Welcome to Treehouse
Did you have a gang hut when you were young? A place you hung out with your friends and shared ideas? A place where you could not only try to understand the world, but also create one of your own? Treehouse, the comic collective, is kinda like that.
They are a large group of like-minded, creative individuals with such a huge amount of talent it was really hard deciding if this interview with 6 of the members should be split into separate artists sections. We kept them together in this interview because the thing is...the thing that makes Treehouse, Treehouse, is that; they are a team.
Tell us a bit about yourselves as individual creatives and what each of you bring to the Treehouse Collective.
Neil Scott: My name is Neil Scott and I am an artist based in Dundee. I studied Fine Art at Duncan of Jordanstone and graduated in 2008. I make comics but also use sculpture, photography, video and performance in my art. I have a couple of recurring stories in Treehouse: Bad Eagle, an inept but endearing bird, and Door to Door, anecdotes from my experience as a postman (my day job). I also like to try and experiment with form and story length in my comics but also try and include an element of humour in most stories.
Balazs Lorinczi: I’m Balazs Lorinczi, originally I’m from Hungary, currently living in Dundee. I’m doing a series called Human Resources for Treehouse and I’m planning to do it for a while. It’s a light hearted urban fantasy series.
Ross Purdie: My name’s Ross Purdie. My contribution to Treehouse #6 was story titled: One Gran Army, about a grandma who hunts vampires. I’m a Glasgow based freelance artist. I’m currently focusing on illustration and concept art, but I’ve recently found myself becoming a bit enamoured with the idea of being an artist/writer… so yay comics!
David Robertson: I’ve always loved comics and started making them when I was a kid. Kept it up ever since. I’ll let the other folk in Treehouse decide what I bring!
Rebecca Horner: I'm a soon-to-be 4th year Animation student at DJCAD, specialising in comics. I live and breathe drawing, and comics are pretty damn cool.
Norrie Millar: I had read comics since I was small, fell out with it but still read what I had, went to Art School, slowly started to fumble back into it, nearly failed because I wanted to make comics, worked as a screen-printer in a manufacturing factory, decided to go back to Uni and study Mlitt Comics Studies, best decision I ever made. No idea what I bring to Treehouse – stubborn perseverance?
What brought you to joining the Treehouse Collective?
Neil Scott: Treehouse was founded by Stuart McAdam and myself in 2013 following a collaborative comic we made as part of an art project. We both wanted to have a platform to share independent comics made locally and knew of a number of creative friends who were making or wanted to make comics. We approached the initial members (featured in Issue 1) with the idea of a comics collective and everybody was really keen. The first issue was published in December 2013 and we've just kept going from there!
Balazs Lorinczi: I found an issue in Waterstones and I thought “hey, it’s an underground anthology but it is distributed in a major book shop as well and it seems like I would fit in with my stuff. Maybe I should shoot them an email, it seems like a good opportunity”. So I did.
Ross Purdie: I was showing an old pal of mine some of my concept work that had a bit of a narrative to it and he advised me to get in touch with Neil Scott (the Treehouse high heed yin) and try out submitting a story.
David Robertson: I contacted them through the e-mail address in the magazine and offered my services! They accepted a comic with issue 3 and happily every issue since.
Rebecca Horner: My friend Jules Valera (existing Treehouse member and autobiographical comics extraordinaire) encouraged me to go in for it sometime last year, then several months later I got over my shyness and asked to join!
Norrie Millar: I met fellow Treehouser's Neil and Andy (Herd – of “Pandyland” fame) at an exhibition of Andy's, actually I'm pretty sure Avril would probably been there too, at Tinroof, an artist's studio/exhibition space here in Dundee. Neil was friends with a close friend of mine, found out I was going to study the Mlitt and asked if I would be interested in contributing to an anthology comic he and Stuart were planning. I said yes on the spot.
There are quite a number of you, can you tell me a bit about how it works when you’re pulling an issue together? How does something go from being an idea that you want to make into a strip to actually being in the comic anthology? Is there an informal (or formal) lead editor or art director, for example?
Neil Scott: We set a deadline for submissions to each issue and once that has passed I collate all the comics we have in the Dropbox into the comic layout. As far as there is an editorial process, it is just in the sequence of the pages within the issue based on how it flows for a reader. We very specifically set out not to have editorial control over individual creators' work so people felt able to produce whatever kind of comics they want. If there was ever anything problematic or overtly offensive submitted we would have to discuss if it was appropriate for our anthology, but that hasn't happened yet!
