A Liminal Comics Production
Part 1: September 12, 2017
Part 2: October 10, 2017
Part 3: November 14, 2017
omnibus digital and print editions: December 12, 2017
Print ISBN: 978-1-942083-70-2
Brain Mill Press offers the three digital volumes of Future Echoes in PDF, EPUB, MOBI (Kindle), and CRZ (comics archive) formats.
The collected three-part story is also available in a paperback edition. Print book buyers receive access to the ebook files in all formats.
This is no ordinary bone-chilling heartstring ripper.
—Shelly Bond, Editor/Curator, BLACK CROWN
Once in a great while, a piece of art comes along, destroys you, and puts you back together. Future Echoes is one of those pieces.
—Love In Panels
A time-twisting, genre-bending tale of limit-defying romance that is like nothing else found in comics today.
Sympathetic, beautiful, scary and smart. The art ... is gorgeous. Altogether, an excellent story that will challenge your own preconceived notions.
A religious experience, akin to dreaming with your eyes open.
—Neil Gaiman, on the work of Al Davison
Al Davison astounds us once again with his deft marriage of a personal perspective that is utterly unique and his facility for line, form and anatomy that takes the breath away.
—Alan Moore, on the work of Al Davison
Al Davison is a true artist.
One of the most consistently original and thought-provoking creators working in comics today. Al Davison's art is a joy. His writing powerful. His martial arts, apparently, lethal. So don't mess with him.
—Jonathan Ross, on the work of Al Davison
Harlan is a brilliant scientist who follows his own path and refuses to let anyone tell him how to live just because he’s a wheelchair user. He has only one passion: to prove that there is no such thing as the supernatural. He doesn’t believe in ghosts any more than he believes in love. One night in an abandoned chateau on the outskirts of Paris just might change his mind . . . if he survives.
Because even though no one’s lived in the old Vine estate for over a century, Harlan’s not alone there anymore.
Future Echoes: A different kind of long-distance romance.
About the Authors
Al Davison is a comic creator who has worked extensively for DC/Vertigo on such titles as Vermillion, House of Mystery, The Dreaming, and The Unwritten. He has also drawn Doctor Who comics for IDW, but is probably best known for his graphic memoir The Spiral Cage, which explores his experiences growing up with Spina-Bifida, a condition he was born with and was not expected to survive. He is currently working on the sequel, Muscle Memory: A Survivors Tale, which is being supported via Patreon. Al also has a comic book shop and studio, The Astral Gypsy, in Coventry, U.K., which he runs with his wife, Maggie, often — and always ably — assisted by Yen Quach.
Find Al on Twitter as @TheAstralGypsy
Yen Quach is an award-winning freelance artist, illustrator, and comic artist who works in both digital and traditional media. Reflecting the world with curiosity and creativity, she began the #draweveryday challenge in 2013 and has not missed a day yet. Yen holds a degree in Illustration & Animation. When not drawing, she moonlights as the Astral Assistant for Al Davison and records her forays into the real world through urban sketching. You will rarely find her without a sketchbook of some form.
Find her at www.yendraws.com and on social media as @YenDraws.
About the Art
Story concept and dialogue: Al Davison
Additional dialogue: Yen Quach
Art: Al Davison – Harlan, contemporary cast and backgrounds, pencils for time-shift sequence, Vine’s self-portrait and paintings, digital color. Yen Quach – Amelia, sketchbook, Amelia’s story, easel drawing, inks for time-shift sequence, watercolors. The apparitions paintings were a collaborative effort between Al and Yen.
Lettering: Yen Quach
Covers by Al Davison and Yen Quach.
Editor: Alisa Kwitney
Assistant Editor: Maggie Vicknair
The art for Future Echoes is a multimedia collaboration between Al Davison and Yen Quach. Pages were penciled, inked, watercolored, and digitally illustrated and manipulated, with additional techniques applied as needed for effect.
The bulk of the work on paper was created jointly in the studio, though some of the work on Future Echoes was done digitally and remotely, thanks to Internet magic, as Al and Yen don’t live in the same city.
One of the “apparitions” paintings created jointly by Al and Yen for inclusion in the book.
The Print Omnibus Edition
The print omnibus edition of Future Echoes includes the complete 54-page story (parts 1-3), along with 24 pages of extras providing insight into the artists’ collaboration, the story’s development, and the art and lettering. The softcover volume is printed on 70-pound stock with a matte finish and matte cover in a 6.75 x 10.25″ trim size, and comes bundled with digital ebook files in PDF, EPUB, and CRZ of all three parts of the story. Those who preorder the print omnibus will receive the digital comics upon release.
An Interview with Al Davison and Yen Quach
Editor Alisa Kwitney Interviews Artist-Creators Al Davison and Yen Quach about Future Echoes
AK: Al, when did you first get the idea for this project?
AD: Sept 3rd, 1988. I recently found my original notes and sketches. I was suffering a temporary bout of blindness and increased paralysis, the onset symptoms of M.E. (Myalgic Encephalomyelitis). I woke up blind and unable to walk in my third-floor flat. I started to hallucinate as a result of fever and later malnutrition. So the idea came from that situation: What if a disabled man was trapped in a building and couldn’t trust his senses? The notes and sketches were done whilst still blind.
AK: Yen, how did you get involved?
YQ: I had been working with Al on the pre-press work for Spiral Cage and just around the studio space quite a lot once I graduated from university, so I guess you can say pretty organically, as Al asked if I’d be interested in working with him and Alisa on the Future Echoes project. We had previously collaborated on a mini-Sandman series of illustrations, trading off ‘stages’ of drawing on the same page, so working on Future Echoes feels like a nice step beyond that. It’s fun, and such an honor to be asked aboard this project.
