with new creators being brought in every issue. Despite, or more
389:
the time with a nod to the photocopied small press comics that usually came in this format. It was also easy to put in your pocket. The first issue had a print run of 2000 and had a disproportionate reaction from the music and style media bringing in subscribers and advertising, notably the
211:
where he would sell other people's self-published comics for a small cut. These would generally be short-run publications, usually photocopied and assembled by hand, by creators who couldn't find a professional outlet for their work with many coming from an art school background with unique
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became a regular feature. The logo also changed to a bold new design with extra prongs for the E and A and the magazine took on a more professional feel. Of the twelve issues published in this format eight had covers by non-British illustrators as
256:, brought experience in print design and production. Together they decided to publish, from their flat, a magazine featuring this home-grown talent, along with showcasing examples of new and interesting comics from around the world.
791:
was part of a wider and at the time quite vibrant environment in
British comics and that artists did move freely from publication to publication. While the magazine did carve out an important niche and break new ground, the work of
510:
magazine has not yet returned to publication, Escape Books has released two hardcover graphic novels, 'The Great
Unwashed' by Warren and Gary Pleece in 2012 and 'There's No Time Like The Present' by Paul B. Rainey in 2015.
818:
that it "...remains one of the most sorely missed comics of all time, not simply because of its tremendous track record of translating
European comics but simply because it was always good in so many ways."
280:, but it also infused the whole attitude of the magazine, that some comics at least deserved to be taken seriously. By identifying with the relatively exotic and beautifully produced volumes from Europe,
502:
reference books about comics and a range of graphic novels and graphic short story compendiums, and related events and exhibitions. Further ahead, the magazine itself will be relaunched.
437:
changed to the larger industry standard
American magazine format (8.25"x11") enabling them to reprint work by the international creators they'd previously only written about.
757:, had been an important focal point both artistically and socially. This continued into the 1990s with the magazine holding a pivotal place in the history of the scene.
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272:. Gravett wanted to apply the values of and respect attributed to French comics to his new breed of British artists. Visually this was reflected in the work of
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In a late 2009 interview
Gravett described his plans for 2010 which involve launching Escape Books followed, eventually, by a return of the magazine:
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showed not only radically different styles of comic art to the usual UK/US variety but a more mature and analytical approach to the medium.
1142:
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Alongside the magazine itself, Escape
Publishing served as an imprint for self-contained graphic novels. These included the following:
352:, he introduced the concept of self-publishing small press comics and sending them out to like-minded souls, thus widening the net for
344:
was taking, his job brought him into contact with many more new and innovative cartoonists around the UK. To some of these, such as
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had a solid identity and loyal, if disparate, readership. As the landscape of the comics industry changed through the 1980s
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did not necessarily go on to great riches, the magazine did publish early work by notable creators including
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Beaty, Bart (February 1999). "Positive Signs: Ten Worthy
Translation Projects". Euro-Comics for Beginners.
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Gravett brought his knowledge and enthusiasm while his partner Peter Stanbury, employed at the time at
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moved away from its small press origins and fully embraced a more international, Art-based ideology.
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also released a limited number of graphic novels in the period 1984–1989, some co-published with
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in particular, as influential in forming their attitudes towards comic art. Canadian cartoonist
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on subsequent publications and movements is not in doubt, but somewhat hard to pin down.
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likely, because of the wildly different styles and approaches embraced by the magazine
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At the same time awareness was growing of international developments in the medium.
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artists American exposure, most notably to the cartoonists informally known as the
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had started pushing the boundaries in the USA while European anthologies such as
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1138:#1 Vol. 2 Print review of Glenn Dakin's "Abe: Wrong For All The Right Reasons"
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logo and interior headline text from issue eight. Designed by Peter Stanbury.
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was forced to close after 10 issues, leaving Gravett with a good idea of how
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was there to report it and try to influence where people should be looking.
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and Peter Stanbury. Nineteen issues were published between 1983 and 1989.
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684:'s experiments with comics for more mature audiences. Later issues of
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and established itself not only as something new but also important.