The only constraints we set are that a comic must be in black and white or grayscale and cannot be more than four pages long. This means there is a fairly egalitarian feel to the anthology with no one creator getting the lion's share of pages. The uniform black and white helps us keep a visual coherence across all the wildly different art styles. We invite each of our members to have a go at a cover design, which I then try and echo with the inner covers. It's all pretty informal really!
Ross Purdie: We can submit anything we want in any style so long as whatever it is not gratuitously horrible and offensive.
David Robertson: The page limit per issue is 4 pages. There’s a “secret group” as they’re called on Facebook, and we can post ideas, questions, whatever on there as we go along. Once we’ve done the work we post it fait accompli into the Treehouse Dropbox. Neil and Stuart are the editors and they put the issues together.
Rebecca Horner: Based on my one-issue experience, you draw whatever you want, upload it to the Dropbox, then voodoo magic happens and a comic is born.
Norrie Millar: There's absolutely no limitations or direction given to contributors, other than a maximum 4 page submission size, it's in black and white, a good grasp of common sense and no explicit/racist content. With each issue we have a good balance of returning contributors and new stories, some people are happy to just work toward a single strip while others like to have continuing strips or contribute more frequently – a healthy mix which means we aren't fighting one another for extra pages. I was interested in having a strip that told a story throughout a number of issues so people reading would have a familiar story running with each issue.
You have your own individual projects that you work on separately from Treehouse. How do you manage the balance of this, individual ambition or ideals versus the collective ambition? Are you quite competitive with each other?
Neil Scott: Having worked in the creative field for a reasonable amount of time and, also having seen a fair amount of comics creators talk about their work, I'm happy to say Treehouse is one of the least ego-maniacal groups I've had the pleasure to be part of! We meet up regularly to discuss the comics and our own work and the collective atmosphere is really supportive. I'm always super proud whenever any of our members are recognised for their own work – like Norrie Millar receiving a (well-deserved) nomination for the Scottish Independent Comic Book Awards.
Balazs Lorinczi: Currently I’m only working on stuff that’s for Treehouse, so it’s no issue for me. I don’t think anybody could compete with anybody, each style is so distinct that there is really no point. At least that’s what I think.
Ross Purdie: I’m kind of the new guy in Treehouse. #6 was my first one. I don’t feel competitive at all. I’ve come in with the intention of contributing to whatever I found when I get in the door. (It is always the case that, when you’re through the door, what you find is never quite what you expected.)
I don’t feel contributing to the books periodically conflicts with my own ambitions as I still own the stories I put in. In the longer term I intend to compile a fully coloured anthology of my own contributions and use this as a folio piece to showcase my ability.
David Robertson: I make my own Fred Egg Comics, and keeping that up while being in Treehouse has been interesting. I’m not sure how it would even manifest in practical ways. I can say that Treehouse is a priority for me. Any Treehouse event or project gets serious consideration from me. I see both Fred Egg and Treehouse Comics as being mutually beneficial. It’s really inspiring to meet up with the team and discuss comics. They’re a talented bunch. Personally, I don’t consider myself competitive with anyone else in comics.
Rebecca Horner: I have a tendency to juggle many things at once - I take a break from one project by working on another one. Treehouse is a new and exciting challenge!
Norrie Millar: I make my own comics and free-lance as well but I always make time for Treehouse, it's a great pressure release and I can have fun - experimenting with my drawing and writing. It always becomes a priority and any events, comicons and launches that happen I do my best to make sure I'm helping out at them. We're all busy people so it's a great way to catch up with everyone and have some good chat and I've had some particularly good chat with David Robertson at many of these events. I don't think there is much competitiveness, we all help each other as much as we can, it's meant to be an enjoyable experience, comics are so much fun, so while we push and nudge each other, it's never a case of one-upmanship.
Tell us about your individual proudest moments working, both in comics in general and also with Treehouse specifically.
Neil Scott: I feel really happy whenever I meet people who have read our comics and have gotten something genuinely enjoyable from them. It's crazy to me that Treehouse has become what it is even in this short couple of years from a conversation that Stuart and I had, probably in his kitchen.
Balazs Lorinczi: I’m really proud that I could be part of Treehouse. My work never saw print before, although I was making comics for a few years now, back in my home country but that market is so small, I didn’t think it was worth putting money in it.
Ross Purdie: Being brand new to comics my proudest moment was dropping a link to my first finished webcomic on a professional forum and basically being told: “you’re better than most for where you are... get a letterer and come back later thanks, bye...”
