One of the UK's comics national treasures, Dave McKean, made an enduring name for himself via his iconic covers for the Sandman series, as well as his groundbreaking graphic novel 'Arkham Asylum' with Grant Morrison. Also an artist, film maker and book illustrator,his fierce creativity has continued to astonish his audiences and draw new fans to his work over the last two decades.

What drew you to get involved in the Ctrl.Alt.Shift Unmasks Corruption project?A great opportunity to present comix in a new arena, to a potentially new audience. Good for comix to tackle these important subjects, especially as the medium is perfect for talking directly to an engaged audience and drawing them into the stories.

How did you come to collaborate with the writer you worked with?
I was asked by [one of the editors] Paul Gravett to consider this anonymous piece of journalism from China. I felt it was important for these first person stories to be presented clearly. I chose not to turn these unfortunate people into cartoons, rather, I wanted the imagery to wrap around the words, creating feeling.

The writer has had to remain anonymous - why is that?
Fear of reprisals in China.

There is a long history of comics being used as vehicles for political messages - do you think the medium is particularly well-suited to it? If so, how?
Yes. A narrative form like comix draws the audience into the emotions and events in these stories. Also, it is not a passive medium. Unlike film, you have to complete the experience, you have make the connections between panels and create motion and sound in your mind, so a reader is really engaged in the creation of whole experience themselves.

Comics have long been considered 'kids stuff' - why do you think the greater public perception is that comics can't deal with serious issues?  How do you think that has impacted the work done in the comics medium? Ie. has this allowed for more freedom of expression 'under the radar'?
It's a cultural thing in the UK - if you need illustrations accompanying text, you are either a child or illiterate. There isn't cultural snobbery in other countries. In the US it has more to do with the oppressive dominance of superheroes. Both these trends have been stifling, and have put off serious writers and illustrators from using the medium. This is changing dramatically.

Where do you sit on the whole 'comics as literature/ journalism'debate - are they? Do they need to be?
They can be. Comix are a medium like any other. They can be as serious, trivial, profound, silly, artistic as any other. I think they probably do need to be. A healthy avant garde and a strong connection to real world issues of the day has got be healthy for a developing medium.

You work in various mediums - film making, painting, comics, illustration - how do you classify yourself? Do you feel you need to?
I try not to. The Italians have a word 'creativo'. I like that. Definitely not 'artist'.

You have done some of your most well-loved work in the superhero comics book medium - is that an arena you have always been drawn to?
No I haven't. I did 2 books 20 odd years ago, and realised I had no love or interest in the genre.

What were your favourite comics to read as a child?
As a kid I loved superhero, fantasy, horror comix, all sorts. As I grew up I still always loved comix, but found new kinds of comix. It was the medium I loved more than one particular comic.

What are your favourite titles now?
I could give you a top 5?  Little Nemo in Slumberland by Winsor McCay, When the Wind Blows by Raymond Briggs, Fires by Lorenzo Mattotti, Maus by Art Spiegelman, The Arrival by Shaun Tan.

What projects are you working on now?
Caligaro- a graphic novel Mouse Bird Snake Wolf- kids book with David Almond, What is a Rainbow, Really? - huge book with Richard Dawkins, Nitrate - book of paintings, Pictures that Tick2- book of short commix, Luna- feature film as writer, designer and director, Smoke and Mirrors- illustrated book with Neil Gaiman, Celluloid- erotic picture novel plus various exhibitions and sketchbook projects.