« I’ve always wanted to be a giant space crab. » — Gabe Newell
We have quite a treat for you this week. One of our very favourite creators, Mr. Glenn Dakin, has genially agreed to shed light on the inception of one of his lesser-known (but nonetheless striking) creations, Mr. Crusht Acean, aka ‘The Man From Cancer’. Take it away, Mr. Dakin!
Glenn Dakin: The phrase The Man From Cancer came to me when I was writing a song, referring to myself as a typical Cancerian.
It gave me the idea for a detective organisation where all its members were Cancerian. Of course it had that Man From U.N.C.L.E. association. As I was discussing this idea with my brother down the pub, I said – as a joke – that in order to get a magazine interested in the idea the character would have to actually BE a crab. As soon as I said this, I knew it could work…
Phil was the obvious choice to draw it, as the superb consistency of his style and great visual imagination would make readers accept the bizarre idea as a reality. Also we worked a lot together.
When I told Phil about it, he said ‘how did you know I was Cancer?‘ (much to my surprise). So it was clearly in the stars!
Marvel UK were just launching STRIP, in which creators could keep the rights to their work, so it was a natural place to send. Dan Abnett was the editor and he really got what we were trying to do with the absurd humour. After the first two-parter, he offered us a regular one-page slot.
Who’s Out There?: Judging from the supplementary materials (Strip no. 11), you seem to have quite fully worked out Mr. Crush Tacean’s universe. Did you have lofty plans for the series?
GD: Not so much lofty plans, but whenever Dan Abnett gave us a chance to expand it, we enjoyed enlarging the madness of the world. These supplementary materials were created for STRIP to remind readers of the story half way through, and get new readers on board, after we had been dropped for a couple of issues.
I remember that as my confidence on it grew, and we had the story where we took the force of gravity to court, I started to think of it as a kind of visual Goon Show, following its own absurd logic.
WOT?: Could you shed some light on the series’ publication history? Were the instalments that didn’t appear in ‘Strip’ published elsewhere before they were collected in ‘The Rockpool Files’? (by Slave Labor in Sept. 2009)
GD: You will have to ask Phil that, they might have appeared somewhere, but I don’t think so. We did have a two-pager in a Channel Tunnel magazine!
WOT?: What brought about the change of title? I was quite fond of ‘The Man From Cancer’, I must say.
GD: We were asked to change the name as ‘Cancer’ – we were told – was not exactly a fun buzzword.
WOT?: What’s the story behind these huge gaps between appearances (issues 2 to 9, then 11 to 16)?
GD: As far as I remember, the second half of the Diukalakadu story appeared the next issue in STRIP [no.2 — RG]. Then Dan asked Phil and I to keep it going as a regular feature. We agreed, but as they were working many issues ahead, it took us a little while to launch the new stories.
The only problem was, as it was an anthology comic with multiple contributors, the page count was hard to level out every issue. As the only one-pager, Man From Cancer was the easiest to drop. I think getting asked to create the supplementary materials mentioned above, was a bit of an apology for us being so bumped around. Also the text story ‘Wallow’ in the Rockpool Files book, was originally created in 24 hours by special request of Dan, to solve a pagination crisis when a strip didn’t turn up in time. But then STRIP was canned before it could appear.
WOT?: You’ve collaborated quite a bit with other cartoonists. I presume that the division of labour varies from project to project. In this case, was there a clear line between the job titles? Did you serve strictly as the writer, or did you provide storyboards, layouts or conceptual sketches? And vice versa on Phil’s part?
GD: I never typed up a script for Phil, I just drew a rough of the strip. In this I visualised a lot of the characters, but it was up to Phil if he followed my suggestions. Sometimes he would create an amazing surprise like a giant octopus answering the phones at Cancer HQ. Phil didn’t write anything but he did loads of visual world-creation as we went along.
And since I hinted at the existence of ‘supplementary materials’, it would be callous of me to leave them unseen.
I hope you enjoyed our chat with Mr. Dakin, whom I cannot thank enough for his generosity and charming manner. In the event that your interest has been piqued, take a gander at our earlier post entitled Glenn Dakin’s Alter Ego, Abraham Rat.