In Treehouse specifically: Just hitting my first deadline with something I was happy to put my name on.
David Robertson: Getting comics done at all is something I’m proud of. Every panel, page, story and book you make is a mountain to climb. There are many and endless reasons to not make comics, and only one to do so. With Treehouse specifically, I’m quite proud of having contacted them from outside and joining the ranks. It was a bit intimidating, when you see the quality of work they were putting out from the word go.
Rebecca Horner: I never linger too long in being proud of myself, but it's a really cool feeling to be able to hold a physical thing with your work in it (Treehouse #6, and UniVerse's Anthology Five).
Norrie Millar: We just launched Treehouse #6 and I'm extremely proud to have been a part of it since #1. Treehouse started in Dundee and it's gone to comicons from the very North of Scotland, to the South of England and all the way to Helsinki. I think that's something pretty special and to still have people interested in reading and also contributing, still amazes me. In a good way!
As an individual, the very fact that I'm actually making comics myself, I still find incredible. I never thought it would be something I would be able to do, so putting out my comic at the start of the year was mind-blowing, then to find out I had recently been nominated for two SICBA awards because of it, is just crazy. Hope that's not too big headed to mention but I'm still bowled over by it all!
It's fantastic news, Norrie, and well deserved! Can you talk about the most interesting (or challenging) experience you’ve each had working in comics?
Neil Scott: When I am making comics the most interesting part for me usually occurs between the (extremely) rough draft I make of the initial idea and the final inked out version. I usually do the whole piece on the paper before scanning it in and the part that I love the most is the minute decisions you have to make about every part of the layout. Tiny adjustments to panel size, word placement, facial expression have such large ramifications and it is a challenge I enjoy wrestling with in my little comics cubby hole in my studio.
Balazs Lorinczi: Working for a writer who was paying for my work (not much but hey, its still making comics for money!) and made me redraw half my panels. It was annoying but made me a better illustrator at the same time. I also had to alter my style a bit which was very frustrating but as time went on it became more and more natural and in hindsight it was a very useful thing. It pushed me towards a more accessible style and to a higher technical level.
Ross Purdie: There was a moment I knew this is going to be a major life thing for me… It was about 3am and i was tanking through some inking with hours and days of work ahead trying to get finished on time for the deadline.
People will tell you:
'Inking has a knack to it...'
Whether digitally or traditionally you have to get warmed up and get in the zone in order for your brain to travel up your arm. I believe this is true, as you will generally find that when you’re inking and you get up from your desk for any reason and come back, your lines will be weakened by the shortest abandonment.
So anyway… 3am... timber frame walls + storage heaters = cold flat. I am sitting with my feet perched on a just filled hot water bottle balanced on an empty orange box of crackers.
As I was inking I became distantly aware that my totes were getting way too hot. In fact the wee rubbery bits on the sole felt like they were melting, after a while my feet just went numb from the pain of overheat, sort of stuck to the hot water bottle.
I kept inking.
David Robertson: Again, it’s all interesting. There are many disciplines to doing comics: getting ideas for stories in the first place; laying out panels to the best effect to get things across; creating characters in visual and philosophical terms; drawing (including pencils, inks, tones, colours), using computers for enhancements; lettering; writing in the strict sense of using words, i.e. dialogue, captions. There is so much work to be done on every page, yet for me it is all subservient to storytelling. Comics are meant to be read. All the work should really be invisible and people should read through a comic without thinking about any of this.
Rebecca Horner: My biggest challenge so far is that I've decided to make an 18-page comic in my 4th year at uni, alongside making a short film. Watch this space.
Norrie Millar: Every comic has a new challenge! Comics take so much work, especially if there's only one person involved in it's production, script, art, colouring, lettering and that's not even mentioning the desire to improve the core draftsmanship skills of each discipline. It's extremely tough and challenging but it's also extremely worthwhile and rewarding. Thumbs up for making comics.
What do you think is the key to engaging with your audience? How much attention do you pay to what is popular / controversial / trending, and how much of this makes it into your work?
Neil Scott: I pay exactly zero attention to what is popular I'm afraid. I just try and make stuff that I am interested in or makes me feel something in the hope that it will make others feel similarly. If a comic or character makes me laugh or I think it is cute or has some kind of pathos, then I can put it out and hopefully at least one other person will enjoy it!