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Plowright, Frank. Opening Shots: And As Ye Reap, So Shall Ye Sow,"
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469:, a graphic novel repackaging house responsible for collections of
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shared the combination of comic strips by relative newcomers and
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magazines. While disillusioned with the direction, or lack of,
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Hart, Tom (2001) "The Scribbled Philosophy of Glenn Dakin"
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for the "Britain in Bande Dessinées" exhibition at the
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wrote about the influence Chris Reynolds had on him.
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scene. Highwater publisher Tom Devlin and cartoonist
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Two exhibition booklets were also produced under the
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distanced itself from the action-adventure style of
694:and reprinted European work while the short-lived
677:articles designed to reach a non-comics audience.
627:for the "Swiped! Comics in Art" exhibition at the
461:A year later, and after protracted negotiations,
330:, Gravett was employed as promotions manager for
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465:became the first periodical to be published by
1058:Seth (2005) "Chris Reynolds: An Appreciation"
1270:1989 disestablishments in the United Kingdom
719:, the core group of artists associated with
199:that occurred in the UK in the early 1980s.
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1265:1983 establishments in the United Kingdom
843:scenes of the late 1970s and early '80s.
1200:"gang" is about a third of the way down.
1126:Gravett, Paul and Stanbury, Peter (eds)
1113:Gravett, Paul (2003) "The Great Escape"
997:
995:
420:
376:were published between 1983 and 1985 as
364:to run a magazine and a pool of talent.
787:It should, however, be remembered that
425:Example of the typography used for the
268:, BD became the ideological anchor for
259:
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831:The core group of artists featured in
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992:
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680:There are notable influences too on
631:in London. This was also printed in
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191:has its origins in the explosion of
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806:line should be taken into account.
760:International distribution brought
13:
1190:Long interview with Dylan Horrocks
1015:Ord, Cereinyn (17 November 2009).
416:
14:
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1221:, John Bagnall and Chris Reynolds
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1213:- Publishers of recent works by
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152:magazine founded and edited by
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57:Escape Publishing (issues 1–9)
41:magazine #3. Art by Chris Long
1:
1196:issue 244. His time with the
1081:. No. 210. p. 127.
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835:came mainly from the British
715:While, with the exception of
586:The Night Of The Busted Nose
475:and American titles such as
172:published within its pages.
16:British comic strip magazine
7:
1017:"Paul Gravett Talks Comics"
929:
318:In 1981, having passed the
203:was running a stall at the
10:
1286:
1260:British small press comics
643:French Institute in London
544:Alec: Doggie in the Window
534:Alec: Love and Beerglasses
445:appear in issue eight and
372:The first seven issues of
322:stall and distribution to
311:
183:
1102:. Eddie Campbell Comics.
1100:Alec: How To Be An Artist
748:British small press scene
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608:(1987, co-published with
578:(1989, co-published with
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212:approaches to comic art.
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1209:26 February 2006 at the
1147:Missing The Deadline by
1005:#122 (June 1988), p. 11.
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148:magazine was a British
1098:Campbell, Eddie (2001)
47:Publication information
1143:"Missing The Deadline"
1136:The Comics Interpreter
506:To this date, although
504:
430:
205:Westminster Comic Mart
168:were amongst the many
1235:British comics titles
1185:Grand Comics Database
661:Publications such as
495:
424:
635:issue eleven (1987).
560:, Lawrence Gray and
326:and before starting
260:The importance of BD
1250:1989 comics endings
897:(aka Trevs Phoenix)
802:and aspects of the
498:first in a line of
253:Harpers & Queen
1255:Comics anthologies
1245:1983 comics debuts
1240:Titan Books titles
1194:The Comics Journal
1116:The Comics Journal
1079:The Comics Journal
1061:The Comics Journal
1043:The Comics Journal
1003:The Comics Journal
811:The Comics Journal
431:
107:and Peter Stanbury
1192:- reprinted from
1093:Sources consulted
841:underground comix
654:The influence of
515:Escape Publishing
290:and the American
207:in London called
174:Escape Publishing
141:
140:
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1157:on 11 March 2005
1153:. Archived from
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1032:
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1006:
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989:
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794:Knockabout Books
712:amongst others.
670:Heartbreak Hotel
639:The Black Island
625:Comic Iconoclasm
485:folded in 1989.