AK: Al, what are the benefits of working with a young newcomer to the comics industry?
AD: I find it hard to think of Yen as a newcomer! Yes, she’s only been working a couple of years, but apart from her talent, which is self-evident, she is extremely well organised, knowledgeable, and hard-working. It’s like working with an old, long-established fellow professional, just without the ‘old’ bit. Oh, and yes, ridiculous amounts of energy. People often wrongly assume Yen is my apprentice. She assists me, yes, but we are an equal partnership and learn from each other. We both enjoy trying out new drawing techniques, new art materials, and like to challenge ourselves and each other.
AK: Yen, what are the benefits of working with an experienced artist and writer?
YQ: I’m picking up a lot of invaluable experience through being able to see how Al works his craft. He doesn’t work from a written script, so I can’t exactly pop the top of his head off and pick his brain (haha!), but I do end up asking questions about why Al has chosen to have [x] words or [y] shot in the panel, and we have a nice conversation about the process. It’s back-and-forth and we’re on equal ground as creators, so it’s pretty relaxed. Well, for me at least! I realise I’m depending on a lot of Al’s experience, which is a privilege.
AK: Al, what do you think about the role of disabled people in comics, books, film, and TV? How has it gotten better over the past three decades? How has it remained the same?
AD: I think there has been definite progress, but sometimes it seems there is one step forward and three steps back. There are still very few prominent disabled characters in comics, or in other media, and most of them have get-out clauses: Charles Xavier can walk when it fits the plot; Oracle, the most important disabled character in mainstream comics, has been cured. Daredevil can see better than a sighted person… Appropriate casting is the biggest issue. American TV was way ahead of Britain in that regard, then they jumped back ten years and cast an able-bodied actor as a wheelchair user in Glee, which seemed to legitimise ‘cripping-up’ again as a valid option. The same is happening in terms of race and LGBT-themed work, with whitewashing on the increase once again in films like Ghost in the Shell (2017) and Exodus and the casting of a cisgender man as a transgender woman in The Danish Girl. On the plus side we have creators like Yen, Gail Simone, and Marjorie Liu, amongst others, creating wonderfully challenging and inclusive work. So I’m optimist while aware there is still an awful lot of work to do.
AK: Yen, how has your role on the project changed over time?
YQ: The division of work, as much as you can say for a collaboration that mixes our work in traditional and digital space, was pretty clear from the outset. I like to be organised so that what needs to be done is clear, and that has helped to keep things from being confusing.
In addition to being the principal artist for Amelia’s segments, I’m also lettering the comic, which has been a nice skill to develop and helping to wrangle all the files. Being able to collaborate remotely thanks to the Internet has been a great resource, too, and has been a good way to make sure that the project can run smoothly. But to get back to the question: I think my role on the project has stayed more or less the same!
AK: Al, you were very outspoken on social media about the problems with the movie (from the novel) Me Before You. Do you feel that this project is a creative response to some of the issues you raised?
AD: Yes, even though it was originally conceived much earlier. There are still very negative views on disability: for example, the Me Before You film, and the book it is based on, epitomise what has become known as the ‘better dead than disabled’ mentality in Hollywood and other media. I wanted to challenge that. I also wanted Yen on board, partly because there is an intersection between my experience as a disabled man and Yen’s experience as a woman and as a person of color, I knew we’d be on the same page. We’ve had many discussions about our various experiences dealing with prejudice and discrimination.
Having also been lucky enough to attend numerous conventions and other events with Yen, travelling together, it has been interesting and upsetting for me to see her facing different but equally difficult challenges than I do as a wheelchair user, and both of us having to deal with ignorant comments and assumptions on a regular basis.
All this has certainly informed the work.
AK: Yen, you have been illustrating the Victorian female protagonist’s story. Even though society has changed a great deal since the 1800s, are there ways you identify with Amelia’s struggle as a woman and an artist?
YQ: It’s absolutely true even now that being female-presenting is more difficult in society. as it is still very patriarchal. Looking at it intersectionally, I’m also a person of color (POC), and that has an additional layer of challenges, though I do have the privilege of being cisgendered and able-bodied. I’m still only a fledgling, but I’m optimistic since social media and the Internet have made it that much easier to get myself out there and connect with others. The future is promising as attitudes shift to become more open and accepting. ♥
AK: Al, a similar question for you: how much do you see of yourself in Harlan?
AD: Well, I see aspects of myself in both Harlan and Amelia. My background is closer to Amelia’s in terms of circumstances, being from a lower-working-class family, as someone who didn’t own a pair of shoes till I was eleven. Though she’s definitely more physically confident than I was at her age. My experiences of being viewed as a desexualised non-physical being who was only considered valid on any level because I had a ‘talent’ is certainly in line with Harlan. Having a ‘talent,’ yet on the one hand being continually told I wasn’t good enough to compete with my able -bodied peers, while on the other hand still being expected to perform like a circus animal to justify my existence, probably resonates with both characters. I mean, I’ve had an art director tell me that he didn’t hire the disabled because they smelled bad. I’ve had one comics editor say he wouldn’t consider any projects featuring disabled characters because he didn’t want to be remembered as the editor who labelled me a ‘disabled creator,’ and another who said he wouldn’t consider me for any superhero books because obviously as a wheelchair user I couldn’t possibly understand how to draw action. When I suggested that would mean no one could draw Superman since no one could fly, he said I shouldn’t be so bitter, and might be better off going into portraiture! So the cliche of working twice as hard, often to get half as far as an able-bodied person, is true to my experience. But the Internet and the increasing affordability of self-publishing is levelling the playing field to a degree. Still a ways to go, though.