Balazs Lorinczi: Honestly and, this is just my humble opinion, I don’t give a hoot about current trends, I just do what I want to do. Nobody pays me to draw something else, so it's on my own time, from my own money. I’m doing the ideas that are in my head that I want to get out. All I can do is hope that it’s something there is an audience for. Although, I always liked easily digestible stuff compared to the more abstract art projects and I try to make my stuff friendly to an average, but open minded reader.
Ross Purdie: I do tend to gravitate towards whatever it is I myself or other people are clamouring for. For example so much of the internet is weary and moaning about the saturation of psuedo-WASP male protagonists and lack of non-sexualised, diverse female leads.
In response to this, I instinctively wanted to create a middle aged female character and make her appealing and (hopefully) compelling to read. (Hence One Gran Army).
I freely admit this is a type of pandering, but once I got into it and started to get her voice I really got invested in it. Also, where else but comics are people going to find this stuff that they clearly want?
David Robertson: The key is having something happen that makes a reader subconsciously feel “What? What’s happening here?” and keep on reading. I don’t pay any attention to what is popular / controversial / trending. I may have accidentally landed on some of those occasionally, but it’s not a calculated move. I do comics so that I can do whatever the hell I want. No-one is paying me, and so I call the tune.
Rebecca Horner: Being relatable in some way. I definitely notice other people picking a current trend and being able to create something cool related to it, which is admirable. I don't actively do it myself, but I think everyone's influenced by what's going on around them in some way whether they mean to be or not. I'm a big sci-fi fan, so that influences a lot of my work. Space is everywhere.
Norrie Millar: I think it's as simple as that you have to be honest with what you create, the audience can see bullshit straight away and it turns people off instantly. Or maybe that's just me.
How are you finding getting your work out there, in terms of using digital platforms and comic book shops?
Neil Scott: It's actually a bit of a long game. We've been quite lucky to have a friendly and encouraging following on things like Facebook and Twitter that lets us interact with comics fans and people who like what we do. We have a new online shop where people can order the anthology directly from us. Getting the books in shops is a slow process but we're getting there.
Waterstones in Dundee and Glasgow have been great about promoting local creators like us and the specialist comic shops have been good too. Conventions are a big thing for meeting people and getting the books out into the public. Scotland's independent comic scene is going through a bit of rapid growth at the moment which is cool to be a part of. Although we should probably start incorporating cosplay into our displays because that is definitely what the kids are into these days. Honestly, if you advertise any opportunity for cosplay you will have about 5,000 people show up in full costume, guaranteed.
Balazs Lorinczi: Unfortunately I’m currently a bit too occupied with other things to be bothered with distribution and coverage so I just trust the good and committed leaders of Treehouse and hope it's going to be enough for something.
As far as I can see the main struggle is to get people read your work. It’s not Marvel or DC, it’s something different, something new which they have to learn to relate to and that is usually a big barrier. They don’t now what this is, there is no connection, a recongisable name or image so lots of folks just can’t be bothered with it.
Ross Purdie: Digital is easy. I’ve recently started a page on Tapastic.com (sort of like YouTube for web-comics where creators get a slice of the ad revenue). There seems to be plenty of platforms out there.
As far as shops go: that’s next steps for me once i have a book sized story finished, but I’m told Treehouse is stocked far and wide.
David Robertson: Really okay. I send out information to different websites and comic shops. Some of them are interested, others aren’t. Social media creates a little circle in which you can post updates, previews, excerpts, etc. Why not, it’s fun.
Rebecca Horner: I gently pimp out my work on the usual social media platforms.
Norrie Millar: I've never seen it as a problem, we've put Treehouse out ourselves and the stores that we've approached have been very accommodating. The internet is a great way to put out work.
Who are your top 3 creative influences and why?
Neil Scott: Charles Schulz, Chris Ware, Kate Beaton – they are just three individuals who have inspired me into making comics but there are hundreds more. Anybody who has an honest and singular approach to the medium.
Balazs Lorinczi: Only 3? Let’s see: Neil Gaiman, Mike Mignola and Doctor Who.
Ross Purdie: Caravaggio: When i was a student and found myself in a dilemma I would ask myself: What would Caravaggio do? The answer was usually: “murder someone then run off to Malta” So i grew out of that, Ryanair just isn’t as cheap as it used to be… but yeah Caravaggio is my all time hero because his paintings are really, really good.
Iain Banks, a writer who is sadly no longer with us. I’m from Dunfermline and he is from North Queensferry. I used to read his books and be utterly blown away by the idea that a guy wrote this incredibly rich otherworldly stuff a few miles down the road from me.