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80:1983 – 1989
77:Publication date
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21:
20:
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1211:Wayback Machine
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1128:Escape Magazine
1118:Special Edition
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766:Highwater Books
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447:George Herriman
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417:The Titan years
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238:Charlie Mensuel
221:Françoise Mouly
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1171:External links
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717:Eddie Campbell
710:Julie Hollings
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572:James Robinson
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489:Partial return
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338:bande dessinée
312:Main article:
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37:The cover to
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1204:Kingly Books
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1159:. Retrieved
1155:the original
1149:Andy Roberts
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1114:
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1024:. Retrieved
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937:Fast Fiction
935:
877:Myra Hancock
867:Hunt Emerson
862:Phil Elliott
848:John Bagnall
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755:Fast Fiction
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733:Paul Johnson
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382:digest-sized
373:
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368:The A5 years
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354:Fast Fiction
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324:Phil Elliott
320:Fast Fiction
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274:Phil Elliott
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226:RAW magazine
224:
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209:Fast Fiction
201:Paul Gravett
188:
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162:Phil Elliott
154:Paul Gravett
144:
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134:Paul Gravett
124:Phil Elliott
105:Paul Gravett
38:
24:
18:
985:Neil Gaiman
981:Dave McKean
967:"Biography"
923:Carol Swain
910:Gary Pleece
882:Rian Hughes
857:Glenn Dakin
837:small press
778:Glenn Dakin
741:Rian Hughes
729:Dave McKean
725:Neil Gaiman
706:Rian Hughes
610:Titan Books
606:Dave McKean
602:Neil Gaiman
590:Phil Laskey
580:Titan Books
562:Dave Thorpe
554:Doc Chaos 1
478:Swamp Thing
472:Judge Dredd
467:Titan Books
443:Gary Panter
346:Glenn Dakin
292:superheroes
278:Rian Hughes
193:small press
178:Titan Books
170:cartoonists
166:Glenn Dakin
150:comic strip
120:Glenn Dakin
60:Titan Books
1229:Categories
1219:Ed Pinsent
944:References
901:Ed Pinsent
887:Shaky Kane
872:Paul Grist
772:both cite
692:Paul Grist
350:Manchester
264:Short for
197:minicomics
101:Created by
1083:6: Escape
1026:8 January
891:Bob Lynch
814:wrote of
704:regulars
700:employed
690:featured
675:lifestyle
451:Krazy Kat
130:Editor(s)
112:Artist(s)
88:of issues
53:Publisher
1217:artists
1207:Archived
930:See also
770:Tom Hart
746:For the
697:Revolver
682:Fleetway
664:Deadline
620:banner:
433:In 1986
398:Time Out
386:booklets
1183:at the
827:artists
799:Warrior
184:Origins
1215:Escape
1198:Escape
1179:Escape
1131:1 - 19
1106:
1049:71-87.
906:Warren
833:Escape
825:Escape
816:Escape
789:Escape
776:, and
774:Escape
762:Escape
751:Escape
721:Escape
702:Escape
687:Crisis
656:Escape
650:Legacy
633:Escape
618:Escape
592:(1986)
564:(1985)
550:(1986)
540:(1985)
530:(1984)
508:Escape
500:Comica
483:Escape
463:Escape
456:Escape
435:Escape
427:Escape
411:Escape
407:Escape
374:Escape
358:Pssst!
342:Pssst!
333:Pssst!
328:Escape
314:Pssst!
307:Pssst!
296:Marvel
287:2000AD
282:Escape
270:Escape
189:Escape
145:Escape
67:Format
39:Escape
25:Escape
1161:1 May
1123:46-61
949:Notes
380:, or
1163:2005
1104:ISBN
1028:2010
983:and
908:and
839:and
823:The
796:and
782:Seth
739:and
708:and
667:and
604:and
574:and
524:Alec
441:and
395:and
298:and
276:and
241:and
219:and
164:and
1065:265
1047:238
629:ICA
600:by
588:by
570:by
556:by
546:by
536:by
526:by
449:'s
392:NME
362:not
348:in
294:of
244:PLG
223:'s
195:or
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1231::
1145:.
1019:.
994:^
979:,
973:.
969:.
965:.
743:.
735:,
731:,
727:,
401:.
384:,
378:A5
356:.
300:DC
235:,
180:.
160:,
91:19
1165:.
1121:3
1110:.
1067:.
1030:.
987:.
645:.
612:)
582:)
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