I once had the privilege of meeting him at a reading and at the Q and A afterwards my pal asked him: do you ever feel discouraged by the perception of people who look at sci-fi books as really geeky and sub-literature?
He thought for a moment and said:
'I don’t worry about that. Committing to a genre is a philosophical choice. Would you rather be a pianist and *tink, tink, tink* on a lovely old piano… or would you rather get fired into into it on a big mad f**k off electric organ with buttons and levers all over it??? Like... (waving his arms around) *DUM DUM DUM DUM DOOOOOAM!!!!*'
Patti Smith, proves you don’t need an amazing voice or virtuoso band behind you to be sublime at what you do.
David Robertson: I’ll pick three from three different fields. Comics wise, I feel I am very influenced by Peter Bagge. His humour, rhythm of telling stories, viewpoint on life, dialogue and pacing. I consider him an absolute comics master. His brilliance can be overlooked because his stuff is just so easy to read.
I am a great admirer of Frank Zappa. His music is endlessly varied and rewarding, and his philosophies on life are so inspiring. Highly intellectual and utterly down to earth at the same time. He encompasses the universe and the gutter at once. He is eminently quotable!
I really like Chris Morris. His breakdowns of the media in the 90s The Day Today and Brass Eye were stunningly brilliant. Jam was so powerful on the radio and on TV and Four Lions was a great film too. His fearlessness in his art is mind-boggling. I want to cheat and throw in another. I have loved Russell T.Davies since Queer as Folk. His Doctor Who was so good. I have just re-watched the Cucumber and Banana series, and his work is unparalleled in telly.
Rebecca Horner: Eek! Lots of people. First three that come to mind are:
Eyvind Earle - he was an artist at Disney back in the 50s, and his work on Sleeping Beauty made a huge impression on me as a child. He saw the world in a unique way and translated it into these gorgeously vibrant, detailed paintings.
Darwyn Cooke - he wrote and drew one of my favourite DC stories (DC: The New Frontier), and his style speaks to me on many levels.
J. H. Williams III - his layouts, man! I look at his work to kick myself into trying to do more interesting things with page layouts. They are spectacular.
Norrie Millar: Salvador Dali. The guy did everything and anything he could: drawing; painting; writing; film; animation, it didn't matter, he was always learning and working, never limiting himself to just one discipline, always exploring and trying to improve, not caring what people thought. He was what also led me to discovering David Lynch and Mobius.
Mogwai, I've been listening to Mogwai since around 1998 and they've sound tracked many long nights of working. I've seen them live three times which isn't that much considering how long they've been going. I've worked out so many stories while listening to them and they're pretty fearless with what they want to put out and work on.
Katsuhiro Otomo, I read a lot of his stories at an early age. I was still reading the Beano when I read first Akira and, while I forgot a lot of the details and short stories as I grew older, I never forgot the feelings I got when first experienced his work. If something sticks with you for that long, then it must be good!
What are your preferred inks and paper / digital package for creating comics with?
Neil Scott: I work with mechanical pencil, black india ink and a fine brush on standard bristol board primarily. If I am doing anything digitally, I'll scan in hand drawn stuff and work in Photoshop.
Balazs Lorinczi: Photoshop and sakura pigma micron pens. I’m so cheap I don’t bother with paper at all. I know, I should be ashamed, but for now I don’t think it will make too much of a difference.
Ross Purdie: I’m all digital at the moment. For comics I work in manga studio 5 about 98% of the time and only nip over to Photoshop when I need some more varied brushes. MS5 really is great for the price. It makes it a lot easier to keep things neat and tidy.
David Robertson: I draw on any old paper really. It’s disgraceful. I’ve been using Faber-Castell pitt pens, and a Pentel brush pen. The latter recommended to me by folk from Treehouse.
Rebecca Horner: I use pretty much anything I can get my mitts on, but my main go-tos are a Pilot Fude Brush Pen and my trusty sketchbooks, and if I'm working digitally I'll use Manga Studio and Photoshop.
Norrie Millar: I'm a hands on kinda guy. Pencil and paper, I've started using brush and ink and I don't think I'll change for a very long time. I colour digitally but I'm also a fan of watercolour, inks and acrylics. Anything with a nice wash.
What is your favourite piece of artwork on your wall right now that you did not create. Or, what is your favourite comic storyline that you did not write.
Neil Scott: Uh, I think Ghost World is a pretty great storyline, self-contained but with a real feeling of place.
Balazs Lorinczi: If I could put artwork on my wall it would be a Duncan Fegredo Hellboy drawing. My favourite comic book storyline is a really hard choice but maybe: The Invisibles, Planetary and Daytripper.
Ross Purdie: On my wall I have an ink drawing of a samurai horseman my girlfriend did. Trust me: it’s awesome.
David Robertson: I will go with the first, as the second is too difficult. I have three artworks on my wall (the rest of the wall space is covered in bookshelves). A sketch of Warlock by Jim Starlin; a page from Star Wars Dark Empire 2 by Cam Kennedy; and a painting of Dan Dare and the Mekon by Ian Kennedy. I can’t pick a favourite though!
Rebecca Horner: I have a print by James R. Eads called Hello, Beautiful World. It's pretty.
Norrie Millar: It's not on my wall but I have a signed copy of the comic Daytripper, by Fabio Moon and Gabriel Ba which has the simplest of drawings, just a quick sketch, of the main character as a child and it just means the world to me.
Your latest issue, Treehouse # 6, is out now, which is something else to be proud of, how was the launch party?
Neil Scott: We held the launch party at Tin Roof Studios, an artist collective and studio space in Dundee. The party was excellent, we made an indoor Camp Treehouse with teepees, campfire and a Gamezebo for playing boardgames. We also had individual panels from the comics enlarged and put up on the walls for people to examine. The only snag was that the delivery company managed to not deliver the comics, despite their guarantee of “next-day delivery”. Everybody who came along was very understanding despite us having no new comics for sale. We all read the one copy of issue 6 and had a swell time anyway!
Ross Purdie: Party was all-right yeah.
David Robertson: Um, the launch party was good, despite the books not arriving until the next working day! There was playing of games and vinyl records (notably Jeff Wayne’s War of the Worlds).
Rebecca Horner: Telestrations and War of the Worlds, what more could you want?
Norrie Millar: The party was excellent! It's just a shame #6 never turned up, haha! I could do without hearing the War of the Worlds soundtrack for a while though, I think that record was looped the entire night.
What is next for Treehouse?
Neil Scott: Carry on expanding and showcasing Dundee and the rest of Scotland's independent comics creators! Our next issue will be out in early September and we're considering the possibility of a collected omnibus of the comics so far. We only produce 200 copies of each issue so once they have sold out they are no longer available except in digital versions and it would be good to have something to introduce new readers to. We'll keep everybody informed of our activities on Facebook and Twitter! We'll also be returning to Thought Bubble in Leeds later this year so hopefully see some more comics fans there.
Ross Purdie: At the moment we are a vaguely harmonious unit, but it has been my experience that everything resembling an institution composed of more than 2 humans and one robot will eventually invite some form of corruption… and it won’t come from the robot. So yeah, we should be due some of that soon. Onwards and upwards.
David Robertson: Issue 7. I’m doing the cover, and we’re planning on having an exhibition at Arbroath Library Art Gallery.
Rebecca Horner: More comix!
Norrie Millar: Start prepping for #7, we'll be going down to Leeds again this year for Thought Bubble in November. Keep doing what we do and keep having fun!
Bonus question: If you had the option of having Flight or Invisibility, which would you choose and would you use your ability to fight crime?
Neil Scott: I actually listened to a segment on the This American Life podcast discussing this exact question. Apparently there is a sentiment that people who chose invisibility are inherently sneaky and dishonest, but people who say flight are delusional because, given the choice in reality, they would actually choose invisibility. Despite this pessimistic view on the problem, I'd take the accusations of being delusional and choose flight so I could zoom around fighting airborne crime. If I really ended up choosing invisibility then I suppose you would never be able to track me down to confirm your suspicions.
Balazs Lorinczi: Flight and no, I’m not hero material and I’m not fancying martyrdom too much. I would just chill out with the birds. Or try to help emergencies, but not fighting crime.
Ross Purdie: Have to go with flight just for getting about. If you’re invisible then public transport would be tedious as all hell. I don’t think I’d go out of my way to fight crime. I’d favour small acts of kindness, like maybe flying about delivering stuff you wouldn’t trust to the post.
David Robertson: I’d choose flight, and maybe fight crime if I could be bothered.
Rebecca Horner: Flight! Possibly not for crime-fighting purposes, since the ability to fly wouldn't make me any more physically threatening.
Norrie Millar: Flight! I'm far too sexy to be invisible.
Well, quite. If you would like to keep track of just how sexy the people of Treehouse can be, please, like them on Facebook, follow them on Twitter: @TreehouseComic and, you can also buy their comics at: http://treehousecomic.bigcartel.com